If you’ve been hankering for some growly Germans who make music that complements PVC outfits and stompy dancing, Nervenbeisser might be for you.
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Category: Industrial
As the head of Emily Kaye lay upon the coals, the dead eyes opened.
The Frozen Autumn: The Fellow Traveler (2017).
Are you into synthpop? Do you believe in heaven above, do you believe in love?
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Reviews: Dboy, Distant Stars, Cherry Heaven (2017, 2018).
Doing it yourself with trashy rock’n’roll, minimal synth and shoegazy indie.
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Reviews: Fires, Second Still (2017), Duran Duran (1979).
Industrialised synthwave, goth and a pop demo from the mists of time.
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Snog and Severed Heads — Corner Hotel, Melbourne, 5 November 2017
Severed Heads, Snog, frogs and Ikea rats.
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Reviews: Phase Fatale, Christian Fitness (2017).
Industrial and 2017 punk.
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Links: Frank Zappa ad jingles, runout grooves, AACS keys leaked, old Severed Heads.
And headphones up your nose.
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Links: Chapter Music, Damned Industrial top 20, ZynAddSubFx terms, iTunes shutdown, vinyl clog.
Yes, I’m still here. More exciting things from the big world!
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Reviews: The Glass Eyes, Elektrostaub, Stolen Apple (2016, 2017).
Two indie rock, one industrial bleep.
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Links: Sgt. Pepper, Raincoats, Severed Heads on DAWs, Tommy Keene RIP.
These are places that are gone.
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Grendel: Age of the Disposable Body (2017).
Classic power balladry with synths instead of guitars. The air-punching choruses remain. Every side an A-side.
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Reviews: The Big Sun (2016), Autumn (2017), Snog (1992, 2017).
Suppose I’d better cut the pile down a bit again.
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Reviews: Boy Harsher, Vittorio Di Mango, David Carretta (2016, 2017).
From the grey area between techno and industrial.
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Reviews: Zürich ’81, In The Nursery (2017).
Two marvellous bands you need to pay attention to.
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Links: DAF, getting your US copyrights back, where the streaming money goes.
You can guess who makes it big from streaming, and it’s not Spotify.
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Reviews: Elektrostaub, The Frozen Autumn, Nervenbeisser (2017).
From the review pile, some forthcoming releases from Echozone.
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Reviews: Gaddafi Gals, It’s The Lipstick On Your Teeth, Ankathie Koi (2017).
In which I trip over Seayou from Vienna, a good label I hadn’t heard of before.
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Links: Venue archaeology, winning fair use on YouTube, M’era Luna, I wrote a textbook.
You can guess which of these I’m particularly excited by.
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Hante: Between Hope & Danger (2017).
The icy ocean at night, calling you to the sea.
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Seeming: Sol (2017).
A song-oriented post-industrial album from three years’ close obsession.
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Reviews: Desert M, Loewenhertz, Elektrostaub (2016, 2017).
Instead of books, let’s talk about industrial, in ambient prog and synthpop flavours.
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Severed Heads: Donut (2017). A single you can play as a CD or on a turntable.
Why? Tom Ellard, pretty much.
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Loewenhertz: Echtzeit; Unsichtbar; Irgendwann (2016, 2017).
’90s-style angsty German synthpop that fits right into industrial, of a genre with Wolfsheim, Beborn Beton and Silke Bischoff. Especially Wolfsheim.
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Reviews: Metal Disco, Barabbus (2017).
One that isn’t quite EBM and one that isn’t quite metal.
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Purple Fog Side: The Discord (2017).
A Russian band who call themselves goth and play trancy techno pop on an industrial label.
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Reviews: Dr. Woman, Ovter God, Fightmilk (2016, 2017).
Back in the MP3 mines, tunnelling through the tottering heaps of virtual promos.
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Industrial reviews: Lorelei Dreaming, Eli Van Pike (2017).
Most of what hits the Rocknerd inbox is industrial, prog, metal or industrial prog metal. I have no idea why.
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Reviews: Mr. Kitty, Stars Crusaders, Missiles of October (2016, 2017).
Vaporish synthpop, sci-fi concept EBM and punk rock heavy on the rock.
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Crimson Boy: Street Gods and Neon Dogs (2017).
Perth ’80s industrial synthpop duo, who have returned with an album at last.
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Links: Spotify to reduce convenience, the Velvets’ banana, Cosey Fanni Tutti goes establishment.
Never interrupt the music industry when it is making a mistake.
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