nvr mnd blog
Last week an article written by TAYLOR SHECHET of The UK Publication Dark Floor, dedicated to the savage Industrial-Rage performance artists, that comprise the band Human Traffic. Lucky for us there was a feature of the all new official video, for their song My Body Is A Mechanism. Which was produced by NVR MND, watch you must! †
Official Music Video
[“Human Traffic‘s music has been included in many an industrial mix since their initial self-released EP Digital Ecstasy, but with a name referencing the modern slave trade, Human Traffic makes a memorable impact before one even hears their music.
The slick lines of their minimalist logo adorn the halls of NVR MND, SUBSTANCE LA, and other fixtures of the post-witchhouse gothic landscape. The Kansas City based trio composed of Rehab, Vicki Sixx and Lola Rat has been hard at work on a new full length album while managing the underground venue Negative Space.
Since it’s inception industrial music has functioned as a form of socio-political rebellion while simultaneously invoking a love-hate relationship with machinery. In a modern America where police murder helpless citizens without consequence, the government tracks our every move, and corporations determine international policy, it’s no wonder that a new breed of music has emerged to express the rage and frustration of the oppressed populace.
Describing their sound as “post-industrial suicide pop laced with traces of cold techno noise therapy”
Human Traffic is part of a rising wave of glitchy American industrial music paired well with acts like 3TEETH and High Functioning Flesh…”, read full here.]
A track Shantasy (originally known as Zombelle) released back in the greys, a well deserved listen to one of her most haunting waves. It certainly offers itself a more of her #Witchouse side showing. This particular Drone experience than what many may remember her rocking in 2011, accredited with #SEAPUNK with her Shantasy Island Mix, or Tropocalypse, but if you’re a fan of her work, it will definitely get you right. It’s, truly one of my favorite things to see how much of a variable transition an artist can make to fully realize themselves, or grow into another form, yet maintain 1. An audience. 2. A sense of character or soul-full-ness. I have been a fan of Shantasy for quite some time, and often enjoy returning to her workings from time to time.
† NVR FORGET †
#NVRFORGET, WHEN Shantasy #ZOMBELLE x Sean Bowie of T.E.A.M.S. PERFORMED THOSE BANGER SHOWS FROM THE MINI TOUR PRESENTED NVR MND.
Heres Sean Bowie of T.E.A.M.S
APHEX TWIN WAS MISSING ITS MASSIVELY POPULATED FAN BASS THAT THEY GENERATED SOME TIME, STARTING UP BACK IN THE MID-TO-LATE 80’S #BACKINTHEDAY, WHEN THEY TRIED TO RELEASE WHAT I LIKE TO CALL PSYCHO-TECH, THIS SOUNDTRACK COULD’VE BEEN THE AUDIBLE SPINE TO A TETSUO THE BULLET MAN SEQUEL, OR PERHAPS EVEN AN ITS OWN ORIGINAL IP I GAVE IT THAT NAME BECAUSE OF THEE DRIPPINESS; WITHIN ITS ACIDITY, IN THE SYNTH(Y) ELEMENTS SOME OF THE LOFI CRUNCHINESS SOUNDS LIKE THE TRACKS ARE SPITTING A SORT OF STATIC, REALLY GIVES ME THE FEELING THAT I AM KOMPLETELY FRIED DURING MY SESSIONS WITH TRACKS LIKE 6. Revpok 26:46. THEIR GENRES OFFICIALLY COINED AS TECH-HOUSE. THEIR ALBUM WAS “SCRAPED” JUST ABOUT THE TIME ITS’ SCHEDULED “1994” RELEASE DATE WAS EXPECTED TO BE, ONLY TRAFFICKING A RATHER SMALL “HANDFUL” OF 5 OR SO DISTRIBUTABLE COPIES BEING CUT; FOLLOWING THE ALBUM WAS LATER ABANDONED.
ONE EDITION OF ITS RELEASE MANAGED TO FIND ITSELF ON THE CYBER SELF OF THE WEB DISTRIBUTION SERVICE DISCOGS in 2014, SHORTLY AFTER WAS PURCHASED AND WAS PROPED UP IN A KICKSTARTER FOR A LONG ENOUGH WINDOW FOR THEIR FAN BASE TO INCREASE LARGE ENOUGH, OR WHAT EXISTING FANS THEY HELD TO RAISE TO BE SOLD AFTER ON EBAY, FOR EXACTLY $46,300, OR SOMETHING.
