Expressionist Electronic Band, Nahja Mora Bring Self-Destruction & Mental Health Issues To New Album
Expressionist electronic band, Nahja Mora has just unveiled their new full-length album, AHFHAOTA.
AHFHAOTA is a reaction to constant aggressions, profiling, and language barriers: lashes that crush a struggling and abused psyche. The album is a story of mental health issues and self-destructive impulses that keep weighing down the narrator until something tries to destroy them. It is a dark ride.
The songs on AHFHAOTA deal with themes of addiction, alienation, misanthropy, traumatic death, drug use, manipulation, conflict, escape, modern society [social networking] and sexual assault.
AHFHAOTA is available digitally via Bandcamp NOW.
Album Statement:
'The speaker is unable to communicate or relate. They recognize that to relate they must exploit themself. Exploiting themself brings them closer to that goal but for what purpose? to simply store those communication goals away as a memory? The feeling is being more than what they are is simply a fool's wish. So why bother? The speaker turns to escape-- a hedonist romp without caring to survive.. They unfortunately survive.
The speaker is surrounded; their loved ones are concerned. The speaker lies to get by. The speaker hates and hates and sees the world burning. The world and its pictures condition the speaker to violence. The speaker returns to self-destruction. The speaker knows the truth but does not care. Then the speaker feels the weight. They are drowning. They are breaking themselves apart. They cannot keep themselves safe, and neither can you.
Now the bleeding begins. When you try to stand back up, things continue knocking you down. The summary of years of work is vile abandonment. You get away but society in another form continues tearing your soul apart. So give in to the darkness. Abandon the ones who claim they love you. Go out into the field and... be destroyed.'
Industrial Band, Dread Risks in conjunction with Re:Mission Entertainment have unveiled the new full-length LP, Automated Disappointment. Utilizing the vessel of nine new original dark, pulsing sermons, the industrial duo builds on an already relentless attack with further incorporation of melody amidst sonic torment.
Automated Disappointment is the chronicle of effort always resulting in some form of failure and the hostility that ensues. From the brutal confinement of plodding tracks like “Bound Limbs” and “You Sleep In The Shroud That Buried Me” to the haunting melodic beats of “Trace Amounts” and “Extinction Form”, Dread Risks enthralls the listener into familiar nightmare desperation.
The mass accumulation of endless self-examination and loss, delivered via punishing assault, reminds the listener that the dark can be a comforting respite.
Automated Disappointment is available NOW on vinyl LP, CD and digital formats via Re:Mission Entertainment.
On this day, 64 years ago, Jerry Wayne Hussey (26 May 1958) was born in Bristol, England. He is best known as the lead singer of The Mission and ex-guitarist of The Sisters of Mercy.
The first real success for Hussey as a guitarist was with Dead or Alive. After frontman Pete Burns retreated to become a more studio-based artist, Hussey left to join The Sisters of Mercy, concentrating on 12-string and 6-string guitars. Besides playing guitars he also contributed to The Sister Of Mercy arrangements with his higher ranged voice which was brought into place to contrast with Andrew Eldritch's melancholic baritone.
When The Sisters of Mercy disbanded, Hussey and bassist, Craig Adams, set up The Mission, recruiting Mick Brown on drums and Simon Hinkler on guitars.
In 2009, he released his first solo album called Bare and in 2014 his second solo album Songs of Candlelight and Razorblades followed.
Hussey lived in Leeds for a while before moving to London towards the end of the 1980s. Currently he lives in São Paulo, Brazil.
Photo © Luc Luyten
"I don't know where I'm going from here, but I promise it won't be boring." —David Bowie
The talent that lay behind the monochrome eyes of David Bowie was not just his obvious gift for creating memorable songs, it was in fact his unique view of life and existence that separated him from us. Sometimes he did not always hit the intended mark, however when he did he rose above not only decipherable genres of music but art itself. This factor is omnipresent in his 1974, flamboyant and deadly Diamond Dogs (24 May 1974).
This post-apocalyptic nightmare, was Bowie’s breakaway album from the Spiders from Mars. It was essential that the Spiders imploded for Bowie to push forward into new areas, this was his cut and run from glam rock and his Ziggy Stardust foil, guitarist Mick Ronson. Though the album itself is a drastically different approach which had capitulated Bowie's previous work, his earlier characters of Aladdin Sane and Ziggy, though dead, still made their spectral prescience felt on moments of the album. The front cover picture of Bowie with his Ziggy-like haircut was one give away, the sci-fi subject still at the fore another, but the style had shifted dramatically as did the delivery.
Diamond Dogs is a fur covered Clockwork Orange style rampage through an abysmal futurescape of drugs, murder and sex. It drips with a steel tongued punk attitude, a proto-ambient dash of the new wave to come. The reuniting with Tony Visconti as producer was another plus in helping the albums rock conception and complicated structure, getting it to number one in the UK and the amassed critical praise that followed the album then and now.
