Artist: Deli Girls
Label: Deli Girls Inc.
It feels like this is the ideal time for a new “Deli Girls” album, but then again, I don’t think there’s ever a time when a “Deli Girls” album isn’t appropriate. The anger and frustration that is a reaction to the homophobia, transphobia, sexism, racism, and other forms of hate that unfortunately plague this country is completely warranted and will continue until things become fair in this country, if that ever happens. The Brooklyn duo wear this anger on their sleeves and use it to fight hate with abrasiveness and aggression. This isn’t your Hot Topic “it’s not a phase mom” teen rebellion oh no, this is revolutionary music in its purest form. Music that challenges you, confronts you, and antagonizes you, but with that being said, “Deli Girls'” new album BOSS is never overly political or bias. This music is a place where many of us who have felt misfitted or wrongfully judged can call home. The band could have gone in a direction that recycles their earlier work, becoming a predictable gimmick of themselves, but on BOSS it’s evident that the two have the musical vision and knowledge to match their unadulterated rage. Those who have said the band is one-dimensional will quickly eat their words when listening to this album, because along with the band’s simplistic yet impactful instrumentation that draws influence from Industrial, video game inspired synth-lines, and heavy distorted bass that will knock the framed pictures off your wall, the band explore new territory, incorporating even darker atmospherics and even featuring beautifully haunting harp and violin provided by duo “LEYA” on the track “Barriers to Love.” There’s even a cover of “Korn’s” song “Faget” which the band beautifully reinvents and turns into a new anthem. The band really outdid themselves with this one.
Written By: Steven Sandoval
Following the release of their fantastic single “God Is Doing blow” back in 2018, Swedish duo “Hammare” have been hard at work releasing a single a year, and though that may seem like very little in this fast-paced streaming age of music we now live in, just remember, quality music takes time to create and has more longevity than mediocre songs that are pumped out just for the sake of staying relevant. This year we have been blessed with not one but two new “Hammare” songs. “In Back of the Real” was the first, and now the band have released the follow-up titled “Here Comes Trouble,” and as you’ve probably already guessed by the song titles, the band aren’t here to play it safe. At this point we know the band aren’t going to sugarcoat things. Their lyrical content reflects on the human condition and the ridiculous things that divide us when we should be more empathetic and accepting of each other. The band’s view on this can be from a dark and cynical lens, but instead of sounding defeated, they’re saying “We can do better.” “Here Comes Trouble” maintains that same tone, but this is the band’s most danceable track yet with Industrial-laden production consisting of discombobulating synth arpeggios, a funky as Hell bassline, and Desert Rock guitars that wouldn’t sound out of place on a “Queens of the Stone Age” record. You can listen to “Here Comes Trouble” below:
Electronic duo “ADULT.” are set to release their new album Perception is/as/of Deception on April 10th via “Dais Records,” and today the Detroit duo have released another new track off the upcoming album as well as a new music video to accompany it. The track is titled “Total Total Damage,” and the music video was made in quarantine and features the two completely annihilating the set they had built for the video with sledgehammers, which perfectly reflects this stir crazy time we’re forced to endure at the moment in quarantine. You can watch the music video for “Total Total Damage” below:
“Anybody out there?” asks Trent Reznor as he and Atticus Ross casually drop a new “Nine Inch Nails” album. The band’s new album is titled Ghosts V-VI, and it is a continuation of the Ghosts series they dropped for free back in 2008. Like Ghosts I-IV, the new installments of the series are available for free on the band’s website. Reznor has described the album as “Some of it kind of happy, some not so much.” You can download Ghosts V-VI from the link below:
GHOSTS V: TOGETHER AND GHOSTS VI: LOCUSTS
Artist: Machine Girl
Album: U-Void Synthesizer
Genre: Electronic/Hardcore/Breakcore/Industrial/Drum and Bass
Listening to Machine Girl’s music is like being sucked into a tornado carrying the most abrasive elements of various genres, and I do mean ABRASIVE. What a long way Machine Girl has come from spewing out tons of “Electronic” instrumentals on “Bandcamp” to getting even louder and louder with every release while lead member Matthew Stephenson screams his guts out. Following the highly successful The Ugly Art, Machine Girl has returned with his follow-up U-Void Synthesizer, and somehow this album is even noisier than it’s predecessor. Like The Ugly Art, this album incorporates live drums that give this album a fuller sound that evokes the fast-paced and brutal spirit of “Punk,” but just keep in mind, this isn’t “Dead Kennedys.” This is Synth-Punk meets Industrial meets Breakcore meets just about every abrasive genre known to man. It’s uncompromising, it’s discombobulating, but that’s part of this album’s charm. Sure it’s not for everyone, okay, sure it’s not for most people, (anyone who hasn’t acquired this taste will think that all of their electronic household appliances got together to have an orgy) but this is futuristic “Punk,” the result of the massive influence “Death Grips” have had on a younger generation of DIY artists such as “Deli Girls” and “Five Star Hotel.” Machine Girl is undeniably the torch carrier for this generation, and though they can be lyrically absurd with lines like “I don’t want you on my dick so suck my shit,” that absurdity combined with loads of cryptic content is fun to decipher and formulate your own interpretation. U-Void Synthesizer isn’t much of a departure from The ugly Art, but it’s louder and noisier and Machine Girl’s sound hasn’t lost it’s appeal quite yet.
