Mar 302013
 

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His brand new album, “Thwis”, includes some sessions with talented NY-based vocalist and musician Carolyn Honeychild Coleman as well as an interesting (and definitively not derivative) declension of dub whose soft kicks and amazing electronic intertwining kept the dub flavour unadulterated without relinquishing sonorities oscillating between mystical flames and urban “opticality”. After listening to the album, we had an interesting chat with Gregor Asch, better known as Dj Olive, one of the most visionary and proactive DJ’s and turntablist of the East Side. While speaking about “Thwis” we retraced his interesting musical and artistic path with some nice anecdotes. If you missed some stages, I can’t but recommend to look for them while enjoying this new warm future dub journey, which has been released on his label The Agriculture.

 

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Chain D.L.K.: Hi Gregor. Do I disturb? First of all, how are you?

Dj Olive: I’m very happy to have “Thwis” finally released after so long. It’s been an incredible journey. “Thwis feels like a piece of me yet apart from me. Like with my 2-year-old son I try to let the music lead me.

 

Chain D.L.K.: How many times have you been asked about the meaning of the word “illbient”? How many different replies have you given? 🙂

Dj Olive: What’s illbient? 🙂 I think I have a distant memory of a joke I said at a party once. Sometimes people don’t realize how sarcastic us newyorkers can be. 🙂

 

Chain D.L.K.: Let’s retrace your musical history a little bit… your parents made ethnographic films and documentaries, if I remember correctly… would you say that they influenced your artistic and musical “consciousness” in a way or another?

Dj Olive: Most defiantly. Living in Trinidad for a while when I was 5 opened my mind to a world of rhythms. Moving to Australia when I was 13 changed my life forever. Surviving public high school there was my defining moment.

 

Chain D.L.K.: Do you remember the very first record you bought in a record shop?

Dj Olive:  “Honey” by the Ohio Players. Love Rollercoaster! My grand pa was at the record shop with me. I made him get it for me if I promised not to show grandma the cover. I was 8 or 9.

 

Chain D.L.K.: How do you remember the years of Lalalandia Entertainment Research Corporation and the early ambient events in Brooklyn and Manhattan? Any relevant differences between past and present times?

Dj Olive: It’s rare to see events with multiple rooms of different sounds these days. It’s as if all those crazy warehouse parties never happened and we’re living a bad reality show where laptop artists are put in the centre of a rock stage with canned lights pointed at them and given a crap vocal PA with a blown horn while the retro coyote ugly bar pimps booze. We made some of the most futuristic omnisensorial technorganic environments of the decentertainment movement. I will never forget those wonderful days of magic in Williamsburg around 90-93.  The “entrepreneurial self” that was dominating the Manhattan world view at the time (East Village galleries of the 80’s/ Soho Corporate ) combined with a dogged clinging to the conventional boundaries that separate the arts was the frame-work for the experiments in decentertainment and omnisensorialism which took place in the vacant store fronts and warehouses of Williamsburg and Greenpoint Brooklyn. Not unlike parts of Berlin at that time, the lines between art and entertainment, between industrial design and ritual, raw experimentation and pure organic electronic, smell and touch, solo and collective, blurred away. I still dream of that technorganic circus!

 

Chain D.L.K.: Any particular episode with Christian Marclay’s turntable trio you will never forget?

Dj Olive: He gave me “record without a cover” at sound check before a gig. It’s just blank grooves on a white vinyl. It was so new and heavy and beautiful I said “thanks” and slipped it into a spare 12″ sleeve I had on the table. Christian looked shocked, grabbed it back and ripped it out of the sleeve saying “you can’t have it if you do that!”! Record without a cover! 🙂 Once on tour in Europe he gave me two copies of a brown 7″ whispering into my ear with a conspiratorial look “this is pure illbient”. When I listened to it the only sounds on the record were farts. I have made many folks laugh with this record. Juggling two copies is a hoot at the right moment. Once on tour with Uri Caine we had an awful sound check after a murderous all day journey on the train. The band was tired and hungry. The sound-man had killed our ears blasting a cdr of Led Zeppelin covers (his band) while testing the sound-system. There was a huge organ built into the wall of some German Philharmonic space I can’t remember which, Koln? I got out my Marclay fart record and Uri ran up the steps to the organ and while we goof improvised the band howled with laughter. I think the only one in the whole place not laughing was the guy playing Led Zeppelin covers!  The thing about that record is it’s so great to have the sound of farts with no threat of smell.  It was after playing with christian at the Pompidou Centre in Paris that I first met Luc and Brunhild Ferrari which marked the beginning of a wonderful and deep collaboration. Christian also premiered my first vinyl score “Composition 11” in ’97 and I hope to put out the recording of his interpretation, which is incredible!