From the unearthly opening-‘Future Legends' heralds the album as it launches with a terrifying howl. An ambient and ominous music flows in the background, Bowie's vocal in and out of phase as he talks you through the new Manhattan, now renamed Hunger City. With a macabre nursery rhyme of children's voices, monstrous sounds and finally crowd kicks in and a recording of a live audience screaming and Bowies shiver down spine opening line-"This Ain't Rock and Roll, This Is Genocide!".
Into the title track and the introduction of a new character-"Halloween Jack". With a Stones/Stooges sounding guitar, simple in its approach which makes it all the more enjoyable and relatable. "Diamond Dogs" does feature some of David Bowie's most remarkable songs, such at the infectious 'Rebel Rebel' containing his own memorable guitar lick.
Then there is the punk avant garde of ‘Sweet Thing’ and its midway segue-'Candidate' an act of brilliance in both style and lyrics. Remaining q fan favourite even today,the lyrics sang in a seedy swagger.The bisexual question compounded even more so here-"If you want it, boys, get it here thing 'Cause hope, boys, is a cheap thing, cheap thing"
The middle section ‘Candidate’ features a strong example of Bowie’s attempts at a William S.Burroughs style cut and shut lyrics. Resulting in taking random lines and phrases and putting them into some order that makes sense, here to devastating effect as a distorted guitar leads the concerto;"I'm having so much fun with the poisonous people, Spreading rumors and lies and stories they made up, Some make you sing and some make you scream!”
The original conception of Diamond Dogs was designed to be a rock opera based on the George Orwell novel '1984'. Some of the obvious elements of which still exist on the latter half of the album in the songs 'Big Brother' and of course '1984'. The refusal by the widow of George Orwell-Sonia, to let the project take fruition does not in any way detract from the greatness of the album. Suffering in a way from the similar faith of The Who and Pete Townshend's breakdown triggering 'Lifehouse', a 48 track quadruple album, aborted for the more slimline and rock friendly 'Who's Next'. Bowie, in this case took it on the chin and thankfully continued to create the album.
The coke fueled assault, the music as an art form with a midas touch had came to fruition once again, another classic to add to canon of excellence David Bowie was building. More controversy via the cover this time instead of the subject matter. The album cover released as a gatefold image by Belgian painter Guy Peellaert, the front, Bowie-Ziggy like, resting whilst the back cover revealing that Bowie had the body of a dog, complete with a prominent penis. Some airbrushing rendering Bowie's canine groin smooth and blank. This risqué cover was quickly withdrawn, instantly becoming a collectors item.
The tour for the album, the most elaborate so far,a little over a million (nowadays) per set. With a stage itself a replica of 'Hunger City', along with the elaborate stage props. After two months of rehearsals, the tour kicked off in June 1974,running until August while the month was taken off. Bowie worked on his next skin shedding project, his plastic soul era.When the tour resumed the set was scrapped,the tour name changed to 'The Soul Tour', although the 'Diamond Dogs' era was over as quick as it started, the songs remained in his set, the idea and direction of his next project-Young Americans.
On this day, 36 years ago, Nitzer Ebb released their 3rd single ‘Let Your Body Learn’ (NEP3, 23 May 1986) through their own label Power Of Voice featuring 'Get Clean' as b-side. 'Let Your Body Learn' was re-released by Mute Records (EU) and Geffen Records (US) in April 1987 with different track-lists and variating artwork, preceding their cult album to be, That Total Age on Mute Records (1987).
Let Your Body Learn (Original 12” - 1986 NEP3 - tracklist)
A. Let Your Body Learn
B. Get Clean
Let Your Body Learn (Lyrics)
Fast beat the feet
Fast fall the hands
Fast beat the feet
Fast fall the hands
Meld in the music
The music of drums
Meld in the music
The music of drums
Choose the fast beat
Choose the hard line
Choose the fast beat
Choose the hard line
Try to show us one better
Not sick to the heart
Not calling with flesh
Suffer little children
Suffer little children
Suffer little children
Written in pain
Boys at one
Girls at peace
Boys at one
Girls at peace
Boys at one
Girls at peace
Boys at one
Girls at peace
Fast beat the feet
Fast fall the hands
Fast beat the feet
Fast fall the hands
Hold onto rhythm
The music of drums
Hold onto rhythm
The music of drums
The pulse is alive
Making me sane
Let your body learn
Let your body build
Let your body learn
Let your body build
Suffer little children
Suffer little children
Suffer little children
The pulse is alive
Fast beat the feet
Fast fall the hands
Boys at one
Girls at peace
Boys at one
Girls at peace
Boys at one
Girls at peace
Boys at one
Girls at peace
Freedom from fear
Giving release
Freedom from fear
Giving release
Giving release
Giving your heart
Fast beating feet
Fast falling hands
Fast beating feet
Fast falling hands
Fast beat the feet
Fast fall the hands
Choose
Fast beat the feet (learn)
Choose
Fast beat the feet (learn)
Feel
Choose
Let your body learn
Let your body build
Let your body learn
Let your body build
Choose
Learn
Build
Choose
Learn
Build
Choose
Learn
Build
Choose