Although if you care to listen to the decade old tech-house from Aphex Twin’s (Richard D. James’) “unabridged, long-ago-created-yet-recently-released” ‘Caustic Window’ LP. You can read all about it, where ever you may find it on the internet (kickstarting and all), but here you can actually listen to the album, in all its GOLDXX glory. #Endjoy.
1. Flutey – 0:00
2. Stomper 101mod Detunekik – 8:18
3. Mumbly – 15:42
4. Popeye – 21:11
5. Fingertrips – 22:31
6. Revpok – 26:46
7. Afx Tribal Kik – 30:30
8. Airflow – 31:35
9. Squidge In The Fridge – 36:33
10. Fingry – 40:40
11. Jazzphase – 45:26
12. 101 Rainbows (Ambient Mix) – 49:50
13. Phlaps – 58:38
14. Cunt – 1:02:29
15. Phone Pranks – 1:06:44
“Care To Know?’ Info:
To preserve dynamic range and prevent digital clipping, because these recordings are sourced from vinyl, what was made were some very minor, “unobtrusive edits”, like to know more, well the individual track volumes (between the L & R channels) were normalized, an overall amplitude increase/decrease from each track were adjusted to mantain a continuity, relative loudness. Finally some of the incidental record hissing need to be removed, strategically, the fade in/out, & the pops on “Jazzphase” were removed.”
You may have heard of this event in recent months, its gaining a lot of momentum especially over the past couple of months, with the curation of the new Art Gallery MINT, but Columbus, Ohio is in no way shy to Electronic Dance Events, in the past local promoters put together, some honorable mentions would include; (Scott Niemet’s) Sweatin’, Heat Wave, & the experimental energies Skylab hosted (some of my favorites from back in 2012 when artists like Pictureplane, traveling all the way from Seattle)… & there were a few others, some friends probably remember more vividly than me.
Columbus music scene tends to fall short of Ideal in some ways especially if you aren’t familiar with some of the local kids in the area, where at the houses around town host underground events/shows, or aren’t only into top 40’s EDM, or even outlets that offer music you are constantly being forced to bare witness at all hours of the day. If you’re someone whom does find themselves feeling a stronger craving or is just hungrier for a music collectively that far exceeds your own expectations, as well as experiences. Music that will take you to a higher place in your mind, abstractly (in regard to how you enjoy music, or what it “should” sounds like), and make you project it physically on the dance floor.
That is not to say Columbus’ womb has grown a lot, and it would have had to in order to harbor such monumental events as this one has certainly been gearing up to be, with its parties and futures events like NIGHT MODE. It definitely garners a new breed of event goer, and night life experience. From the music choices, to the environmental settings. The layout designer alone are having a field day with what they can do to turn a space into a club space that has never existed outside of Columbus’ renowned High Street clubs and bars; Axis, Level, or Union. These are all great places to go out to, and have a good time – but they don’t encapsulate you as much as a night club should, or does, but it is nice have these options – question mark – What I am getting at is Night Mode offers something more, as an artistic staple of Columbus culture, and does not simply cater to a single stereotype of culture.
CHECK OUT THIS LIVE VIDEO TO SEE WHAT I MEAN…
IF YOU ARE LOOKING FOR SOMETHING A BIT MORE HI-TEK, NEW WAY TO LOOK AT NIGHT LIFE, THIS IS UNLIKE ANYTHING IN COLUMBUS. FOR THE FIRST TIME (IN A WHILE, AT LEAST), THERE IS A GREAT DANCE CLUB THAT TOUCHES BASS (NO PUN INTENDED) WITH INTERESTING CONTEMPORARY ARTISTS. THE EVENT HAS BEEN GOING STRONG FOR ABOUT TWO YEARS NOW WITH AN INCREDIBLY UNIQUE SENSE OF VISUAL DESIGN & DIRECTION, WHICH AT THE TIME HAS BEEN HELD IN A MEDIUM-SIZED BAR SETTING, IS BEING MOVED TO A GALLERY SPACE, NAMED MINT (MENTIONED ABOVE). ITS HARD TO FIND SOMETHING RELEVANT/CATERS TO AUDIENCE WHO ARE IN THERE YOUTH, AND ALLOWS THEM TO FEEL FREE MENTALLY TO LET THEM ENJOY THEMSELVES… OF COURSE IT IS 21+, MIND YOU. BUT AGAIN, IT GIVES COLUMBUS THE CHANCE TO BE A COMMUNITY AGAIN, AND GRANTS THEM THIS PORTAL TO BECOME FAMILIAR WITH THE EXP. THAT IN THE LIKES OF AN ENVIRONMENT THEMATICALLY IDENTICAL TO ONE IN A SCENE SUCH AS THE UK RAVE/DANCE SCENE, IN RELATION TO DRUM AND BASS, & MORE ADVANCED GENRES TYPES LIKE FOOTWERK, OR JUKE. NOT EXCLUDING HIP HOP, AND SOME OTHER VARIATIONS OF ELECTRONIC MUSIC.