 

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Chain D.L.K.: When you collaborated with Uri Caine, did also approach classical music. Was it difficult for you to face this quite different kind of music?

Dj Olive:  Not with Uri. He asked me to be wild and myself. I was to be a kind of sonic cinematic envelope that grounded the performance in a contemporary time post jazz solo. In other words I was to fuck with that moment when the solo ends and the audience feels they should clap or that space at the end of a song. Uri wanted me to play sonic sabotage against any clapping except at the end of the set. It is where I get to make people laugh.  At the Munich Opera House during a very quiet piano solo someone deep in the audience on some balcony, a woman’s voice coughed gently. Then the drummer Ralph Peterson coughed into his hand, then the monitor man on stage coughed… all the while the audience and band acted like non of this extra sound was in the mix. Out of politeness we mentally mix that stuff right of the mix. As Uri played quietly on I dug as fast as I could for the record in my mind’s eye.  It took about 4 seconds to get it cued. I waited for the sequence… she coughed again, Ralph coughed just as the sound man coughed, and I dropped my cough into the mix… I didn’t scratch it I just let it drop, two coughs, Ralph looked at me sharply as the monitor man visibly blushed in the low light. Trumpeter Ralph Alessi broke out into a deep laugh and Uri rocked with laughter as he played on. The audience then started laughing followed immediately by some booing that was drowned out by the whole place laughing loudly including Ralph Peterson. I was greatly relieved because I had done it without thinking. It was the obvious thing to do,  my Brooklyn warehouses training had taken over. Uri played through the song with a big chuckling smile. Uri’s energy changes classical music not the other way round.

 

Chain D.L.K.: Let’s speak about your new album…what about its birth? How much time did you need to finish it?

Dj Olive:  “Thwis” was born out of a bunch of live gigs in NYC and Montreal in ’08. I had written a lot of lyrics while on the road so I asked Carolyn Honeychild Coleman to collaborate on some tracks and play a few live gigs, however during this process my Canadian partner got pregnant. We moved to a small town in the Canadian rocky mountains on a big lake. Suddenly I had my hands full with a newborn and honeychild was far away in Brooklyn. I started volunteering at the local coop radio station which is like a squatters club house. In the winter nights of 2010 I would slip into studio C at the radio station and work in till 5am and then walk home in the snow. It was in those late night sessions that THWIS was composed. Woodshed sessions far from my home in Brooklyn. I had recorded a few times with Honeychild in my Brooklyn studio in ’09 and managed to get three tracks finished with her vocals. After a few false starts the stars aligned for this record to finally hit the streets.

 

Chain D.L.K.: “Thwis” features the collaboration of Carolyn Honeychild Coleman… I imagine it’s really funny to collaborate with her, isn’t it? Any bizarre anecdote during the recording of the album?

Dj Olive: Carolyn had been singing into a big old quality condenser mic a good 10 inches away from her. I had headphones on and was in the control room listening intently. My buddy Dennis sneaked in and screamed some punk lyrics into the mic like it was a 58! That was it for my ears on that session!

 

Chain D.L.K.: I could repeat the words by some anonymous guy in the beginning of “Song That Knows Your Name” in order to comment on your last album: “It Sounds Good”! But speaking of that song, what can you tell us about the final “lithany”? Is it some archaic hopi dialect or what?

Dj Olive: First guy is Dennis! The archaic Hopi dialect is actually Cambodian!

 

Chain D.L.K.: According to one equation which has been used to describe your album, it might be considered the sum (or better the mix) of Smokers Delight, Rhythm and Sound and Boards Of Canada, but I might dare to reformulate it by adding Knights Of The Occasional Table, Zion Train, Banco De Gaia or Alpha & Omega… any other additions in your own words?

Dj Olive: “Acid techno with lovers rock with soul concrete” haaa haaa soul concrete!

 

interview picture 1Chain D.L.K.: There’s supposedly a strong connection between “Thwis” and Bodega as well as with stuff by We™ (particularly with some stuff that has some chilling dosage of the great As Is)… is there any possibility of a come back as We™ for the pleasure of younger listeners who missed it?

