Dark electronica music pioneers Attrition have announced a new 40th-anniversary compilation release: A Great Desire. The album includes some of the band’s standout tracks 1986-2004 – some never before on vinyl.

Attrition was formed in 1980 in Coventry, England, as part of the emerging UK industrial scene.  Influenced by a mix of punk ideology and experimental art aesthetics, founder Martin Bowes has steered the band through four decades, world tours, and new fans from licensing their catalogue to film and television.

Attrition’s music has been featured on countless releases: 1984’s Bullshit Detector 3 (Crass Records); Animal Liberation (with Siouxsie & the Banshees, The Smiths, Nina Hagen & Lene Lovich), for starters. Their song Acid Tongue featured on KTEL’s Industrial Story: a veritable who’s-who of industrial music with Cabaret Voltaire, Throbbing Gristle, Ministry, Nitzer Ebb,  and Einstürzende Neubauten.

Bowes has recorded mixes for The Damage Manual (Martin Atkins, Jah Wobble, Geordie Walker, Chris Connelly et al…), Die Form, In the Nursery, Black Tape for a Blue Girl, Mona Mur/En Esch, and mastering for many bands and labels. He contributed synths and vocals on a song on the last Pigface album, is the narrator’s voice on US horror series, C for Chaos, and wrote the score to US horror film G.H.O.S.T from Mutantville Productions. Their 2015 album, Millions of the Mouthless Dead (inspired by Martin’s grandfather’s experiences on the Western Front in 1917) includes collaborations with Anni Hogan (known for her work with Marc Almond through the ‘80’s) and the legendary Wolfgang Flur (ex-Kraftwerk).

A Great Desire is out now via Sleepers Records.

Purchase the record here.

Track Listing:

1. Hush
2. To The Devil
3. One Of These Mornings
4. The Silent Mind
5. Sister Teresa
6. Crash
7. Under The Bridge
8. Acid Tongue
9. A Great Desire
10. A Forgotten Dream

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In 1978, Nash and Dannie Flesher sold their Denver shop of the same name and relocated to 2449 North Lincoln Avenue. They founded the music label in 1980. Before launching the independent label, Nash and Flesher would use the North Lincoln Avenue storefront to promote and produce concerts for then-unknown artists such as Joy Division, Bauhaus, The Birthday Party, New Order, Einstürzende Neubauten, The Sisters of Mercy, Divine, and more. WAX TRAX! was responsible for bringing many artists to Chicago for the first time.

“Most tickets sold ran through this iconic building”, says Julia Nash, daughter of Jim.

WAX TRAX! RECORDS is credited for popularizing a new genre called “Industrial Dance,” later shortened as “Industrial.” Ministry, Front 242, My Life With The Thrill Kill Kult, Revolting Cocks, KMFDM, Front Line Assembly, The KLF, Underworld, Coil, Psychic TV, Laibach, and more all got their footing in the U.S. through the label.

Wax Trax! opened its hallowed doors in a building that once housed a funeral parlour. They carried thousands of unique and rare titles in a vast range of genres: dance, soul, R&B, heavy metal, electronic, rockabilly, hardcore, glam, and avant-garde, as well as imports, indie releases, and bootlegs. The store was the center of underground music and culture in the Midwest throughout the 1980s and ’90s, serving as the go-to for music fans and musicians alike.  Wax Trax! was graced by huge stars during their Chicago visits: Robert Plant, Lou Reed, Nick Cave, Black Flag, Buzzcocks, and the B-52s. They remained there until relocating in 1993.

“The store itself was an underground cultural mecca for people from all over the city, statewide and internationally to discover new music (like) punk and electronic,” she told the Chicago Tribune. “At the time they were frowned-upon genres, but they became very important in music culture.” The store’s staff, comprised mainly of musicians and DJs, became a valuable source of expert guidance and tips for cutting-edge and fringe artists, paving the way toward later marketing concepts in similar stores.

Julia Nash, the director of the 2018 documentary Industrial Accident: The Story of Wax Trax! Records, found her “true self” at the store and relocated to Chicago in 1987. From there, she has immersed herself in the rich Wax Trax! legacy. She equates Wax Trax! to iconic Chicago blues label Chess Records, which enjoys landmarked status. Although the genres are different, their importance to music fans is undeniable.

