Darkwave band, DICHRO has just unveiled their latest single & video, "Mercy" from the forthcoming full-length album due out in August via Distortion Productions. The song carries a message that we should have mercy not just in our every day encounters, but free one another from judgement for choosing how to believe, if we believe, and what we believe. If we can start seeing one another with empathic eyes and hearts, perhaps we can rid our global atmosphere of so much fear and uncertainty. "Mercy" is an outreach piece.
Says vocalist, Charmaine Freemonk: “We are reaching out to ask that everyone calm down a bit, take a breath, and be more conscientious of our actions. It is a heartfelt plea that we consider whether we are helping or harming one another, practice empathy, and if we cannot help, to at least not harm."
The video for the single was created to accompany the song’s story. It focuses on the breaking free of indoctrination, a Kansas-to-Oz kind of transition into the light of spiritual freedom and exploration.
REVISER Addresses Internal & External Struggles Of Power With Two New Singles
Darkwave band, REVISER recently dropped two new tracks via all major digital outlets - "Assassins" & "Burn It Out".
"Assassins" and "Burn It Out" are twin singles that address two sides of the same coin: "Assassins" addresses fighting the imposition of external power that wants to control us as individuals, and "Burn It Out" addresses finding power within ourselves, and to wield it wisely. Like all of REVISER lyrics, however, their interpretations are up to the listener.
"Assassins" is an unrelenting stomper, with catchy and haunting guitar and keyboard hooks, and "Burn It Out" is a bass-driven powerhouse that’s fit for the dance-floor and midnight-drives, alike.
"Assassins" & "Burn It Out" are both available on all major digital outlets including Bandcamp and Spotify. produced by Paul Malinowski of SHINER.
On this day, 33 years ago, Kraftwerk released their remix album The Mix. It was released on 11 June 1991 and featured re-recorded and, in some cases, re-arranged versions of a selection of songs which were released on their previous albums.
Ralf Hütter stated in interviews that he regarded The Mix as a type of live album, as it captured the results of the band's continual digital improvisations in their Kling Klang studio. The band had made a return to the stage in 1990, after a nine-year hiatus from touring, and since then the band's live setlist has used arrangements drawn from The Mix rather than the original recordings. As the band didn't want to release a traditional "Greatest Hits" or "Best of" collection they opted for 'The Mix'.
At the time, the band were in the process of reconfiguring their Kling Klang studio from analog to digital recording technology; integrating MIDI into their setup and creating sound archives from their original master tapes that were stored onto computers. This proved to be an ongoing task, as new upgrades and equipment were continually made available in the years following the album project. Despite no new, original recorded material or live tours outside of Europe, Ralf Hütter did not want Kraftwerk to appear defunct to the public.
The album's production is credited to Ralf Hütter, Florian Schneider, and Fritz Hilpert, the latter of whom had replaced percussionist and stage set designer Wolfgang Flür after Flür left the group in 1987. Karl Bartos also left the band in 1991 and was replaced by Fernando Abrantes. Bartos claimed in later interviews that much of his programming work was still featured on The Mix, uncredited.
The album received rather mixed reception on its release. Although many music magazines and citric rated the album from good to very good, many fans were disappointed at the lack of new compositions and, moreover, the production values of the re-recorded tracks did not strike many listeners as particularly cutting edge, something which Kraftwerk had previously been renowned for. The Mix was created entirely digitally, albeit during a period when the technology had yet to reach its maturity, and thus featured a sound which many listeners tend to find somewhat "sterile" compared to the analogue electronics employed on most of Kraftwerk's previous recordings of these songs. Nevertheless, The Mix placed first in The Wire's year-end poll, the first time the magazine—previously known for its focus on jazz—opened up an all-genre category.
The album has been released in both an English and German sung version and on various different formats like double 12" vinyl, Cassette and CD and was officially re-released in 2009.
The Mix - Tracklist
1. The Robots / Die Roboter 8:56
2. Computer Love / Computerliebe 6:35
3. Pocket Calculator / Taschenrechner 4:32
4. Dentaku / Calculator 3:27
5. Autobahn 9:27
6. Radioactivity / Radioaktivität 6:53
7. Trans-Europe Express 3:20
8. Abzug 2:18
9. Metal on Metal / Metall auf Metall 4:58
10.Home Computer / Heimcomputer") 8:02
11.Music Non Stop / Musik Non-Stop 6:38
On this day, 29 years ago, Nitzer Ebb released the 'As Is' EP (10 June 1991), prior to their fourth studio album 'Ebbhead', on 7" vinyl, 12" Vinyl, CD, and cassette through Mute Records (MUTE122).
The EP features four tracks, each mixed by a different artist / producer. The first track, 'Family Man' is the only one which was also featured on Ebbhead album, albeit in a different version. It was mixed by Jaz Coleman, vocalist and frontman of Killing Joke. The second track, 'Lovesick' was mixed by Flood who produced the band's second and third albums, Belief and Showtime as well as the previously mentioned Ebbhead. The third track, 'Come Alive' was mixed by Alan Wilder of Depeche Mode, who would eventually be hired to co-produce the Ebbhead album. The last track, 'Higher' was mixed by Barry Adamson and Paul Kendall (PK). Barry Adamson was the bassist for Howard Devoto's Magazine and Nick Cave and the Bad Seeds and PK is an engineer/producer who has worked mainly for Mute Records on various Depeche Mode and Flood projects.
As Is (tracklist)
1. Family Man 3:56
2. Lovesick 4:00
3. Come Alive 6:12
4. Higher 5:50
Nitzer Ebb
Bon Harris – programming
Douglas McCarthy – vocals
Julian Beeston – additional drums and percussion
Goth/Futurepop band, CAELUM WRAITH recently unveiled their full-length album, 13.
13's concept is based upon the idea of embracing the darker side of life. It even underscores how members of the conservative 'right' often conduct themselves in quite the opposite manner of the message of faith and forgiveness taught by their religion. 13 addresses the darker, more dystopian side of love and seduction. It often takes a tilted, ironic angle on traditional supernatural ideas.
13 speaks to the partially-outcast gothic community which continues to be among the most diverse and tolerant groups despite their embracing of the "darker side of life". Every day we hear conversations among them alluding to the extent which they feel comfortable revealing their darker side in their families, their jobs and in every-day life
13 is available on all major streaming platforms including Bandcamp and Spotify.
