Meanwhile, Spellbound, transcending the identity of a mere club night, has become a haven where DJs and live performers take center stage, steering the night with their symphonic alchemy. The atmosphere at this nighttime gathering is alive with the energy of live performances. Each note played and each track spun creates a collective experience that resonates within the souls of those present. This is where the essence of music is revealed in real-time, unfiltered and raw. Artists and audiences engage in a dynamic exchange that captures the fleeting beauty of the moment.

This convergence of live artistry and audience at Indy CD & Vinyl, a record store celebrated for its commitment to the tangible aspects of music culture, and Spellbound, a club night renowned for its immersive DJ sets and live performances, underscores a profound truth: in the realm of music, the magic lies not just in the medium but in the communal act of sharing and experiencing it together. It serves as a poignant reminder that, even in an increasingly digital world, the heartbeat of local music scenes thrives on the tangible and the immediate—the crackle of energy at a live show, the shared glances between musician and fan, and the palpable atmosphere of a night like Spellbound, dedicated to the power of sound.

Taking this unique experience a step further, Indy CD & Vinyl has embarked on an ambitious project to immortalize the live performances at Spellbound. By recording these sets straight from the mixing board and pressing them onto limited-edition vinyl, they offer fans a tangible piece of the night to take home. These collector’s items, limited to 100 hand-numbered copies, feature eco-colored vinyl, full artwork, and sleeves, along with full-color inserts, including a poster from the event, a setlist, and a chance to find a Polaroid photo from the night. The first record, featuring Tallies, sold out quickly, showcasing the community’s enthusiasm for this innovative idea.

The second record, released on February 16, 2023, captures the industrial vibes of Twice Dark from Bloomington, Indiana, recorded in August 2023. Following this, Volume Three will feature the darkwave-shoegaze group Angel-Maker from Indianapolis, with a performance slated for February 24, 2024. The anticipation continues to build for Volume Four, featuring RIKI, scheduled for recording on March 2, 2024, with a release in July.

Preorders for these exclusive vinyl releases are available, ensuring fans don’t miss out on these limited-run treasures:

• Preorder link for the RIKI live release (Vol 4)
• Preorder link for the Angel-Maker live release (Vol 3)
• Order link for the Twice Dark live release (Vol 2)

The excitement for RIKI’s upcoming performance on March 2nd, which will be recorded live for the vinyl release, underscores the unique connection between Spellbound’s live events and Indy CD & Vinyl’s dedication to preserving these moments. This initiative not only captures the essence of each performance but also strengthens the bond between the musicians, the audience, and the vibrant Indianapolis music scene.

For more insights into this unique fusion of live music and vinyl collectibles, delve into a Q&A from their print newspaper, The Spinner, printed in October 2023:

Q: Have you already started recording your guest acts? Do these guests often come from beyond Indy? How has Spellbound’s legacy/reach grown over the years?

A: Yes, we recorded the Toronto-based band Tallies in June and Bloomington-based Twice Dark in August. Most of our guests, whether DJ or bands, are usually touring acts from other cities, starting with Lol Tolhurst of The Cure at our first event. Spellbound has become a prime spot for touring bands in the dark alternative realm, contributing significantly to its growth and legacy.

Q: Are the recordings done straight from the soundboard? Are you focusing on original music, or do guest DJ sets also get recorded?

A: The recordings are indeed from the soundboard, handled by professional sound engineers and mastered for vinyl. We focus on the live bands as we don’t have the rights to press DJ sets to vinyl, emphasizing the live music aspect of our scene.

Q: Why choose vinyl for these recordings, and what has the reaction been to this idea?

A: As record collectors and owners of Indy CD & Vinyl, pressing live sets to vinyl felt natural. The response has been overwhelmingly positive, with both bands and attendees appreciating the effort to memorialize these performances.

Q: When will the first pressings be available?

A: The first two releases are currently at the pressing plant and should be available shortly, marking the beginning of this exciting new venture.

Q: How do local Indy Spellbound fans usually react to the guest acts you bring in? 

A: We are VERY lucky that Spellbound regulars are respectful and receptive to our guests. We hope they have learned to trust us as promoters and, to be fair, for the price of one regular ticket everyone gets a concert and a dance night in one.