Dj Olive: Lloop is in Vienna and Once11 is in Montevideo and I’m in the mountains. We want to of course and have talked about the “blue” album for years as well as the Wemixes, We™ remixes, We ™ project for The Agriculture which has yet to be realized. I hope so!

 

Chain D.L.K.: The Kokanee you mentioned in the title of a song (the one I liked the most)… the beer or the bay?

Dj Olive: The Glacier just up the road. Best snowboarding in the world. Beer is awful. Like someone pissed into a 1/4 filled Kölsch glass then froze it, set it in the sun and froze it a few dozen times. Not drinkable.

 

Chain D.L.K.: In a few different moments of the album, there are some animal cries… have you used any field recordings or pre-recorded stuff?

Dj Olive: I love field recordings and have been working with them for years… but some of those animal noises come from a very old and loved sm10 🙂

 

Chain D.L.K.: Is there any song you particularly love on “Thwis”? Why?

Dj Olive: I was trying to create what my old painting teacher described to me once as “capturing a sense of time and place”. I think I got that for the record and that makes me really happy. The tracks individually make sense when understood in context with each other… you know the way records used to be… Though I do realize that most folks listen to tracks in play lists and rarely listen to an entire album anymore, I wanted to make a record that was not a collection of tracks but more like a book. An impression. I feel I had a huge growing experience in my life and “Thwis” is a reflection of that.

 

Chain D.L.K.: “Thwis” comes out on your label The Agriculture, which I have been following for a long time for the impressive quality of the artists and musicians which enriched your catalogue (Dj Wally – if I remember well, he coined the term ill-hop, didn’t he? -, Once11, Sub Dub and so on). Any forthcoming releases or projects on The Agriculture?

Dj Olive: The Agriculture has many things cooking… that blue We™ record I hope! Just to mention one…

 

visit Dj Olive on the web at: djolive.com

Mar 282013
 

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After he developed the concept of “pop artificielle” over his previous releases, Uwe Schmidt aka Atom™ squeezed his constitutive elements (mainly a concoction between pop, electronic abstraction and catchy grooves) on his brand new album “HD“, a work which he considers spiritual, musical and scientific. “HD”, which includes contributions by some of Uwe’s friends and colleagues such as Alva Noto (additional programmings on “Ich bin meine Maschine”), Jean-Charles Vandermynsbrugge (main vocals on “Pop HD”), Jamie Lidell (main vocals on “I love U”), Marc Behrens (additional programming on “Strom” and “My Generation”), Dominique Depret (guitars) and Chilean pop star Jorge Gonzales (backing vocals, guitar and bass raw material) comes out on Raster-Noton.

 

 

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Chain D.L.K.: Welcome back, Uwe. How are you?

Atom™:  Excellent, thanks!

 

Chain D.L.K.: Your last release in the guise of Atom TM is really stunning. You said “HD” is a spiritual, musical and scientific work. Could you explain these properties of “HD” in your own words?


Atom™:  
 Those three elements have been the driving force behind “HD” and actually behind most of the music I’ve been working on for the last couple of years. There had been a strong shift in how I see things and above all, music, which happened around 5 years ago or so. Everything has changed since that moment. I left the “aliases” behind for example (as you may have noticed…) and re-focused on musical elements, such as “electricity” and other scientific components. It is “spiritual” in that sense as I consider music mysterious and, yes, coming “from somewhere else”.  It’s a very powerful medium, which has been transformed into something very “banal” and boring. The connection between the mysterious power of electricity and music is something I suddenly rediscovered. In a way, because “spiritual” may easily be misunderstood, yet has nothing to do with “religion”, I like to consider electricity a direct divine emission. When shaping music out of electricity, it’s like moulding something very “concrete” out of something very “abstract”. Electricity as something like a divine “aura”… sound waves, which are both physical and metaphysical, as they transport more than just air. All those topics I find very inspiring and they produce visionary connections. In my opinion, electronic music has lost its connection to “electricity” over the last two decades or so. It was turned into a silly, pink surface for beach parties. I would like to change that.

 

Chain D.L.K.: Would you say that “High Definition” has become sort of a spiritual cypher?

