Deep in the heart of Williamsburg, Brooklyn with a nice long walk from the train, I’ve finally made it to Brooklyn Steel for a night of French musical goodness. Carpenter Brut can be considered both the name of the keyboardist/mastermind who perfers to be anonymous and also the name of the group itself. Take your pick. Starting the two-band bill night was Sierra who is making her American debut on this tour. Her EDM and Darkwave tones set the vibe perfectly for this moody dance night. She also was the sole vocalist performing live at this show. Armed with her DJ rig, drum pads, and hypnotic beats; Sierra is someone I’d like to see again.
Petbrick are the brain-melting collaboration between metal legend Iggor Cavalera (Absent In Body / Cavalera Conspiracy / ex-Sepultura) and electronic noise maker Wayne Adams (Big Lad / Wasted Death). The unique collaboration has been perfected over the last few years in Adam’s London-based Bearbiteshorse Studio, so far yielding their debut album I in 2019, and a handful of EPs and split releases.
Following the release of their debut album The Language Of Injury in 2019, Ithaca quite rightly found themselves labelled as one of the new up and coming buzz bands in the UK’s Metal scene. The album was a furious slice of post-hardcore / metalcore, full of great riffs and powerful vocals delivered by singer Djamilla Boden Azzouz, which saw them saw them gain comparisons with the likes of other heavy, strong bands including Svalbard and Employed To Serve. Continue reading →
My Sleeping Karma proffers a heady instrumental in Atma (Napalm Records). The six tracks on Atma are ripe for playing over and over and over again and, at times, are mesmerizing to the point of feeling insensate. As this is a fully instrumental album, it’s up to the listener to provide sense and meaning to the aural sensations. Continue reading →
The contradictions of crafting an album using the very technologies and processes the band had previously railed against are but one small element of the complicated and interesting layers that make up Artificial Devices, the self-released second full-length composition of London duo Andrei Alan (guitars/bass/programming) and Chris Bevan Lee (keys/vocals/programming) collectively known as The Ever Living (I promised myself no Mumm-ra comments, but here I am in the intro… I can’t help it, every time I see the band name…).
Since The Dillinger Escape Plan disbanded in 2017, their enigmatic frontman appears to be a man on a mission, allowing his creative juices to flow and taking the opportunity to musically expand and collaborate like never before. Continue reading →
GGGOLDDD, based in the Netherlands, have for the past decade been releasing material that defies genre conventions and blurs the boundaries between all manner of musical styles, from Metal, to post-Punk, to Pop, to Trip-Hop. Their fifth full-length release, This Shame Should Not Be Mine (Artoffact Records) is based around deeply personal themes to vocalist Milena Eva, who uses this record, conceived during the 2020 lockdown, to address traumatic events including sexual assault.
If you told me that Stabbing Westward, an Industrial Rock band originally from Chicago, would reenter my life twenty years after they first impacted it, I would not have believed you. Yet after all this time, I am listening to their first new studio album since 2001, Chasing Ghosts (COP International), and my world has been changed again. After devouring their most recent EP release Dead And Gone (COP International), fans were hungry for more and I was certainly no exception. Original founding members Christopher Hall and Walter Flakus have retained their signature style and newer members Carlton Bost and Bobby Amaro have brought so much richness to the sound.
James Kent, based in Paris, has released several records since 2012 under the name Perturbator. His music under this moniker can be loosely defined as synthwave but, in reality, Perturbator’s evades such straightforward categorisation. Incorporating elements of early synth-based music, as well techno, gothic rock, ambient music, and metal, Perturbator has been compared to Kraftwerk, John Carpenter, and Nine Inch Nails, amongst many others.
It would be an understatement to say that Steven Wilson’s sixth full-length album continues down the more commercialized path that was established on 2017’s To The Bone. While that album has ultimately proved to be a simplified variation of its predecessors in hindsight, The Future Bites opts for a very different approach as the guitars are downplayed and Pop and Electronica influences completely take over. It’s far removed from the Prog dog days of Porcupine Tree but also not unprecedented when you consider No-Man’s Synthpop side.Continue reading →