Q: What do you go for when bringing in outside talent? Seems like an eclectic mix when I used to frequent Spellbound…

A: When booking Spellbound we like to invite established DJs from other cities to show off their skills and to see how established and fun our scene is here in Indy. After all these years we now have great relationships with other cities’ scenes and it is well-known that Indianapolis and Spellbound is fun as Hell. We also enjoy booking VIPs who aren’t known as DJs but have deep knowledge of the genres we feature and are famous contributors to the scene, like Lol from The Cure and Martin from Pigface/NIN/Ministry/Killing Joke, etc.

The bands we book at Spellbound are almost always due to happy accidents – since both of us have had long careers as concert promoters we still get offered shows, and when the tour routing works we push the date to a Spellbound on the last Saturday of the month. Many booking agents and bands now know this before booking tours and a lot of these artists use the Indianapolis tour date as the planning and pivot point for the rest of their tour, meaning an agent will reach out to us to book an artist at Spellbound based on their previous experience or word-of-mouth. If an artist fits, they get booked.

Q: Was the first Spellbound in 2017? What are your thoughts on the longevity of the event?

A: December 2016 was our first Spellbound event, and we are still going strong. We are very grateful to continue running this party for as long as we have. Our challenge is to keep it from becoming stagnant – which is why we focus on new and challenging DJ guests and fresh bands in the sub-genres we feature.

Follow Indy CD & Vinyl:

• Website
• Facebook
• Instagram
• Twitter
• LinkTree

Follow Spellbound:

• Website
• Facebook
• Instagram
• LinkTree

The post RIKI and Angel Maker to Record Live Albums For Indy CD & Vinyl at Spellbound in Indianapolis appeared first on Post-Punk.com.

On the first chilly evening of September, NYC’s Le Poisson Rouge played host to a record release party for No Wave legends Bush Tetras. By mere auditory flair and zest, one might presume Bush Tetras to be some fresh, vivacious ensemble inspired by No Wave’s youthful exuberance. This isn’t to suggest that Bush Tetras have been left in the proverbial dust – in fact, as this punchy performance proves, they’re still writing their legacy as the youths nip at their seasoned heels.  Their lasting, if largely underground, power was evident in the adoring crowd spanning several generations, from the old Max’s Kansas City crowd to modern St Vitus scene. Excited snippets of conversations buzzed through the air, as the elders reminisced over their youth and raised pints of lager to toast departed members.

“I saw Bush Tetras play Peppermint Lounge, 1980! Remember that place?” 

“They don’t play very often, you’re in for a treat!”

“Ahhh, you weren’t even born yet when I last saw a Bush Tetras show! I have an original record signed by the band, must be worth something now, huh?”

Surfacing from the volatile underground scene of New York City in 1979, Bush Tetras became synonymous with a raw fusion of post-punk and funk-infused rhythms. Cynthia Sley’s commanding vocals, juxtaposed against Pat Place’s jagged guitar strokes, created a sonic atmosphere that was both abrasive and addictive.

The ensemble drew its moniker from two seemingly disparate entities: the ‘Bush Babies,’ (also known as a galago) an endearing African primate that caught their hearts, and the Neon Tetra, an iridescent fish admired for its subtle dance of colors. By synthesizing one word from each source, they crafted a name that resonated with an almost “tribal” cadence, merging the eclectic and the elemental.

Despite never achieving mainstream commercial success, Bush Tetras’ cultural footprint was profound. They influenced countless bands – most notably, Sonic Youth – as their tracks became anthems in punk clubs, college radio, and underground hangouts. Their relevance has never been confined to a particular era; their impact still resonates across decades. Facing several hiatuses, lineup shifts, and the ever-changing dynamics (and misogyny) of the music industry, Bush Tetras showcased resilience and adaptability, solidifying their position as stalwarts of NYC’s post-punk legacy.

Following Weeping Icon’s captivating performance, founding members Cynthia Sley and Pat Place graced the stage dressed in a chic jumpsuit and construction vest, respectively. The unveiled selections from their newest album, “They Live In My Head,” interspersed with a few timeless pieces. Sonic Youth drummer Steve Shelley (also the album’s producer) and bassist Cáit “Rocky” O’Riordan (The Pogues) lent their talents as they kicked off the show with the contemplative 2020 Vision, from the new album.