Atom™:  You may read “HD” as you wish, actually. To me it always stood for “Hard Disc”. When digging an old pack of “floppy discs” out of a storage box, I realized that at some stage “HD” stood for “High Density”… then I saw a commercial in which they used it for “Heavy Duty”. Since the “HD” title was derived from “Hard Disc Rock”, which used to be the working title when I started to record the first version of the album in 2005, the “Hard Disc” is what I always had in mind when thinking of “HD”. The hard disk is where I make my music, so it seems to be an appropriate translation. However, I like the title “HD”, not because it has a meaning, but because it is “bold”… it sounds “big” and “forward”… plus, it’s multilingual and looks good with any typography! 🙂

 

Chain D.L.K.: “I Love U” seems to be a parody of glamouresque hip-hopping poppy tunes, doesn’t it? Does U stand for Uwe? 🙂

Atom™: Most importantly, “HD” does not contain a single grain of parody, nowhere! I’m rather interested in “reference points” or “associations”, when it comes to making music. The musical code itself, its elements and historic appearances, amongst other aspects, is what represents my universe in a way. A “parody” is almost always a waste of energy and time, in my modest opinion and I wouldn’t want to spend a single minute working on something I can’t take seriously. As for the second part of your question “U” is a reference to Prince, who used to replace the word “you” with just that single letter. In terms of musical code “i love u (like i love my drum machine)” has got a lot of references to Prince, so I found that title appropriate.

 

Chain D.L.K.: What about the amazing idea to sample Martin Luther King? Is it a reference to the common process of phagocytosis of political issues and ideas by pop predators?

Atom™: Actually, I don’t remember in which moment that sample appeared! I think it rather had something to do with the rhyme itself. In the beginning I didn’t want to use the sample, but just the words themselves, then played around with the sample and thought it worked pretty well. Frankly, I cannot tell you the meaning of the sample’s appearance, since my process of creating music is based on intuition and association, not on logic. In that sense, the music isn’t “telling” you a specific message or meaning, but rather the meaning is created in the process of transmitting and (you) listening to the music. That’s the process in which music “works” and it’s effect or “meaning” is not determined by the composer alone. 

 

interview picture 1Chain D.L.K.: Even “The Sound of Decay” could sound like a parody of some Depeche Mode-type stuff and bluesy crooning, couldn’t it?

Atom™: Nope. No parody there either!

 

 Chain D.L.K.: Do you think that the lack of meaning in pop music is part of an economical or political strategy?

Atom™: Interesting you mention the word “strategy”. The more I am dealing with that topic, the more I come to the conclusion, that there is no “strategy” behind anything human beings do. There is a fascinating book by Jean Baudrillard, called “The Fatal Strategies” in which he talks about the theory that the only real strategy is being executed by the objects, not by (us) subjects. I find that theory more true every day. In that sense, the economic system itself has a strategy, but not we, who “created” it and think we are controlling it. If I am following that thought, then the stupidity of the mainstream is not a strategy applied by someone (politicians or economists), but a phenomenological fact, a reflection of the inner logic of the system of objects itself. You may call that system “capitalism” or anything else, fact is, and you can see, that when “us” subjects are trying to solve the current crisis, we are unable to control, not even to understand the system itself. A silly song, another stupid tv program, all those are products of a chain of decisions. The subjects are mere parts of that chain, each single segment just following the overall algorithm, implied by the system. The current crisis therefore has to be called “system crisis”. Meaningless mainstream is just its surface and texture… like what sweaty skin is to a fat person.

 

Chain D.L.K.: Why did you leave MACOS?

Atom™: The story goes: MACOS was initially founded by Victor Sol. I joined it, since we were working on projects together at that point, in which we applied the MACOS idea. That idea was very simple: we made a logo, which communicated the fact that portions of the compositions which were labelled with the logo, could be sampled, without having to ask permission. This system of course requires the artist being the owner of said composition, etc. In itself this was a very simple and mainly practical idea, created to simplify the process of asking for permission to sample. It would have been a direct “creator-creator” system of communicating the idea of “being o.k.” with being sampled… nothing more and nothing less. Immediately, from the start though, the entire concept of MACOS was misunderstood and partly misused to attach alien ideas to it. All of a sudden it was perceived as an “anti copyright” movement (which clearly it wasn’t!), or people wrote to me asking for legal counsel on the new copyright laws, and stuff like that. In a “viral” way, just like a flu, MACOS had gotten out of hand. Victor Sol, for other reasons I never fully understood, stopped working on the project, and I remained the only one “running” it. As time went by, I got really, really annoyed by the course MACOS had taken. On top of it all, it remained one of the top “hits” in search engines for years, given the fact that badly quoted and cross referenced articles were published. It continued to re-surface for many years and every time it was more re-contextualized in more and more absurd manners up to the point that I had to justify myself for allegedly being an “anti copyright” activist. ODD to say at least! I abandoned MACOS relatively quickly, when I realized on which fatal autopilot it was. In the years following MACOS, independently from it, I declared the entire idea of “sampling”, to which MACOS was solely referring to, as obsolete in itself, being replaced by higher systems (hard disc recording, etc.). The “sampling” era was over some time in the early ’90s and the system which MACOS had proposed became obsolete with it. I still find it astonishing that it seems to still be around and appearing, even in interviews like this one, almost 20 years after its invention and sudden death. Again, it’s like a flu-viral. 