THE UPCOMING NIGHT MODE EVENT FLYERhttp://www.thefader.com/2014/10/30/how-i-live-uniiqu3
THERE WILL BE AN INCREDIBLY LIMITED NUMBER OF PRESALES AVAILABLE THROUGH THE NIGHT MODE CREW, DON’T SLEEP, THEY’LL BE GONE BEFORE YOU KNOW IT!
$7 PRESALES//$10 DOOR
18 TO PARTY//21 TO DRINK
M I N T (42 W. JENKINS AVE)
#NVRBLOG Presents the Chilean artist, BAXTER.
Scope this teaser [down below] for a #NVRLOOK at the emerging artists’ album, LUST [luhst];
This Album, An 11-Track Darkwave, Experimental, Synthpop Experience, Incorporating Additional Thematic Stylization Such As Industrial, & Cyberpunk. Although no release date confirmed, the album should be out within this or the next quarter of this year. By definition this album us sure to be pack with an overstimulating slew of energetic, and very ravy concepts galore. Stick around the #NVRBLOG for more info on this up-and-coming electronic beast!
“Lust is an emotion or feeling of intense desire in the body. The lust can take any form such as the lust for knowledge, the lust for sex or the lust for power. It can take such mundane forms as the lust for food as distinct from the need for food. Lust is a psychological force producing intense wanting for an object, or circumstance fulfilling the emotion”
Physical CD Cover [Front]
Promo video for BAXTER’s first album “LUST”
The teaser video featuring 90’s goth youth, and a cybergoth girl named Adora. Nostalgic in nature, but remnant of a not so distant past, resurfacing and rejuvenating itself, like the kids featured in the video. #Teased is definitely the word of the day, or at least in this case. These #NVRMNDKIDZ mohawks are on point, literally.
The order of the songs in the video go as follows: Bondage, G.Line, Cruising, Gorgoneion.
Physical CD Cover [Back]
EA: You have worked with some very notable artists and producers including T.RAUMSCHMIERE, Paul Castle, and Andy Chatterley of The Droyds (ex Psychic TV), Mark Moore aka S’Express, and Punx Soundcheck. Can you tell me a little bit about your personal musical history and how you came to work with such respected personalities?
GS: I have always been musical. Since I can remember, I did my grades and techniques as a kid but classical music wasn’t for me really, not back then – the music on the radio was really what did it for me growing up. I first engaged with “dance music” in the early 90’s – I heard Papua New Guinea by FSOL and I was blown away. I knew it was BIG and that sound was going to stay. It was around then I rang up my top ten UK records’ labels and tried to see if I could sing with someone. Back then I saw 4 labels and tried out with 2.
That was when I first sang on electronic music in the studio proper. It was amazing. I have written a lot of songs. During that time the world of making music has changed a lot, so much so sometimes, it has been hard to keep up with it’s evolution. When I started recording music 23 years ago they still used 2 inch tape, you would have to get it perfect or drop in, totally perfect. Then came a-dat and soundscape, and before we knew it we could edit vocals digitally and put guitars next to a drum loop and it all sounded fantastic! Things are very different now…that’s the norm – and how gorgeous is that? Everyone has a chance at being perfect and brilliant – there’s no excuse … now it’s down to character and ideas. That’s the real challenge.