They Live in My Head is Bush Tetras’ third full length record since their formation in 1979. It addresses their formative years, steeped in the milieu of late 70s New York City; encapsulating the band’s collective evolution, the quirks of youth, and their shared experience. It also pays homage to their departed drummer Dee Pop, who passed away in 2021. When Shelley joined the band, Bush Tetras began experimenting with kinesthetic writing sessions. 

“We just went into the rehearsal space and things just would fall right into place,” says Place, “We’d start playing and the next thing would happen and we’d know where to take it.” 

In the throes of pandemic turmoil, Tout est Meilleur emerged as Bush Tetras’ post-punk ode to the profound potential found in cherishing life’s minutiae. With a texture as velvety as churned butter and a rhythm exuding unmistakable verve, Sley’s mellifluous vocals, delivered in French, graced the piece with an added layer of sophistication. Meditative recollections of bygone days ensued, paying homage to those they’ve lost, notably in the title song and the melancholic Ghosts of People: “Ramen and slices/Snickers and coke/Burn your crosses in the snow.”

Amidst their performance, Bird On A Wire emerged as a highlight. Sley’s lyrics painted a vivid picture—of minuscule satellites orbiting, the relentless march of time, and the unique vantage of observing the cosmos from terra firma. A poignant dedication, this melody was written in memory of her mother. Place’s guitar resonated with electrifying notes, while a joyful O’Riordan’s bass maintained a pulsating heartbeat.

In a nostalgic nod, Bush Tetras played the classic You Can’t Be Funky, as well as their street harassment anthem: Too Many Creeps, which was penned by Sley when working at Bleecker Street Cinema…just a block away from Le Poisson Rouge, in fact. New York City undergoes perpetual change, but certain constants persist— namely, the enduring presence of creeps. 

For the final song, Barry Reynolds (Marianne Faithfull) made a cameo, performing his song, the heart-wrenching Guilt. 

In forty years, with faces come and gone, the band’s tune hasn’t missed a beat. Sley’s voice? Age has only gifted it richness and poise. On stage, she’s near spellbinding, nearly ethereal. Their verve? As undying as that first, brilliant flash that made us fall in love with them. While the new album is a post-punk tour de force, the elders are right: for the full experience, Bush Tetras must be seen live…if you can catch them.

Listen to and order They Live In My Head, out now via Wharf Cat Records.

Full Setlist:

• 2020 Vision
• Tout Est Meilleur
• There Is A Hum
• Bird On A Wire
• So Strange
• Ghosts of People
• Another Room
• Things I Put Together
• You Can’t Be Funky
• They Live In My Head
• Time To Burn
• Walking Out The Door
• Too Many Creeps
• Guilt (w/Barry Reynolds)

Follow Bush Tetras: 

• Facebook
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• Twitter

The post Bush Tetras “Sley” At Le Poisson Rouge Record Release Show appeared first on Post-Punk.com.

There were disparate tribes in London that I think the Batcave brought together, because there would be the punky types, the Gothy types, there were also the rockabillys, skinheads… there was a definite tribal thing.

Every decent goth knows the wonderous lure of the Batcave. Hell, even those who merely dabble into the darker aspects of the 1980s know the legend of the Gargoyle Club on 69 Dean Street in London. It’s the birthplace of goth as we know it, a catatonic blend of styles and sounds, looks that were glamorous yet camp, and props that would be just as cozy in a haunted house. But the real story—the in depth story with all the raunchy details—has never been revealed until now.

‘Young Limbs Rise Again’, the story of The Batcave Nightclub 1982-1985 is a collection that maps out the history of the goth subculture one song and story at a time. With over 90 tracks on the CD release, 62 on the 6 LP set and 20 on the 2 LP release, Young Limbs Rise Again is the comprehensive Batcave guide.