 

Chain D.L.K.: “Stop (Imperialist Pop)” is another hint at what’s happening in the music market. In Italy, for instance, someone is speaking about a proper coup d’etat within SIAE, the Italian public performance-rights organization responsible for the protection and exercise of copyright in Italy, since its administrative body is going to represent the interests of the biggest authors and companies through a voting system which is going to assign one vote for each euro gained by royalties and the author’s rights. What’s the situation in Germany?

Atom™: Money has to be pressed out of the system, no matter where you go. Money “naturally” flows from the bottom to the top, this is also true here. Germany, Italy, Japan… it’s all the same story.

 

Chain D.L.K.: What are the strategies you would suggest to destroy “imperialist pop”?

Atom™: There is no strategy… it will destroy itself, since the inherent logic of the system is faulty. It is, in fact, right in the middle of falling apart. The downfall of post-capitalism seems imminent, if you ask me. “Imperialist pop” is the shiny surface of post-capitalism and a mere reflection of its logic.

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Chain D.L.K.You did an amazing cover of The Who’s “My Generation” with the palatal C/G of generation a la Jacqueline Taieb. How would you describe a possible generational gap between The Who’s generation and yours?


Atom™:
Technically speaking “The Who”s generation is still part of the generation that was born during, or shortly after WWII. The generation I belong to is called “generation x” (http://en.wikipedia.org/wiki/Generation_x). Rather than being able to tell you which those differences are, to me the title “my generation”, even though it was triggered by a purely musical idea, caused me to actually think about how “my” generation could be defined. I am currently producing the video of “my generation” and it deals with conscious/subconscious images that make up my definition of said generation X.

 

Chain D.L.K.: Is the final “Ich bin meine Maschine” the spiritual peak of “HD”?

Atom™:  I don’t know!!!! That particular track came about in a very mysterious, almost automatic manner. It started from a phrase spoken by the philosopher/scientist Heinz Von Foerster. I had him sampled, and this phrase was laying around my hard disc for over 10 years. I tried to use the sample, but decided not to, but rather to speak the words myself. The rest of the lyrics came to mind almost instantly… I don’t know why or how. The next day I had to travel somewhere and just decided to record my voice, so I wouldn’t forget about the idea when coming back. It was supposed to be a “demo” vocal track. When I came back then, I really liked the recording and kept the entire thing “as is”. In a way, yes, this, one may consider as “spiritual” in the sense that it appeared to me as some kind of mysterious “message” almost. The entire feeling of the track too, is almost like a “mantra”.

 

Chain D.L.K.: Is there any track you particularly love of in “HD”?

Atom™:  Actually, no, there isn’t! I like all the tracks very much, I have to say.

 

Chain D.L.K.: What about your collaborations for the album? Is there any funny anecdote related to its recording?

Atom™: Not necessarily “funny”. Most of the collaborations were done remotely, except for Jean-Charles Vandermynsbrugge’s performance, which was recorded in my studio. Since all were rather clearly defined participations, they were executed quickly and without any complications.

 

Chain D.L.K.: Any forthcoming project after “HD”?

Atom™:  I am currently busy preparing the live set for “HD”. Performing that set will be my priority for this year. I DO have ideas for future music of course, yet I would like to let those ideas simmer for a while and probably go back into the studio around fall of this year.

 

Chain D.L.K.: You’re renowned for your multiple artistic identities. Is there any identity which has been hidden so far?

