PODCAST: The Forest Passage 19: Siberian Retro (Fight Your Own War, Perturbator)

After a hectic month of projects and work we return to talk about what we’ve been listening to and watching. Jesse discusses two Russian bands, Nordavind & Volkolak, while Raul takes it back to the neo-retro synthwave sounds of Perturbator, and industrial from JK Flesh & Aderlating. We also talk about the show Stranger Things, the 80’s throwback trend in culture, the new book power electronics book “Fight Your Own War”, and Jesse’s hatred of saxophones.

Power electronics is a genre of industrial or ‘noise’ music that utilises feedback and synthesizers to produce an intense, loud, challenging sound. To match this sonic excess, power electronics also relies heavily upon extreme thematic and visual content— whether in lyrics, album art, or live performance. It is a genre that often invites strong reactions from both listeners and critics, if not dismissed or ignored altogether. FIGHT YOUR OWN WAR is the first ever English-language book primarily devoted to power electronics, bringing together essays and reviews that explore the current state of the genre, from early development through to live performance, listener experience, artist motivation, gender and subcultures, such as ‘Japanoise’.

From Heathen Harvest’s review of Uncanny Valley:

This is what makes the French synthwave project Perturbator unique and successful: its unabashed, arms-wide-open acceptance and reappropriation of eighties aesthetics and tropes without the hint of irony or parody. Perturbator stands out in the synthwave scene not just because of its technical music acumen, but also for the unapologetic embrace of these tropes. In unskilled hands, the results would come off as camp or comedic. Instead, Perturbator successfully mixes the cultural milieu of eighties cyberpunk, anime, dark synth music from the likes of John Carpenter or low-budget films such as Future-kill (1985), occultism, neo-noir, and tech-noir. The end results come off as not only dead serious, but incredibly engaging and surprisingly relevant to today’s societal woes.

Listen to the podcast at Heathen Harvest.

INTERVIEW: Architects of the Abyss – Sutekh Hexen

Sutekh Hexen first popped up on my radar when going through the lineup for the Stella Natura festival in 2012. They were easily one of my dark horse favorites from the event, and over the years I’ve made sure to keep up with their unearthly brew of black metal, cacophonous noise, and occult ambiance. This past June I was able to catch an intimate performance in Los Angeles as they toured up the US West Coast and bore witness to a moving sonic ritual. Shortly afterwards I had the pleasure to catch up with the band’s mastermind, Kevin Gan Yuen, and talk about the tour, collaborations, the convergence between extreme metal and noise scenes, tapes, ritualistic performances, and upcoming plans.

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REVIEW: Deathstench – Massed in Black Shadow

There’s always been a number of shared aesthetic elements between the grittier variants of Black Metal and Death Industrial, as we see with Deathstench. Whenever you attend a concert showcasing either genre, you could see the cross pollination in the crowd. The common disregard for polished production, use of feedback as an instrument, and nihilistic or adversarial themes have led to a few cross-over artists, mostly notably being early Cold Meat Industry veterans MZ. 412, all the way up to the more recent Gnaw their Tongues. It’s also worth noting that Relapse Records recognized something similar in the Death/Grindcore Metal and Power Electronics genres via their Release Entertainment sublabel. While there’s always been a fair number of success in the Grindcore/Power Electronics mix, in the early years I was disappointed with how few of the Black Metal/Industrial acts bring anything worthwhile to the table, with the successful ones taking a more drone/ambient approach. For the most part, you were left with a hodgepodge of stereotypical caricatures of each genre (sorry, Mysticum), which I believe was a byproduct of a misguided yearning to remain elite or true to a hardcore base. This has changed over the past few years, I’ve noticed, with bands such as Gnaw their Tongues gaining much acclaim and Sunn O))) hitting critical mass.

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