The choice of music by Hamish was fantastic. I remember a lot of Cramps, Bauhaus, Bowie, Iggy, Siouxsie & the Banshees. Nights at the Batcave were hot, lots of drinks and other goodies, beautiful youth, incestuous fun, lots of noise and adrenalin, laughing and bickering also… It was a great buzz, innovative and daring.

Hamish Macdonald, the Batcave DJ and frontman of Sexbeat, set the mood within the walls of the foggy (and strawberry-scented) club. The Young Limbs Rise Again boxsets disclose all of Hamish’s favorite and essential tracks—”We had this rule: no soul, funk or disco”—that include songs by goth staples such as The Cure, Sisters of Mercy, Virgin Prunes, and Killing Joke. But there’s also proto-goth and glammy tracks from artists such as New York Dolls, Roxy Music, Suicide and Mick Ronson.

The Batcave’s live performances were paramount as well: the club hosted legendary artists such as Christian Death and Marc and the Mambas, while it ricocheted bands like Alien Sex Fiend and Specimen into the vast expanses of the subculture’s history. Stories about the popularity and importance of the club is divulged via the accompanying 80-page hardback book—which is just as crucial as the compilation. From unseen photos of club go-ers, to an extensive breakdown of artwork and flyers, as well as information about the Batcave at NYC’s own Danceteria, the book is a goldmine of art, inspiration and history.

Out on February 24th. Pre-order here: https://batcave.lnk.to/younglimbs

The post “Young Limbs Rise Again, The Story of The Batcave Nightclub 1982-1985” Compilation and Book Zeroes in on Goth’s Formative Lair, The Batcave appeared first on Post-Punk.com.

The aptly-named Batcave’s location at 69 Dean Street at the Gargoyle Club in London, England, (though it frequently moved around) introduced early 80s crowds to DJs spinning a new, darker style of music that was only just beginning to be called goth, and the club also provided a forum for then-current underground goth and postpunk live acts, including Olli’s own Specimen, who served as the house band. The haunted house, cobweb-y, Halloween-esque atmosphere also set down a template for goth club decor thereafter.

Famous regular’s at Olli’s Batcave club included a who’s who of postpunks, goths, and even aging punks (including members of The Clash, who popped in once to see what the fuss was about). Other patrons included included Nick Cave, Robert Smith of the Cure, Siouxsie Sioux, Steven Severin, the members of Bauhaus, Marc Almond, and the members of Foetus. Not all of them loved the admittedly campy digs, but this list reveals to what extent Olli’s club was becoming a launching place for the new Gothic movement.

The Batcave’s popularity grew phenomenally, providing a friendly place for goths, punks, misfits, club kids, and other assorted colorful characters that had come from the punk scene or were exploring new underground music’s darker side. Alien Sex Fiend and others were notable regular performers. Resident DJ Mark Scaithe kept track of what some of the popular dance floor hits were, songs you couldn’t hear at other clubs at the time. Batcave resident DJ Hamish MacDonald added in his diary at the time: “There are big differences between ’77 punks and ’83 punks. Mick Jones came to the Batcave once and stood there not knowing where he was. Old punks just want the Pistols; new punks have switched into people like Alien Sex Fiend.”

Olli’s band Specimen was like the Rocky Horror Picture Show come to life: Ian Astbury of Southern Death Cult and later The Cult, a fan, said they were “like a Death Bowie.” The Batcave even assembled a vinyl sampler, Batcave: Young Hymns and Numb Limbs, of acts they wanted to promote for the club. Olli Wisdom and keyboardist Jonny Slut’s glam-vampire-punk image helped define what’s still thought of as the “Batcave” or “deathrock” look today.

Besides his band, Wisdom selflessly tried to champion other acts and DJs, and in fact, a lot of his time was spent behind the scenes, coordinating, promoting, organizing, and advocating for current underground dark bands in the UK, the USA, and Europe. In the mid-1980s Olli took the Batcave event as a roadshow across America through various clubs where acts like Christian Death performed, helping sow the seeds for the further development of goth in the US, or at least linking up previously isolated bands and scenes.

Olli later moved into trance music (Space Tribe) and psytrance DJing after the Batcave shut down in San Francisco in the late 1980s. But Olli was always incredibly generous with his time and with his efforts to bring new bands to new audiences and to help patch together isolated dark music scenes in a time where there was no social media, messaging boards, or cell phones.