Atom™: That entire “multiple aliases” thing I had left behind, as mentioned earlier, approximately 5 years ago. At some stage it did no longer reflect my interest and, overall, my method. It had all started as a very practical thing, you know, and never was a “concept”, nor did it have a bigger intention or meaning. As time went by, it stopped being useful, apart from the fact that I found it boring having to explain it, since there isn’t really much to explain in the first place. Fact is, I have dozens of notebooks full of possible titles or “identities” which will certainly never make it out of those notebooks. They are part of the past.

 

Photos courtesy of Renato del Valle

visit Atom™ on the web at: www.atom-tm.com

Mar 272013
 

http://attritionuk.bandcamp.com/album/the-unraveller-of-angels

 

ATTRITION – The Unraveller of Angels

 

Introducing the all new and long awaited album from legendary dark industrial pioneers ATTRITION.

Released April 2013 in vinyl, CD and download editions!

 

Founder Martin Bowes has teamed up with US singer Tylean on vocals and created 10 new works varying in style from industrial to gothic to dark ambient soundscapes, whilst lyrically continuing his exploration of introspective themes of life, love and death…

 

A serious progression from any of the previous ATTRITION albums this one has a host of special guest appearances:

Mona Mur (Einsturzende Neubauten, En Esch etc), Matt Howden (Seiben etc), Annie Hogan (Marc and the Mambas, Nick Cave etc)

Erica Mulkey (Unwoman) Ian Arkley (My Silent Wake, Seventh Angel) Jyri Glynn, Joanna Dalin and more..

Featuring album artwork by renowned German photographer Holger Karas.

Cover model Jezebel Iscariot

Album orders direct from the band…at shows or through the official bandcamp page

will include an extra special gift – for the month of April – The Narcissist LP – a 10 track album of remixes from Void Prototype/Ankst/Fear Passage/Lagowski

/Pete Every/Inscissors/Analog Angel/DJ Darkside/Contaminated Intelligence/Lagowski2

 

Martin is currently working with French film maker Daniel Gouyette on a documentary and music videos to accompany the album,

and planning tours in Europe, North and South America, New Zealand and more…

 

The promo video for the first single : Narcissist is here now

 

Press/DJ’s and promoters do please contact us for a full press pack of music and images

 

ATTRITION – The Unraveller of Angels

 

01 The Unraveller

02 Karma Mechanic

03 Narcissist

04 Histrionic!

05 One Horse Rider

06 Snakepit

07 Suicide Engineer

08 The Causal Agent

09 Hollow Latitudes

10 The Internal Narrator

 

Music and lyrics: Martin Bowes

Recorded, mixed and mastered by Martin

at the Cage studios, Coventry, England. 2009 – 2012

Photography by Holger Karas

Cover model: Jezebel

 

A Two Gods Production

 

www.attrition.co.uk

facebook.com/attrition

attritionuk.bandcamp.com

twitter.com/attritionuk

www.thecagestudios.co.uk

 

www.psych-kg.de

Exklageto 03CD

 

listen to the album and order here:

http://attritionuk.bandcamp.com/album/the-unraveller-of-angels

 

 

 

 

The Unraveller of Angels tour

dates so far….

 

April 20th : Death Disco, Ogigou 16, Psirri, Athens, Greece

May 4th : Reproduktion 13 festival. Roundhouse, London, England.

May 16th : The Spill, Peterborough, ON, Canada

May 17th : STAIN @ Nocturne, Toronto, ON, Canada

May 18th : Swizzles, Ottawa, ON, Canada

May 19th : Cabaret Playhouse, Montreal, QC, Canada

June 19th – 26th…New Zealand…tbc

September…mid – west coast USA ….tbc

September 28th : Tower Transmissions festival, Dresden, Germany

October 12th : Santiago, Chile…details tba

November… Poland tba

 

“Inside a cage of sound,  Cold waves of electronics are juxtaposed against voices that seep through cracks in the walls of machinery and wires. Lyrics dart out in bullets from soundscapes peppered in sharp vocals and sound bites. A viola plays in the distance, giving life to this inorganic mass…

Such is the imagery that spawns Attrition, who, with its marriage of the classic and modern, has brought to music the equivalent of a surrealist painting. From its earlier sparse and stark soundscapes, to a more expansive palette of orchestral work, Attrition has successfully melded several genres into one. The music flows – from gothic to industrial to experimental to classical – so smoothly, they might as well be making their own category.

With more than twenty albums of constant variety, and an ever-expanding sound, they remain one of music’s darker and fascinating lights.”