Julia Nash has launched a petition for her late father’s store to be landmarked. The designation will ensure that the building will not be demolished, or the exterior altered. Nearly 5000 people have already signed as of the writing of this article. She hopes to submit a historic landmark application by March 1 to the city’s Department of Planning and Development at its March 15 meeting, a move acknowledging the store and record label’s place in music history.

“If this store or label has meant anything to you at any point in your life, we hope you will join us at preserving this important physical piece of music history,” says Julia Nash.

For more information on the landmarking effort and to sign the petition, visit petitions.com.

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As the pandemic begins to abate in the United States, VIO\ATOR have started to play out again, this time buttressed with the announcement of the aforementioned full-length recording coming out later in the Summer on Young and Cold Records. The act has released the track “Your Victim,” below, as a teaser—and what a difference a year (or more) makes! VIO\ATOR is now a fully-fleshed dark synthy-industrial juggernaut.

“Following my first tour that I had done,” Tyler remarks, “I found myself having learned to play bass while filling in on the instrument for another band, so I now found myself knowing how to play a new instrument. I had an entire tour booked for March of last year and a couple of new songs ready to go, but then the pandemic hit and the entire thing had to be cancelled. I was heartbroken over this, and I listened back to the new songs, but they weren’t up to my standards, so I decided to finally purchase a guitar and learn how to play it, and immediately I began writing on the guitar, which is something I never expected would happen with me. So almost every song on this new album was written and recorded almost entirely live, with very little software involved: guitar, bass, live synths, and on about half of the songs the percussion was programmed manually onto a drum machine. This is the album where I finally feel like I’m an actual musician. The music itself is post-punk at its core, but with elements of industrial dissonance and darkwave-inspired atmospheres.”

That increased musicianship is on show on the new LP, Solitude, and VIO\ATOR’s evolution feels complete. The new album, which we were able to get a sneak preview of, still showcases Tyler’s fragile/vulnerable vocal style—which at times remind of late 1970s or early 1980s Brian Eno and/or Gary Numan—and the layered guitar, bass, and other texturing give a robust sound to the finished product that builds upon the band’s prior minimalist foundation. There are even some very spectral, ghostly guitar lines on Track 3, “Nothing Left But to Heal” (perhaps my favorite track on the new LP), that keep things spooky and should please all the goth-rockers in the crowd. But let’s be clear: The LP as a whole is a very darkwave-y synth-and-drum-machine affair, echoing at times with a tragic, off-kilter resonance aided both by Tyler’s interesting choice in eerie synth lines and unexpectedly creative drum machine patterns, both of which serve to hold the listener’s attention. The presence of Numan, Eno, and “Low”-era Bowie are palpable on most of the album’s eight entrancing tracks.

I asked Tyler about the origins of his project’s name, and if conjuring up Depeche Mode was the idea behind it:

“Yes, it is definitely a Depeche Mode reference, to the point where someone who booked me for a show and didn’t take the time to listen to me had me billed as a Depeche Mode tribute act. The name definitely was inspired by that, but I had moved to Los Angeles shortly before the project began, and I saw many signs around saying, ‘Violators will be prosecuted,’ and variations of that. It made me start thinking, ‘What exactly does it mean to be a violator? A violator of what? Someone’s space? What someone hears? A thought that worms it’s way into someone’s head and doesn’t leave them alone, keeping them up at night?’ I enjoyed the various interpretations of the word and how I could play with it, and the preconceptions that people have about that word. The idea to put the \ to replace the L was a stylistic choice by [my wife] Annie; it adds to the unease of the word.”

Who was in VIO\ATOR when it started, and who is in it now? What guest musicians etc. have you had join in?

Tyler: I’ve always been the sole actual member of the project. My wife Annie had early input in writing a couple of songs and acted almost as a producer, but that was the extent of outside input until this most recent album I’ve just finished. I asked Leah Lane of Rosegarden Funeral Party if she would be interested in singing on one of the songs, and that turned into a full collaboration, complete with both of us playing various instruments on the song, and then Ivan Delint from Warsaw Pact played guitar on one of the other songs on the album. I also have to mention that Michael Briggs, who mixed and mastered the album, acted essentially as a co-producer on this one, and he came up with some great effects and noise parts on some of the songs on it.