Olli Wisdom is a founder of modern goth culture  and will be greatly, greatly missed.

Olli Wisdom apparently died on August 23, 2021. Details are still forthcoming.

Below, Olli and the gang at their finest:

The post Olli Wisdom of Specimen and the Legendary Batcave Has Passed Away appeared first on Post-Punk.com.

Fronted by the marble statue-like enigma David Sylvian, Japan’s complex sound was less immediately crowd-pleasing, but gradually gained traction as artists gravitated toward their style and artistic integrity (if not methods of dance).

During Japan’s run, critical acceptance was achieved only after a succession of full-length albums. To paint a picture of how fickle the music scene was at the turn of the decade, British journalists panned Japan’s “outdated” glam sound in favour of the emerging New Romantics like Duran Duran and Adam Ant. (At that point, glam was less than a decade old.)

Ironically, Sylvian’s androgynous blonde bombshell look got copied almost as much as New Wave’s Ur-superman David Bowie: in a 1981 interview Sylvian dryly commented,  “For New Romantics, fancy dress is a costume. But ours is a way of life. We look and dress this way every day.”  Fashion-wise, Duran Duran were Peter Pan’s Lost Boys; Japan were vampires without the dirt, dressing as if the Weimar Republic had reigned for a hundred years. After eclectic, tentative first outings and myriad guises before being comfortable in their own skin, the band ultimately reached their creative peak with Tin Drum.

Then there was the general popularity factor: if you wanted to see a good Midlands post-punk gig at the dawn of the 1980s, Birmingham had two suitable venue choices with a clear bias:

Exhibit A: Barbarella’s, a venue famous for its sticky floors, named after Jane Fonda’s character in the film Barbarella.

Exhibit B: Rum Runner, famed for hosting Duran Duran’s early shows, a band named after evil scientist Durand Durand in…erm, Barbarella.

Given the fact that Duran Duran were Rum Runner’s resident band, the experimental Japan fell short of latching onto the organic pop star juggernaut amongst the party crowd. By the time Duran Duran came on the smaller club scene and ascended into the heavens as the darlings of MTV, Lady Diana, and of the Top-40, Japan had abandoned pop songs for musical pastures closer to jazz and Asian influences, before bowing out gracefully by 1983.

While other groups won the battle of the ’80s, did Japan win the war?

Forty years on, New Romantics remain a dated relic of the Thatcher Years. Barbarella’s, for that matter, shuttered in 1979; like NYC’s Mudd Club, it hovers in the collective as another flash-in-the-pan fuzzy memory. Japan’s unique visual and musical sophistication and brooding synths still sounds refreshingly out of time by comparison.

Japan’s unique sensibilities are more widely understood now, with their minimal dissonance and high fashion guise. Japan’s musicians were respected by their contemporaries – Tin Drum prompted Tears For Fears to pen The Hurting. But Japan found better bedfellows in the avant-garde sophisticates rather than lovelorn Teen Beat subscribers. Their influence remains as pregnant as a Vesuvian tectonic fissure, inspiring countless musicians, fashion icons and writers united in discord and synthesized ambience, prizing style and vulnerability. Ghosts Of My Life by Mark Fisher quotes Sylvian’s lyrics in its title. HMLTD’s Satan Luella and I video visually references the film (and song) Nightporter. ARCA’s pronounced minimalism and Eartheater’s metaphorical meditations of geological phenomena owe a tip of the hat to Sylvian.

Over the course of five disparate studio albums, certain things remain constant: Mick Karn’s fretless bass tone and its chorus effects. David Sylvian’s baritone. Steve Jansen’s inimitable drumming. Richard Barbieri’s synth arrangements integral to the band’s sonic palettes.

Historians love a cliché, but the narrative of a band cut down in its prime by creative differences or internal division doesn’t ring wholly true with Japan, as all the members went on to varied and progressive solo careers. The 1990 album by Rain Tree Crow, a reunion of the shortlived five-piece, shows a glimpse of the players’ further evolution. Sadly, with Mick Karn’s passing, such a reunion will not be possible again.