Written By: Steven Sandoval
Being over 20 years in the music world, Detroit duo “ADULT.” still manage to sound fresh and reinvent themselves with every release. Their last album This Behavior was a back to basics triumph that recalled the Electroclash sound of their early work, but with a veteran sense of focus the band improved on that sound incorporating the darker EBM-laden grooves we’ve come to know the band for. Now, just two years after that release the band have announced they will be releasing their follow-up Perception is/as/of Deception on April 10th via “Dais Records.” The band have also released the album’s debut single “Why Always Why,” a synth-heavy track that is as urgent sounding and anxiety-inducing as it is danceable, because you know with “ADULT.” it’s anxiety always (if you know you know.) You can watch the music video for “Why Always Why” below:
Jehnny Beth of Post-Punk group “Savages” has announced the release of her debut solo album which will be released on May 8th via “Caroline Records.” The album is titled To Love Is To Live, and that’s a title much of us need to hear right now. Along with the announcement, Beth gave us some heartfelt words. “Life’s so strange. Today is the day of my album announcement and I’m on a train to see my dad who’s spent the last two days in intensive care. I was supposed to be in LA to promote the album this week but decided to be with family instead. When I started making this record all I could think about was the impermanence of life, that I had to do this before it’s too late, and here I am now sitting on a train telling you that my album is coming and it’s called TO LOVE IS TO LIVE. Today those words resonate more than ever. There isn’t really anything else in life is it? only love, only love will remain.” Today Beth has also shared a new single off the upcoming album titled “Flower.” You can listen to the track below:
In December of 1979 “Throbbing Gristle” released their “Industrial” classic 20 Jazz Funk Greats. Don’t let the name fool you, you won’t hear Jazz or Funk on this record, instead you’ll hear 11 tracks of uncompromising Industrial that incorporates various elements of Synth-Pop, Post-Punk, and Disco, but these genres are mutilated and drenched in the band’s anti-music style. The lyrical content consists of erotic themes and taboo subject matter, because, well….. it’s Throbbing Gristle. About the misleading and quite humorous album cover, member Cosey Fanni Tutti has stated “We did the cover so it was a pastiche of something you would find in a Woolworth’s bargain bin. We took the photograph at the most famous suicide spot in England, called Beachy Head. So, the picture is not what it seems, it is not so nicey nicey at all, and neither is the music once you take it home and buy it. We had this idea in mind that someone quite innocently would come along to a record store and see the record and think they would be getting 20 really good Jazz/Funk greats, and then they would put it on at home and they would just get decimated.” This album is regarded by many as the band’s best work, and it’s hard to argue with that. This was some of the most unique and innovative music unlike anything that came out of the 70’s, and is still a tough and incredibly disturbing listen today, and let’s not forget the massive influence the band had on all of the Industrial artists that followed. Happy Anniversary.
And the award for song title of the year goes to….. Seriously, there’s nothing like listening to Street Sects’ music and brutally screaming out your existential pain. They’re truly a genuine band who pour everything they have onto their music, and it’s captivating. The band will release their new E.P. Gentrification IV: Suspended from Gallery Rails this Friday via “The Flenser,” and today they have shared a music video for the opening track “If Life is a Gift, It’s in Very Poor Taste.” You can watch the music video below:
On this day in 1989 “Industrial” legends “Ministry” released their fourth album The Mind is a Terrible Thing to Taste.” Diving further into the “Thrash Metal” leanings that popped up on their previous album The Land of Rape and Honey, The Mind is a Terrible Thing to Taste was the first album that found the band fully developing their signature style of Thrash-leaning “Industrial Metal” with countless samples and unrelenting heaviness. Sole member Al Jourgensen has been vocal about his disappointment with this album, citing the chaotic background of the recording and the fact that him and pivotal band-mate Paul Barker were never in the same room during the recording of the album as the reason for that, but that chaos translated to the music quite well with it’s aggressive and terrifying darkness. This album was the complete reinvention of the band. A reinvention that still hasn’t been matched to this day. Happy Anniversary.