What bands or artists are the primary inspirations for VIOLATOR, and why?

Tyler: Obviously Depeche Mode was an early influence, as was Gary Numan, although recently it’s shifted to more contemporary artists like The Soft Moon or VOWWS, although I wouldn’t say that those influences are ones that I wear on my sleeve.

When will the new album come out, and where can folks buy it when it does come out?

Tyler: The pre-order for the album should be going up in July. It is going to be released through Young & Cold Records, who are graciously also pressing it onto vinyl, which will be my first ever physical release outside of hand-made CDs and cassettes that I made for my first EP and my first album.

VIO\ATOR have a Bandcamp page here.
VIO\ATOR also have a Facebook page here.
The Young & Cold Records Bandcamp page is here.

I also encourage folks to check out Tyler’s Youtube channel, where he often reviews new releases and posts other insightful commentaries on music. That Youtube channel is here.

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But Templər is where Chalandon directs the most sincere, dismal forms of rhythmic noise, EBM, and techno. Since his debut EP on X-IMG with his Human Hate EP in 2017, he’s perfected his own noisy, grinding narrative of industrial music. Myths and Consequences, released on June 4th on the German label, HANDS, is not easy—it’s discomforting, harsh, and primitive. The album begins with “Road to Jounieh,” a metallic track, a gravely Sysiphean rhythm that immediately plunges into the dark. Myths and Consequences never comes back up for air.

Each track is foreboding while a tension is built from beginning to end. “Let the Soul Chase the Sorrows” creates a stormy landscape with its squealing sounds, seemingly begging for reprieve, while “Le Crime par la Pensée” offers a moment of forgiveness with a melodic crescendo, rooted heavily in rhythmic noise. With guest vocals from Lapse of Reason, the title track is reminiscent of late 80s or early 90s pulsating, dirty industrial, such as Esplendor Geométrico. It makes sense, then, that the Spanish band remixed Templər alongside other prominent and important producers in the genre. Test Dept, Orphx, Geistform, and Harsh Mentor offer up their own interpretation of the guitar-laden track “A True Terror Corporation (feat. Incendie).” It’s apparent that Chalandon’s influences collide from the choice of remixes that emphasize heavy techno, boisterous noise, and sluggish industrial.

Myths and Consequences is made for moments of cacophony—there’s no in-between here. Listen below:

Buy it on Bandcamp.

Follow Templər on Facebook.

Follow HANDS label on Facebook.

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“The Unbroken Sea” begins with an unsettling synthetic melody, which immediately sets the stage for the song’s unyielding electronic tension. Traces of Fad Gadget, Coil, and early Cabaret Voltaire can be heard throughout the track, which features Slavin’s voice in near-spoken word form over Samuel’s sparse, minimal electronics. The video, directed by Slavin & Dan Stolarski and shot by Samuels follows a handful of characters (including fellow Ritual Howls bandmate Paul Bancell) traversing the underground nightlife, in fog-drenched basements and through empty highways, with pockets of isolation, longing, and conflict throughout. It’s a perfect counterpart to the track’s haunting soundscape, a world worth losing yourself in over the coming weeks.

The single is plucked from Mission to the Sun’s forthcoming LP Cleansed By Fire, which is due out on Felte on April 2nd, 2021. We’re anxiously awaiting the LP, but in the interim, check out the full album release details and social media links below for more from the project.

Mission to the Sun- Cleansed By Fire
1. Take Me Back
2. Cleansed By Fire
3. Damaged
4. Mission to the Sun
5. The Unbroken Sea
6. Computers
7. In Your Eyes
8. Three Crossings

Pre-order digital and LP editions here
Instagram | Facebook

Photo by Katie Wilfong

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Australia’s Divide and Dissolve unfurl one of the most powerful and unsettling tracks of 2020: Denial, an eight-minute odyssey. The track boasts a potent blend of ominous sax blowing wide open into colossal heavy metal-soaked riffs. It is at once sophisticated, primal, ecstatic, and heartbreaking, reflecting the indigenous experience in New Zealand’s complex, violent history. The end of the track breaks apart into staticky cacophony, broken notes floating in the aether, hoping for healing.