Ghosts

Top Of The Pops introduced this track as “a brave record.” How right they were: this song has become the most iconic representation of Japan’s refinement in their early 80’s output.

Life in Tokyo (Giorgio Moroder Version)

That famous Moroder signature, the percolating slapback echoing synth, permeates this mix. Dialling back the extraneous arrangement compared to the original is a mixed blessing, however as the chorus has lost some of its warmth, the extended outro and galloping synth dance floor-ready nature make it well worth the listen.

Cantonese Boy

A skippy verse light on its feet finds unexpected gravitas in its chorus,; a staccato synthesiser and sophisticated syncopation create an unlikely earworm.

Nightporter

From the album Gentlemen Take Polaroids which celebrated its 40th anniversary this year. This song is a clear homage to Eric Satie’s Gymnopedie No.3 (Orchestrated by Debussy). This song showcases the beautiful and dark atmospheres of Japan’s output.

Second That Emotion 

When I picked this single up years ago from a charity shop in my hometown, I couldn’t believe my luck. I’ve come to regard this as pure fun to hear such an arty band giving their take on a Motown track.  The video is beautiful – for fans of this I’d recommend their version of All Tomorrow’s Parties, which against all odds, reinvents the Velvet Underground classic.

Bonus track:

Blackwater 

The single from Rain Tree Crow (with various members of Japan) once again showing the richness of the arrangements that the musicians created together as a five piece.

Further listening:  a roundtable discussion from British radio in 1982 (with Robert Palmer).

The post The Art Of Parties: Six Essential Songs By Japan appeared first on Post-Punk.com.

Here is some background info on DARK ENERGY, courtesy of impresario Grant Mayland:

“The idea behind these virtual streams is to help maintain community at a time when so many of us feel so suddenly removed and isolated. Something real that can channel the mood of the uncertainly we’re in. Something real imperfect. The opposite of all these overly sanitized, cringe-worthy corporate events virtual and commercials currently plaguing the streams & airwaves.

The goal of Dark Energy has always been to provide an inclusive, comforting space. A place where you can be as anxious, awkward, or depress without the weight of judgment that society constantly shoves down our throats. A space for those who have been bullied, traumatized, or marginalized. Society often treats those who do not mold into the form as a byproduct, and it’s time that byproduct fought back.

Dancing is an incredibly cathartic, beautiful form of therapy. But the status quo nightclub experience is often riddled with classicism, oozing with pretentiousness, and fixating on everything superficial. This is a night for those who want the exact opposite.”

On enlisting Sextile frontman Brady Keehn’s cyberpunk solo project Panther Modern, Mayland continues:

When the quarantine first hit and virtual events came into relevancy, Panther Modern was the very first artist that came to mind. His clear love for virtual reality, cyberpunk, and angsty dance music make him perfectly suited for this moment.

This was all created by Brady. It’s VR mapped and fully immersive. It was performed 100% live on the Dark Energy Virtual Dance party that streamed on 4/24. It’s a raw capture of the stream, so there are imperfections. A little reminder of the chaos we’re in.

Engage your SimStims and watch Panther Modern below:

This set is just the beginning. Brady has a lot more planned, via his own personal Twitch Channel. Here

The catch? There is no current time or date scheduled for future Panther VR streams. You’ll have to watch his social media on Facebook and Instagram for more info.

Follow Dark Energy:

• Dark Energy Twitch: twitch.tv/darkenergympls
• IG: instagram.com/darkenergympls
• FB: facebook.com/darkenergympls
• Twitter: twitter.com/darkenergympls

The post Watch Panther Modern’s Groundbreaking Dark Energy Quarantine Set appeared first on Post-Punk.com.

Here is the official description of the EP courtesy of the label Instruments of Discipline:

“Devour Wrath Without Shame sees Unhuman return to his original vision of dystopic noise, a pure, uncut vision of our darkest times, alive nightmares, everything we despise, unwanted and disconcerting, the rotting core of a concrete dimension.”

The song’s premiere heralds an Unhuman dj gig at Berlin Electronic music event Liber Null and 
Potnia Theron’s  Absolute on Thursday, November 16th, featuring Drew McDowall, Alessandro Adriani, Sekunde, and Nullam Rem Natam.