I have been really lucky, to have crossed paths with such talent, but I have fallen prey to the usual pitfalls too, I have made some classic mistakes along the way. Being an artist isn’t for the faint hearted, it plays with your dreams. Somehow for me, it has been at that those points, when I have thought I can’t do it anymore, it all takes too much and gives too little in return that someone, or something wonderful simply appears and leads me onto my next big thing. I met a couple of the people you mentioned above at those times. Sometimes I have approached an artist I really admire myself – see if they would like to collaborate, or I have been contacted by them, their label, whoever – usually its largely a part of time and place. I work to one rule really, and that’s never to make music with someone whose work i do not like. It has stood me well I feel and allowed me to release some very high quality recordings over the years. Music i still like. Really I just count my blessings for all I have learned from each person I have collaborated with so far.
EA: Back in the early 2000’s you used to record as Louise De Fraine why the change to GeneSerene?
GS: It wasn’t really intentional but it somehow changed everything. In the early 00’s I had a new collection of songs having recently split from a long term writing partnership. I wanted to perform the songs and I needed separation, as it was a very different sound to what I had been doing before. For a laugh I wrote a character, Gene Serene into “Wicked” a track I was writing with Billy Borez and Barry Ashworth at the time… It rhymed with silver screen – It was pretty tongue in cheek. I remember giving my first performance as Gene Serene and getting several bookings afterwards, and then it rolled on from there on for the last decade, my husband calls me Genie!
EA: You were right up in the thick of the Electroclash movement. What are your reflections on that time period?
GS: Music was exciting then and I remember there being a real buzz. The first real moment for me live, was a Fischerspooner launch party in a long tunnel – all I could see was their hair, but everyone was excited, something was happening, there were songs in dance music, I really liked that. Looking back it was a whirlwind for me; I met people who felt like family, People finally seemed to get my music, and me, which was special for sure.
EA: There have been some people on various social networks recently declaring a rebirth of electro clash. Do you think this will ever happen and why?
GS: i think rather than it dying a lot of its qualities have been imported into the mainstream. It really was a “scene” and I would be interested in how this reincarnation would take manifest. “Electro-Clash” was coined I believe by Larry Tee, and it was born in New York City. What was happening in London, and other European cities started to make a family of artists, people who would inspire each other, entertain and write some great songs – i feel a lot of it sits at the underbelly, unrecognized in popular music, but the roots go way back, back to the 70’s and 80’s. It was a phenomenon for sure. I hope and pray for the world to keep inspiring and daring one another, there were so many great artists that emerged through that scene at that time.
EA: Your song “All Over You” was used in the indie film Four Eyed Monsters, which I sadly have not seen yet. Have you had any other music in films or done any scoring work?
GS: I have only just really started to compose music again myself with this last project. It’s something I would love to do, all my family have worked in film. Fine art/television – I feel a strong affinity to cinema.
EA: Do you feel more of an emotional connection to one type of sound, specifically electronic over live instrumentation? Is there a certain style of electronic or live music you feel most connected to?
GS: No. I wouldn’t go as far as to say that, I certainly feel a connection to composed music, written with love, intention and meaning. I love electronic music, I have released dance records since 98 and so club culture has been a massive part of my life too. I grew up in great times for live music the late seventies – punk, new wave – I discovered Cardiacs very early on in life, I was about 14 the first time I saw them play The Whole Wide World Window live, it blew my mind and set the bar for live music experience very high. I enjoyed seeing bands like Pink Floyd and The Damned, Siouxsie and the Banshees, Colorblind James Experience, The Buzzcocks, Depeche Mode, The Ramones and the Butthole Surfers – I loved the sub pop releases in the early nineties like Mudhoney, Rev Horton Heat, the list is endless of the bands I loved in the 80’s and 90’s really…
I never really went in for Folk or Britpop, everyone loves Helplessly Hoping but I found the likes of Joni and Blur a little needy and emotional so round 92 I really turned my taste around and started getting into dance 12 inches and mixing, the first record I ordered on import was Accident In Paradise – Sven Vaith, Plank 01 was also one of my first amazing dance tunes. I suppose what I am saying is the sound that really does it for me is both together, live and synthesized instruments can make some beautiful places.
EA: You are about to release your new album, The Polaris Experience. What can we expect from the new album?
