Social media hasn’t been all bad. Sure, it’s disrupting the wide world and our little communities in dangerous ways that undermine our collective goods, but on occasion it connects people with quality art, so I’ve stuck around. I was wasting a bit of my life on one of those wretched platforms when I scrolled past a recommended artist. Josie Pace stood on a stage. She sported a mohawk, dark makeup, and a facial expression that told me I’d likely get punched in the mouth if I made eye contact. Her aesthetic appealed to me, and in the post she used hashtags like #postindustrial…so I searched for her music on the streaming service of my choice and went to bed. I wasn’t on board at that point, as image doesn’t always equate to good music.
My daily commute to work is forty-five minutes one way, so I tend to save new music for these routine car rides. It’s the most alone time I get in any given day. I went to put on some music before pulling out of the driveway and saw the record I had saved the previous evening, and knew I had to give it a spin.
lv0x10v5 kicked off with I’m Begging You-an absolute heavy hitting electronic song that had me convinced this was an excellent opening song. If the rest of the album kept up in quality, I knew I’d be hooked. Pace utilizes electronics in a way that I’ve wanted to hear but have never quite found until now. The record continues with booming hooks on every track. The songwriting style is authentic and incredibly human. Her voice is powerful beyond measure and compliments the music without overshadowing it. Mechanical synthesizers don’t rely on distorted guitars to fill the void…there is no void, as space is used with fluctuating precision. I’m utterly impressed with the production.
It’s hard to pin down a few tracks that stand out, as there are no bad songs on this record. There’s no filler. After multiple listens, I’m convinced that this is going to be a long-term favorite.
Josie Pace has revealed that she’s back in the studio, working on new material in 2023, and I’m excited. She’s earned my fandom. If you’re into industrial music with rock elements, check out Josie Pace. This is exciting and dangerous music.
If Edgar Allen Poe or Alfred Tennyson were alive today, had access to synthesizers, and made music of their poetry, I firmly believe they’d make Intruder by Gary Numan. The lyrical theme of the new record puts emphasis on what has been lost to circumstance in such a way as to ache with the particular sting of tragic romance that resonates with certain 19th Century poets. The end of the world reminds me of heartbreak. The hurt that is communicated is so clear and that transparency sounds authentic. There’s poetry in these songs. Collapse and distance are offered with genuine concern that makes the content relatable. The past is haunting to those who’ll have it, and I was struck again and again while listening to this album. Lyrics like, “sometimes when I’m dreaming I forget that you’re gone. Now when the wind cries, I remember you,” uses the simplicity of our shared human experience to cut as deep as anything. The end of the world has a lovely soundtrack.
This new record is rich with dark electronic textures that eclipse all hope. It contains beats that are fine-tuned and tweaked to appeal to new fans while pleasing those who’ve been listening for decades. It’s contemporary sounding, which speaks to a desire to always be learning and applying it to the craft. It’s scarier than Numan’s earlier work, but that’s a wonderful thing. He’s changed quite a bit over time, which is the desired route of a quality artist who has had the longevity of his career. With that longevity comes a sort of freedom, so it seems this is the kind of music Numan wants to make right now, and it’s nothing short of fantastic.
Distorted beats mingle with authentic sounding pianos and strings with eerie intent that is often both high energy yet subdued at the same time. Sharp percussion hammers at the psyche while the music it holds up offers relief. The production is sleek, bright, and beautiful, an aspect that shines through the darker qualities of the record in a niche where production typically aims for something with a bit more dirt. For that, it stands out amongst its peers. I’ve been listening to the record on repeat since it dropped. I’m still impressed. The song Intruder is my personal favorite. It’s aggressive and angry, and the music reflects that without deviating from the production that shines through the shadows of the subject matter. It represents the tone of the record as a whole, as the dark beat carries soaring electronics to heights I didn’t know I could find in what I think of when I consider ‘industrial’ music, but the tracks don’t lie. It’s a heavy hitting industrial record with just enough pop elements to maintain a lure and a hook in every song. There’s nothing to skip on Intruder. Gary Numan is where it’s at.
After 2019’s industrial release ‘Never is Now’ the 2020 release of the “Not My God” record with Nero Bellum, it comes as no surprise that the new Skold solo record would incorporate a healthy dose of metal guitar riffs and intricate leads. ‘Dies Irae’ is broken up in a back-and-forth pattern of guitar centric rock/metal tracks juxtaposed with the trademark heavy electronic/industrial sound I’ve come to expect from more current projects from Tim Skold. This parallel mixing of musical styles keeps the record moving in such a way as to never feel stagnant. The constant change up results in a refreshing album. While it may be the honeymoon period talking, I’m confident in feeling that ‘Dies Irae’ is my favorite Skold record yet.
The album opens with hard hitting ‘Dirty Horizon.’ This track has crisp sounding guitars that sound both contemporary, yet familiar in a nostalgic way. A scathing chorus hooked me, and I knew I was in for something fun. The guitar solo is a solid tell of things to come, and sets the tone for more metal aggression. That expectation is subverted when the second song starts up. ‘Unspoken’ breaks the ice with some of the more electronic elements I had expected. There’s a guitar solo in this one that shows off the best of Skold’s vast talent, which shouldn’t surprise me at this point, but it’s so good.
My favorite track is ‘Love is a Disease.’ There’s drum programming in the chorus that has this haphazard hi-hat pattern that is percussive icing that coats a bigger wall sound. The lyrical part of the chorus hits in a way that has lost zero impact after multiple listens. It feels like a confession, and I’m here for that kind of honesty. Another authentic confession is offered up in the atmospheric song ‘Terrified’ where Skold sings, “I’m not afraid of dying…I’m fucking terrified.”
Another track with intricate electronic drum programming is ‘Silicon Dreams.’ It’s made clear that Skold isn’t comfortable falling back on old habits when producing new material. The rhythmic work on this track reflects the coexisting grit and shine of trap music with hopeless undertones, and sparse guitar work that makes use of dynamic range.
The album ends with ‘Goodbye.’ This leans more toward elements of a metal track, and was released early as the album’s teaser. It rings as a highlight for me, as this final track was the first one I heard. It gave a good impression regarding the direction of the album, without revealing all of the tricks Skold deals out over the course of this record. This effort feels like one cohesive work, while showcasing an impressive variety and range Tim Skold brings to the table.