See Full details below. 

Order the EP Here

Liber Null Berlin and Potnia Theron presents:

‘Absolute’

Thursday 16th of November 2017 at Arena Club
One year after their first amalgamation – Liber Null and Potnia Theron have a very special reason
to merge their powers again and present a thrilling event.

Line up:

• Drew McDowall | live | COIL / Psychic TV I
• Alessandro Adriani I Mannequin (Label + Mailorder) / Jealous God |
• Unhuman B2B Sekunde I Liber Null Berlin – Fleisch I
• Nullam Rem Natam – Action

With great honor Liber Null invites Drew McDowall for a live performance as part of his current european tour. Presenting his new album by building his hypnotising sounds, he will guide the audience
through his mystical and esoteric journey reflecting shades of the past.
A great impact and huge influence as part of Coil, Drew McDowall will leave his mark in history of Liber Null.

Time to worship.

Alessandro Adriani, owner of Mannequin Records, will open the night with a special experimental set focused between memories and obsessions.

Unhuman – resident and founder of Liber Null together with Sekunde from Fleisch are on closing duties, uniting their darkest sounds. Nullam Rem Natam in search of spirals and serpents, will create and destroy their exegesis of absolute truth.

Drew McDowall

During the tumultuous 1980’s, Drew McDowall found himself in the ranks of Genesis P-Orridge’s Psychic TV collective and collaborating with the arcane occult duo comprised of former Throbbing Gristle creator Peter ‘Sleazy’ Christopherson and the enigmatic John Balance who had been creating esoteric and progressive electronic music under the banner of Coil. It was during these formative collaborations with Coil that McDowall saw himself shift from occasional contributor to austere full-time member. McDowall’s impact on the band’s sound was immediate, and apparent, as the releases transformed from their previous avant-pop signature to a more complex and methodic electronic imprint accompanied by even more abstruse subject matter and abstract formulations than previous years. McDowell was instrumental in the creation of Time Machines, one of the most influential drone works of the last 20 years and would continue honing his compositional skills with Coil until the bands two most lauded albums, “Astral Disaster” and “Music to Play in the Dark” at which point he left the project and his native home to relocate to the United States.

For the last 17 years Drew McDowall has lived in New York City and found a welcoming home in the city’s experimental music community. In 2011, alongside his friend and collaborator, Tres Warren (Psychic Ills), McDowall found himself exploring his passion for meditative drone and abstract sound patterns in their project Compound Eye. He has collaborated with Croatian Amor, Varg, Puce Mary, Marshstepper and many others. Outside of his collaborative duties, McDowall formed an audience as a solo artist, playing countless performances and showcases around New York’s electronic music venues and festivals.

Drew McDowall released his debut solo album entitled “Collapse” on Dais Records in September 2015 and has subsequently toured the United States and Europe.

With Unnatural Channel, released on Dais Records in May 2017, using his signature ambient ebb and flow coupled with patterns of fibrous metallic waveforms and reverberated percussions that have been pulled and spun around the spectrum he continues to dissect subterranean themes and explore how to comprehend and subsequently engage with the contemporary world that emerges from the disintegration of various mental, physical, and emotional terrain.

Unhuman b2b Sekunde

Unhuman was founded as a noise project in 2012 in Athens with the release of his first tape, entitled Emperor Black on Species Productions and then a split tape with To The Lovers Farewell on Red Venice Records. Delving deeper into radical noise, experimental and industrial music, a whole new world of possibilities opened up to him when he moved to Berlin in 2012. After founding the Lärm-Alarm-Lärm festival, he combined the idea of underground music and more experiential events going onto organize workshops which encompassed experimental & interactive audio/visual performances in a project space called Shift which led to his current project Liber Null Berlin which unifies the freedom of arts in a conceptual event and a record label. With his DJ-project he has performed alongside renowned artists such as Ascion, D Carbone, Eschaton, James Ruskin, Luke Slater, Makaton, Substance aka Dj Pete, Tomohiko Sagae, Truss, Ugandan Methods, Violet Poison. At the moment, Unhuman tours in venues all around Europe and Asia and is a regular act in many of the major Berlin clubs. He was resident Dj in the city of Paris for two years and now days he is resident artist at Constant Value Seoul. He released on labels such as Veleno Viola, Monolith Records, Amok Tapes and Instruments Of Discipline.

