In the last couple of weeks I learned that Karsh Kale, Tim Sköld, Nivek Ogre and HoodooEngine had released or were about to release new albums. I dig them all so I do what I do sent out the emails and made the phone calls. There were other musicians, labels and festivals I wanted to feature on the show as well but they didn’t happen due to availability and time constraints and before I knew it, this week’s show had been distilled into a gem of greatness.
I discovered Karsh Kale right about the same time I discovered the Asian Massive (or Asian Underground) scene. Over the years I watched the careers of Karsh Kale, Asian Dub Foundation and others grow over the years and it’s a wonder that I haven’t had someone like Karsh on the show earlier. Karsh has released six albums and recorded and performed with everyone from Zakir Hussain to Yoko Ono. Karsh’s latest album,Cinema, is his most ambitious album to date. It’s big, bold and melodramatic, and Karsh’s experience scoring films has had an impact on the scope of Cinema.
Tim Sköld was another surprise! Before I knew it, one night after work I found myself in front of a microphone talking to Tim about his long career, from his rock roots in bands like Kingpin and Shotgun Messiah and then later playing with the likes of KMFDM and Marilyn Manson. Tim also released a solo album back in 1996 and 15 years later he’s followed it up with Anomie, due out May 10th. Tim was great to talk with and I found that he’s as much an agent provocateur in person as he is in his music. I also had some great questions to ask him from folks like Jeremy and Royb0t from Twitter and Facebook.
Ogre’s is set to release a second album with ohGr called unDeveloped that also due to be released May 10th. Ogre and Skinny Puppy have scored the post apocalyptic soundtrack to our lives for nearly 30 years. While Skinny Puppy was my introduction into industrial music, there’s industrial music and then there’s Skinny Puppy. They’re in their own category and to call them industrial is kind of limiting. I was curious to see what directions Ogre would explore through ohGr and to be honest, I didn’t like unDeveloped at first. As Ogre mentions during our chat, people rarely give music full attention because they’re usually multitasking while they’re listening to music. I was doing the same thing with unDeveloped but one night while I was going out for a run I listened to unDeveloped and without being aware of it I found myself lost in the album and now I think it’s one of my favorite album of 2011.
Once I finally realized that Tim and Ogre were going to be guests on this week’s show I knew I had to include Hoodoo Engine. I’ve wanted to play tracks from their EgoWhore album since it was released in 2010 but it was just one of those scheduling things. Hoodoo Engine would be perfect for today’s show and to top it off, they’re gearing up to release their new album, Murder the World, and it’s more wretched and evil than EgoWhore, if such a thing is even possible. The core of Hoodoo Engine is Marz233, James Curcio and Johann Ess. Just to be above board, both James and I are on the Alterati Network, but I’ve known James long before Alterati when I interviewed him about his book, Join My Cult. While you anxiously wait for the release of Murder the World you can watch Clark, a gonzo mockumentary reality show art film surrounding the struggles of an independent artist in a capitalist world.
|Hoodoo Engine Primary Members|
(Not pictured: Iron Will, Scott Landes, & The Illuminist)
Oh, special thanks to tricil for providing the incidental music during my interviews with Tim and Hoodoo Engine. While I was putting together today’s show I realized that I didn’t have any instrumental music from either of them and went on Twitter and asked if anyone had some tracks I could use for music beds. tricil stepped responded in minutes and generously let me use his tracks “rcc3″ and “conserve destroy.” There are links to download those two tracks below.
A New Year For Us All - From the www.MythosMedia.net team.
Amidst all of the turmoil that has occurred both in the US and abroad in 2008, many of the media giants are stomping around blindly. There is no better time for truly independent groups of artists, musicians and myth makers to band together to collaborate, share and grow their myths. This is why Mythos Media formed in 2006-2007, and it remains our singular goal. The time is ripe now, but we need to meet each other halfway.
The purpose of this message is to alert you to what we have been doing over this past year, and what we look to create in 2009. The days of purely passive media are through. Sure, everyone likes to unwind and watch a movie from time to time, but always existing in that state of consumption leaves people shut-down, and isolated. This is why social media is exploding, even if major corporations are trying to turn the Internet into an ad-laden, vapid wasteland.
We all need stories that we can participate in, and a framework for us to collaborate and create work together. This is our goal moving forward- not only building our own myths but creating a sandbox for you to build your own as well. We believe static media like books and DVDs are merely entrance points into interactivity, collaboration, and the creation of new myths in the future, using technologies that are still being refined even as we speak. We hope you join us.
--James Curcio, Christmas Eve, 2008.
See the full, unabridged State of the Union, with tons of free books, music and more, go here: http://www.mythosmedia.net/content/2008/mm-12-08.html
Including: Lives of Ilya with Tara Vanflower, and the audiobook chapter read by Jarboe, Fallen Nation: Babylon Burning, a full, some re-issued re-masters of early Choronzon and Veil of Thorns material as well as some more recent releases, free 256 kbps release of subQtaneous: Some Still Despair In A Prozac Nation, the Art of Memetics, and sneak peeks at many up and coming projects.
(Photo by Matthew Cooke.)
In my opinion, Collide’s recent release, Two Headed Monster, is both a culmination and a departure from their past work. Though it may remain in the same rack in the record store (those still exist, right?), you can feel that a maturation has taken place.
Contrary to opinion, maturation of this nature doesn’t simply come with time. As many artists prove, you can create and re-create the same thing for a lifetime, if you so choose. There is a deceptive, almost infinite freedom provided by working on projects exclusively in the studio, as much of Collide’s previous work has been. Sometimes those boundless 3 a.m.-in-the-studio possibilities can become a creatively stagnating trap. I’m happy they managed to avoid that trap, instead creating a thickly-textured, lively album that stands up to many listens.
As some of you probably already know, I’m not a fan of regurgitating the experience of listening to an album in an attempt to entice you into buying it. (Though as that goes, the Fearnet.com review was pretty good.) Rather, I leave it to you to check it out, and form your own opinion. The process that created a work is always most interesting to me, so I am happy that I had the chance to talk to kaRIN and statik about how this album came into being…
James Curcio: The first thing that stood out to me on this album was that it seemed to be more collaborative than your previous work. Correct me if I’m wrong on this, but it feels to me that Collide really took a step forward in that regard, and several others. After so many years with the two of you primarily working as a “two headed monster” (as it were), what was it like opening the songwriting process up to other band members and contributors?
kaRIN: The primary song writing for Collide is still primarily Statik and myself. Over the years, we are just trying to evolve as much as we can and not make the same songs over again. We were very lucky to have gathered up some great live players, so the live influence and the fact that all of our live members contributed to each of the songs is definitely evident on Two Headed Monster.
(Read the full interview on Alterati.com.)