 

ATTRITION

Album Discography

 

1982. This Death House- a soundtrack

1983. Action and reaction

1984. The Attrition Of Reason

1985. Smiling, At The Hypogonder Club

1986. In The Realm Of The Hungry Ghosts

1988. At The Fiftieth Gate

1991. A Tricky Business

1993. The Hidden Agenda

1995. Ephemera a soundtrack

1996. Three Arms & A Dead Cert

1997. Etude – classical interpretations

1999. The Jeopardy Maze

1999. Esoteria – a collection of ambient works

2000. Heretic Angels – live in the USA

2000. The Hand that Feeds the remixes

2001. Keepsakes & Reflections rarities

2003. The Eternity LP – a collection of classical remixes and rarities

2004. Dante’s Kitchen

2006. Something Stirs. The beginning. 1981 – 83

2008. All mine enemy’s whispers. The story of Mary Ann Cotton

2009. Kill the Buddha! – Live in Europe & the USA

2010. Wrapped in the guise of my friend. Covers. 17 songs re-interpreted.

2010. Dreamtime Collectors. 1980 – 2010. A best of

2011. Demonstro. 1981 – 86. double vinyl LP of rarities

2011. The truth in dark corners: Live in Holland. 1985

2012. Invocation. film soundtrack.

2013. The Unraveller of Angels….

 

“Attrition is experimentation of the highest order… orbiting some strange star with an atmosphere of fear to breathe.  Attrition is extraordinary music for connoisseurs of challenge” Musictap.net

 

” ,,,the name Attrition is universally lauded and accepted as an innovator, a dark and creative force unparalleled by modern musicians ” Darktwincities.com

 

“an entrancing blend of insistent electronics and beautiful orchestration…Bowes is without doubt one of the greatest living composers…” Industrial Nation

 

” Creating and exploring rich shadowy electronic soundscapes…interweaving the ephemeral with the operatic, the sound can at once calm your soul and chill your bones…”

The Hatchet/USA

Mar 272013
 
 

http://www.chaindlk.com/wp/wp-content/uploads/2013/03/1.jpg”>
 
 
ATTRITION – The Unraveller of Angels

Introducing the all new and long awaited album from legendary dark industrial pioneers ATTRITION.
Released April 2013 in vinyl, CD and download editions!
 
Founder Martin Bowes has teamed up with US singer Tylean on vocals and created 10 new works varying in style from industrial to gothic to dark ambient soundscapes, whilst lyrically continuing his exploration of introspective themes of life, love and death…
 
A serious progression from any of the previous ATTRITION albums this one has a host of special guest appearances:
Mona Mur (Einsturzende Neubauten, En Esch etc), Matt Howden (Seiben etc), Annie Hogan (Marc and the Mambas, Nick Cave etc)

Erica Mulkey (Unwoman) Ian Arkley (My Silent Wake, Seventh Angel) Jyri Glynn, Joanna Dalin and more..

Featuring album artwork by renowned German photographer Holger Karas.
Cover model Jezebel Iscariot
Album orders direct from the band…at shows or through the official bandcamp page

will include an extra special gift – for the month of April – The Narcissist LP – a 10 track album of remixes from Void Prototype/Ankst/Fear Passage/Lagowski
/Pete Every/Inscissors/Analog Angel/DJ Darkside/Contaminated Intelligence/Lagowski2

 
Martin is currently working with French film maker Daniel Gouyette on a documentary and music videos to accompany the album,
and planning tours in Europe, North and South America, New Zealand and more…
 

The promo video for the first single : Narcissist is here now
 
Press/DJ's and promoters do please contact us for a full press pack of music and images

ATTRITION – The Unraveller of Angels

 
01 The Unraveller
02 Karma Mechanic 
03 Narcissist  
04 Histrionic! 
05 One Horse Rider 
06 Snakepit
07 Suicide Engineer 
08 The Causal Agent
09 Hollow Latitudes

10 The Internal Narrator

 
Music and lyrics: Martin Bowes
Recorded, mixed and mastered by Martin
at the Cage studios, Coventry, England. 2009 – 2012
Photography by Holger Karas
Cover model: Jezebel
 
A Two Gods Production
 
 
www.psych-kg.de
Exklageto 03CD
 
listen to the album and order here:
 
 
http://www.chaindlk.com/wp/wp-content/uploads/2013/03/2.jpg”>
 
The Unraveller of Angels tour
dates so far….