+

Sekunde is a project, based in Berlin, that has been part of the Fleisch collective since its inception.

Playing a mix of Industrial, EBM, post-punk, and synth wave, he blends these genres together seamlessly into his own world suited for dark basements and strobe light funerals.

Alessandro Adriani

Born and raised in Roma, Italy and now living in Berlin, Alessandro Adriani is the brain behind Mannequin Records, an outlet that since 2008 has done arguably more than any other to unearth obscure synth wave and industrial music from all over the world. Aside from his work in releasing forgotten gems and up to the minute synth incantations, Alessandro Adriani has also been quietly issuing out his own music for labels like Mannequin, Pinkman and Jealous God. Previously active as Newclear Waves, he developed lately an interest for remixes/edits, including “the rarest disco fruit from the Caribbean-via-Berlin: Mannequin Records’ Alessandro Adriani rolls up a smoking edit of Lata Ramasar’s exulting/exulted proto-house bubbler The Greatest Name That Lives.”

Alessandro is the resident dj and organizer of the bi-monthly Mannequin Records Nacht at Säule/Berghain.

Nullam Rem Natam

No thing born. An emphatic idiom for nothing.

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“A new event concept which explores experimentations and diversity in electronic music.”

In the main room Surgeon will be performing live, along with Tommy Four Seven himself, Headless Horseman, who just had a fantastic new release on 47 [47009]:

Room 2 in particular will be of interest to Post-Punk fans, as Alessandro Adriani of Mannequin Records will be djing, as well as a different kind of set from Hayden Payne’s (Phase Fatale) other alter ego Sekunde, along with LGHTWGHT from the Fleisch collective.

Check out this mix from She Made Monster (who is also spinning in room 2) via The Brvtalist.

Located in the vaults of an old coin factory in central Berlin, a labyrinth of dark corridors, bare brick and concrete chambers will host three rooms, each equipped with a tailored Funktion-One system.

RM1> Surgeon (Live) | Demdike Stare (Live)
Tommy Four Seven | Headless Horseman | Killawatt

RM2> Alessandro Adriani | She Made Monster
Sekunde | LGHTWGHT

RM3> OAKE (DJ) | Lower Order Ethics
Video installation by Pfadfinderei

Alte Münze, Berlin – 28.04.17

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This edition December 1st is (as always) hosted by REKA, but also features the amazing Silent Servant—(who you can watch above performing with Phase Fatale at the 2016 Berlin Atonal). Also on the lineup is Violet Poison, and Fleisch’s LGHTWGHT.

Expect Dark Wave, New Wave, EBM, Industrial, Post Punk, Synth, Electro, Acid, Experimental and more!

RSVP HERE on FACEBOOK or on RESIDENT ADVISOR 

The post W.A.V.E.S | SILENT SERVANT, VIOLET POISON, LGHTWGHT, and REKA | PLUS—Watch footage of Silent Servant and Phase Fatale from Berlin Atonal appeared first on Post-Punk.com.

Tracklisting:

A1. Cosmin TRG “Singe”
A2. Eomac “Refugee”
B1. Szare “Invern”
B2. Tommy Four Seven “UUU”

47007 will be released December 7.

This release follows 47006, which featured Headless Horseman, Stephanie Sykes and Phase Fatale—whose track Under Marble we premiered here on Post-Punk.com

Tommy and his label 47 are curating the 9th installment of his club night series at Berlin’s Arena club on Friday November 25, which will feature performances from the post-punk techno crossover artist Michael Wollenhaupt aka Ancient Methods, along with the atmospheric poetry that is Oake’s introspective brand of techno—along with VSK, and Tommy Four Seven himself

Listen to New Brvtalism No. 075 featuring Ancient Methods below:

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RSVP HERE

The post Tommy Four Seven is releasing his 7th EP December 7th | Join him for a club showcase featuring Oake, Ancient Methods. and VSK appeared first on Post-Punk.com.