WEBSITE | INSTAGRAM | BANDCAMP | FACEBOOK | TWITTER | INVADA

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A driving, minimal sound (which Justine describes as “coldrave”) permeates the record, allowing the disparate genre influences to blend. It’s a driving sound, at times reminiscent of Boy Harsher’s Yr Body Is Nothing era.

Justine explains that “the secret weapon” of the LP is the Moog DFAM (Drummer From Another Mother). “It brings so much dark groove to it and a ‘crunchiness’ to the mix,” she says. This unique texture underpins the record. 

Russia brings to mind a classic early 80s palette. The track is a deceptively complex ascending staircase of a synth lead, contrasting the warmth of the drums. The timbre of the two singers compliment each other, as Justine’s voice crouches behind a wall of frosted reverb whilst lilting Russia mon amor. 

X kicks off with a thumping synth bass and kick drum; Anton sings “I will be free” whilst pelted with the machine staccato of 16th note hi hats. 

The single Trance De France comes at the halfway point of the record, bringing (unsurprisingly, given its name) a trance influence. An overture of strings shimmers with delay and phasing. We’re fully on the dance floor here. 

Le futur is an oscillating monophonic lead holding us down, binding to the earth below. The song emanates a feeling of dystopian erasure, a cultural amnesia…or blunt force trauma, giving way to the potential for new beginnings, and the light of awareness. An air of political lament, without grandstanding or rhetoric. The weeds of a new future grow over the wreckage and rubble of the past. 

With the Trance De France LP, the two have successfully augmented each other’s sounds, and their combined sensibilities have birthed an exciting collaboration…proving once again that 2020’s uncertainty refuses to slow down creativity in music. 

Preorder Trance De France here, and listen to a few tracks off the LP below to whet your whistle.

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Fact Pattern, comprised of Ian Flux, Jack Lowd, and Corey Hirsch, manages to meld those mid-90s inspirations and bring them into the 21st century.

Likening the darkness of the human psyche to the destructive forces of computer malware, the accompanying lyric video combines the frustrating electronic visuals of a good old-fashioned kernel panic and a glitchy X-Files opener taped twenty-five years ago on VHS. If vapourwave has a shadow self, Fact Pattern has deftly tapped into its sound. It is anguished, and it is earnest. Solid stuff from Fact Pattern.

Watch the video for “Fact Pattern” below:

Pre-save the track on Spotify here, and find the track on Bandcamp here

And for more info on Fact Pattern visit: www.fact-pattern.com

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Humanity loves believing in a simpler past. To modern sensibility, the 1980s seem as much of a gentle utopia now as the 1960s did when The Wonder Years premiered in 1988. The deluge of nihilistic reboots is played out so heavily now, one wonders if innovation is still allowed, or if we’re just going to settle for pacifying our anxiety-riddled selves until the bitter end. With that in mind, it is time to exhume Frank Tovey’s time capsule of the writhing, rotten underbelly of the Reagan/Thatcher era we’ve blithely chosen to forget.

Tovey, much like the soothsayer of Julius Caesar, warned of the dangers of late capitalism with his bitterly anti-commercial, vulnerable lyrics. Perhaps he was simply too ahead of his time, or, quite simply, his message was too bleak for an era hell-bent for a bull market on Wall Street.

Frank Tovey’s band Fad Gadget, the first outfit signed to Mute Records, boldly steered electronic music into the realm of industrial by mixing hand drills, Orff-inspired vocals, musique concrete, and shrieks. Fad Gadget was filthy, dangerous, and chaotic. Eschewing the robotic playing by his contemporaries, Tovey shocked audiences with intense theatrics evoking…and provoking…the basest corners of the human psyche. As Fad Gadget, Tovey abandoned British propriety and flagrantly debased himself into a primal nightmare. This festering manifestation of the shadow self tore out and tossed his pubic hair into the audience, mock-masturbated, sported medieval bondage gear, crowd surfed (often resulting in serious injury), fought with audience members, covered himself in shaving foam, and climbed rafters panting loudly in a microphone stuffed in his mouth. At various points in his career, the corporeal form of Fad Gadget withstood snapped tendons, spurting head gashes, and an X-shaped scar across his chest from broken glass. (Par for the course in any performance art scene, but too shocking for Top of the Pops.)