April 20th : Death Disco, Ogigou 16, Psirri, Athens, Greece
May 4th : Reproduktion 13 festival. Roundhouse, London, England.
May 16th : The Spill, Peterborough, ON, Canada
May 17th : STAIN @ Nocturne, Toronto, ON, Canada
May 18th : Swizzles, Ottawa, ON, Canada
May 19th : Cabaret Playhouse, Montreal, QC, Canada
June 19th – 26th…New Zealand…tbc
September…mid – west coast USA ….tbc
September 28th : Tower Transmissions festival, Dresden, Germany
October 12th : Santiago, Chile…details tba
November… Poland tba
 
"Inside a cage of sound,  Cold waves of electronics are juxtaposed against voices that seep through cracks in the walls of machinery and wires. Lyrics dart out in bullets from soundscapes peppered in sharp vocals and sound bites. A viola plays in the distance, giving life to this inorganic mass…

Such is the imagery that spawns Attrition, who, with its marriage of the classic and modern, has brought to music the equivalent of a surrealist painting. From its earlier sparse and stark soundscapes, to a more expansive palette of orchestral work, Attrition has successfully melded several genres into one. The music flows – from gothic to industrial to experimental to classical – so smoothly, they might as well be making their own category.

With more than twenty albums of constant variety, and an ever-expanding sound, they remain one of music's darker and fascinating lights." 

 
ATTRITION
Album Discography
 
1982. This Death House- a soundtrack
1983. Action and reaction
1984. The Attrition Of Reason
1985. Smiling, At The Hypogonder Club
1986. In The Realm Of The Hungry Ghosts

1988. At The Fiftieth Gate
1991. A Tricky Business
1993. The Hidden Agenda
1995. Ephemera a soundtrack
1996. Three Arms & A Dead Cert
1997. Etude – classical interpretations
1999. The Jeopardy Maze

1999. Esoteria – a collection of ambient works
2000. Heretic Angels – live in the USA
2000. The Hand that Feeds the remixes
2001. Keepsakes & Reflections rarities
2003. The Eternity LP – a collection of classical remixes and rarities

2004. Dante’s Kitchen
2006. Something Stirs. The beginning. 1981 – 83
2008. All mine enemy’s whispers. The story of Mary Ann Cotton
2009. Kill the Buddha! – Live in Europe & the USA
2010. Wrapped in the guise of my friend. Covers. 17 songs re-interpreted.

2010. Dreamtime Collectors. 1980 – 2010. A best of
2011. Demonstro. 1981 – 86. double vinyl LP of rarities
2011. The truth in dark corners: Live in Holland. 1985
2012. Invocation. film soundtrack.
2013. The Unraveller of Angels….

 
 "Attrition is experimentation of the highest order… orbiting some strange star with an atmosphere of fear to breathe.  Attrition is extraordinary music for connoisseurs of challenge" Musictap.net
 
" ,,,the name Attrition is universally lauded and accepted as an innovator, a dark and creative force unparalleled by modern musicians " Darktwincities.com
 
"an entrancing blend of insistent electronics and beautiful orchestration…Bowes is without doubt one of the greatest living composers…" Industrial Nation
 
" Creating and exploring rich shadowy electronic soundscapes…interweaving the ephemeral with the operatic, the sound can at once calm your soul and chill your bones…"

The Hatchet/USA

Mar 262013
 

100 LTD CDs and Digital are avalible here :
http://alavux808.bandcamp.com/album/phutura
PHUTURA demands the limits of defining electro to be surpassed, as well as the struggle between the analog and the digital sound; PHUTURA presents a genuine fusion of electro, new wave techno, new wave industrial and modern UK bass genres, and new and old technology are being merged! The average listener might find it dark and jagged, but it actually has a true positive vibes. As science fiction is the visionary of technology advancement, this electro sound is aiming to stimulate human conscience to create a better future…
tracklist :
1.Intro
2.Vector
3.Hood Sector
4.Extended Mind Feat Anja Alavux
5.Time Mode C
6.Steam Object
7.Okta
8.Uncharted Therytory
9.Skit Featuring Dave Calculator
10.Phutura 04:44
11.ShortwaveTransmitter
12.Highway
13.In Between
14.Jack The Groove
15.Shuregon Dance
16.Outro
+ hidden bonus megamix