GS: Yes, this summer I will release the album. It’s a concept album, telling of 2 people escaping the earth forever. Its a journey and written to be listened to from beginning to end. Live it lends to cinemas, theatres and unusual settings. The majority of tracks are more downtempo than my previous releases, yet big, bold and beautiful. I am very happy with how it has turned out – even if it has taken so long, it’s been worth it, it’s finished.
EA: You posted a picture of one of your songs in the works on Facebook, what programs have you been using? How has your use of technology changed over the time you’ve been writing music?
GS: That was a particularly beautiful spectroscope used for visualizing sound in a mastering software i have forgotten the name of. There are tools you can really see what’s going on, a spectroscope forms a visual landscape allowing you to watch your music and catch things you may miss audibly with your eyes. I wrote the songs using a sample library Bob had created. After we decided to work with one another he sent me a file of loops he’d made, all different vibes, keys and speeds, some synth, drums and bass for me to work some musical ideas around. I used an Alesis midi controller keyboard and first recorded my vocals at home using a condenser mic – I then sent my ideas over to Bob who imported the project file into Pro-Tools and worked his magic. Bob designs and builds synth modules – his Penfold unit was used a lot on our album.
He also used a modified Alesis HR16 drum machine, that’s also on his page.
Bob’s quite the engineer, on several levels & truly a good guy. Our sound grew pretty organically and It was quite magical really – over months and months songs and stories began to develop, it became a conceptual piece.
EA: It’s very cool you have a remix by producer Fil OK of We’re in the Water (ex-Atomizer) on the new single for “Don’t Let Go,” from The Polaris Experience. Have you known Fil previously? Did you ever experience the classic Nag Nag Nag night that he, Johnny Slut and JoJo De Freq used to do first hand?
GS: I love Fil OK. We have shared some great times together. I went to some of the Nag Nag Nag parties and they were definitely wild! I think we first shared a bill in Bournemouth (or Liverpool) it was then we really hit it off and we were both already working a lot out in Berlin, so we saw each other a fair bit when I lived out there. He is a fantastic DJ and producer. He was my resident DJ for my Drop the Bomb parties, such an inspiring artist I have seen him get better and better. He’s very open-minded musically and draws from a really wide selection of influences – it makes his work really outstanding. He has introduced me to so much music I would never have heard. His mix is special.
EA: You have a track on The Polaris Experience called “The Singularity.” What’s the story behind that track?
GS: The Singularity in the Album is that moment the earth is toxic, the war is over – the intelligent machines are in control, it’s all about escaping with your life, with the one you love. Kurtzweil’s “Singularity”, Mars One, the Hadron Collider, Fukushima effect, HAARP, it goes on and on and it’s all pointing towards one thing – the need for off world escape. The singularity is not far from what I see currently happening here in the world really. Sure, It’s allegorical in many ways, telling the age-old story of a man and a woman. But living through these fast and dangerous times. Existing on a toxic planet and offered the opportunity to leave. My Grandfather, Terence Fisher directed Hammer Horror films and I grew up with those stories of tortured souls. Frankenstein created a monster, a poor tortured creature – that’s what we’re currently doing to earth with scientific experiments on our environment, energy and so on. I am sure in a hundred years we will see our attempts at AI to be incredibly crude, just as Frankenstein’s monster was simply body parts sewn together. The singularity is a fascinating concept, and can have so many meanings.
EA: Do you fear the possibility of a singularity in the technology takeover sense?
GS: All things considered I think I am probably a futurist, this scientific and technological revolution has been going on since the wheel and Aristotle, like – forever. As scientists advance in our age, I have experienced the benefits personally. My daughter has a metabolic disorder, MCADD. It’s genetic and can be diagnosed by testing for a gene in our DNA. Having that knowledge has probably saved her life, and so I am also beholden to the positives not just the negatives of our times and I subsequently do not fear the technological singularity as such. I feel I have a healthy interest in these things, and to me it’s not a just theory but “faction” and inevitability. In a “takeover” sense would it really be much different to the corrupt systems and warfare we are currently experiencing? I don’t know, I am exploring all these things in the album.
The Polaris Experience will be released this July.
EA: Thank you Gene for taking time out of your busy recording schedule to speak with us at NVR MND. It was a pleasure hearing your insights.