Much like Bowie, Tovey found inspiration from various collaborators. His act was less rock star than performance art, taking inspiration in multiple disciplines. Barbara Frost, then his wife, was a frequent artistic partner; her crystal-clear vocals float through much of his early recordings (as well as their toddler daughter in subsequent albums). Frost also created striking photographic imagery in the vein of Man Ray, Lee Miller and Hans Bellmer. Anton Corbijn would later find a muse in Tovey for some of his early photographic portraits, including an iconic photo of Fad Gadget covered in shaving foam. Tovey’s performance art background was also tailor-made for music video, creating mesmerising vignettes with his family, and occasionally appearing in friends’ projects, notably Daniel Miller’s Silicon Teens, and as a monk in Propaganda’s Doctor Mabuse.

Although he remained mostly relegated to the avant-garde scene, Tovey’s notorious performances wielded tremendous influence in Great Britain and West Germany. Tovey had already inspired Soft Cell’s Marc Almond when they were students at Leeds Poly. A fledgling Depeche Mode were entranced by his antics, later joining him on the Mute label. The entire industrial genre owes Tovey a tip of the hat, with artists like Skinny Puppy, NIN, and Marilyn Manson snatching the relay baton (he explained in a later interview that he preferred Al Green and Dylan instead).

The later sonic switch of his folk-inspired sound confused his fans, the press, and even his own label, but ironically, Tovey had always been a folk musician. His lyrics delved into the psyche, the human experience, and the Everyman existing in a technologically-fueled fascism.

On that note, Tovey still strikes a deep chord today during this time of political chaos. Tovey remains one of the only artists brave enough to authentically confront the corporate evils of the 80s that informed and compounded the political drama of the modern era. As a result, his music has finally caught up with the horrifying dystopia he predicted decades ago. Tovey tackled environmental disaster, gentrification,  fascism, technological weaponry, mass incarceration, religious fervour, the power of mass media, and the military industrial complex – a collective shadow still deftly avoided in the music world.

Following this album release, Frank Tovey largely put his musical career on pause as “life got in the way,” although he continued to dabble in producing. Nearly a decade passed before the mojo returned in full form, but things really changed when Andy Fletcher caught him at the 2001 Electrofest. When asked what his next plans were, Tovey joked that he intended to open for Depeche Mode at Wembley Stadium…and they called his bluff. He spent the rest of the year supporting the band on their Exciter tour, neatly bringing his career full circle.

Tovey was all set to explore new technology and compose new material: armed with a Mac and a copy of Logic, he was in good spirits, even mentioning plans to tour solo, but his heart suddenly gave out on 3 April 2002.

Although Tovey’s death at just 45 was an immense loss, one can also find consolation knowing his earlier accomplishments and words remain as poignant and relevant as ever.

If you’re feeling frustrated with society, spend a couple of hours with his remarkable, diverse discography, ripped from the headlines years before they happened. (It’s worth mentioning Tovey’s fascinating collaboration with Boyd Rice in 1981’s Easy Listening For the Hard of Hearing, noteworthy for its sonic experimentation, but that particular collection is entirely instrumental.)

As Fad Gadget:

Fireside Favourites (1980)

Standout track: Newsreel

Pretend the camera doesn’t change things
Send me a few images in only one eye
A soldier poses, then pulls the trigger
Wipes his hand and waves good-bye

This droning, sarcastic number lays out the invasion of the press into the private lives of regular citizens. Fad Gadget describes highly personal human experiences (birth, death) relentlessly exploited for public consumption (and entertainment), predicting the social media deaths of George Floyd and Eric Garner, the screeching modern-day Karens, and TikTok.

Incontinent (1981)

Standout track:  Swallow It

Poisoned personalities
Talking in household names
The package is the prize
That’s sure to catch your eye
And the contents taste the same

Swallow It attacks the hypnosis of mass media, rendering us all mindless fools swallowing the propaganda served to us. Tovey died just as the early phases of social media appeared on the horizon, but these lyrics show he understood the dangers of unchecked newsfeeds long before “fake news” hit the zeitgeist.

Under The Flag (1982)

Standout track: Wheels of Fortune

The tiger in the tank is a vile compound
Hold on to precious breath you’re homeward bound
I’ve got to breathe, lead free

A piano pounder with backing choir and zipping synth arpeggios, Wheels of Fortune addresses the environmental destruction plaguing the very air we breathe. Mocking the classic Esso slogan, Fad Gadget channels William Blake’s Jerusalem and laments the loss of quality life through the relentless pursuit of fossil fuels.

Gag (1984)

Standout track: Ad Nauseum

“Spineless and fish-like, I swim in the mire
I swear like a saw-tooth, fin-flap and gill
Scrap this ludicrous chain of events
Tear away from book-form and screen-time.”

Ad Nauseam closes 1981’s Gag with a horrifying stream-of-consciousness Howl manifesto railing against modern society, driven by persistent Bernard Herrmann Psycho strings, and Tovey’s droll snarl. It is intense, urgent, disorienting, (Don’t listen to it on psychedelics.)

As Frank Tovey:

Snakes and Ladders (1986)

Standout track: Luxury

Luxury dissects the persistent demands of materialistic pursuit in the 80s. Released in the thick of the Wall Street era, he throws dark shade at the meaningless mindsets of yuppietopia. Looking for a track that really gets into the meat of criticizing the Boomers? Frank Tovey was decades ahead of you. Here’s your anthem.

Civilian (1988)

Standout track: Ultramarine

Liberation comes
In jeans and Coca-Cola
Liberty this bullet’s
Got your name on it
You make the films
And you’re making history
Napalm-burger-bars
Popcorn victory

Tyranny and the Hired Hand (1989)

Standout track: Sam Hall

Truly embracing a more acoustic sound here, Tovey recorded a delightful compilation from the great “working-class stiff” songbook. Although his previous work revolved around a modern synth sound, Tovey never strayed from the ideals of Woody Guthrie and traditional English folk, so it is not surprising that he revisited the source material with his own Cockney spin. His rendition of the folk classic Sam Hill addresses incarceration and execution.

As Mkultra:

Immobilise (1987)

Invest in Mkultra
Your counter culture
They’re stealing your dreams
While everything is ultra
Big Mac money culture

A criminally overlooked masterpiece of cacophony, Immobilise is a frantic plea to reject the dangers of corporate brainwashing. MKUltra was a side project Tovey formed with Malcolm Poynter and Simon Stringer. The track is an unnerving audio collage laced with the shrieks of screaming horses and backwards recordings. For those wondering, MK Ultra was (is?) an illegal CIA operation acting as a continuation of the work begun in WWII-era Japanese facilities and Nazi concentration camps on subduing and controlling human minds. Definitely a relevant topic/psychological rabbit hole for 2020.

As Frank Tovey and the Pyros:

Grand Union (1991)

Standout track: The Liberty Tree

They tie you up and put you in a cage
And wonder why you should be in a rage
Then feed you on scraps
Comes off their taxes too
And say you’ve gotta
Keep up with the age

Tovey went full-tilt with the folk sound after joining forces with Irish outfit The Pyros, creating a landscape of song material revolving around the Grand Union Canal snaking through London. The Liberty Tree has been widely regarded as the pinnacle of Tovey’s songwriting: a scathing critique of trickle-down economics and government gaslighting. Particularly effective lyrics for the rising unemployment numbers due to COVID. Blast this one at your next protest.

Worried Men In Secondhand Suits (1992)

Standout Track: All That Is Mine

All That Is Mine is about the closest Frank Tovey ever came to penning a straightforward love song, although this one is still cloaked with his proclivity for symbolism, darkness, and references to mythology. In his final video release with the Pyros’ wonderful backing, Tovey appears in a charming performance art scene with his little son. All That Is Mine can encompass the gamut of familial trauma, unconditional love, and personal growth. A beautiful final bow.

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