After a gap of eight years before 2018’s “Impossible Star,” Jack Dangers is already back with a new Meat Bean Manifesto album. Titled “Opaque Couche,” it takes its name from a greenish-brown hue that has been called the “world’s ugliest color.” Always pushing his music in new directions, Dangers came up with a new process for working with beats for this album.
In recent years, electronic music pioneer Howard Jones has been focusing his energy on live shows rather than new albums. His last release, “Engage” (2015) was part of a larger crowd-funded multi-media project. But having taken a break from touring to focus on new material, Jones is back with “Transform,” his first regular album in almost a decade. “Transform” showcases Jones fully embracing his electronic roots but within a modern context.
Each release from Rhode Island-based Jenn Vix has had a different sound from the last, and her new electropop-charged “6” EP is no exception. Vintage synthesizers figure prominently in the music, but it’s clear that Vix is utilizing the sound she loves rather than striving for a retro sound. The atmospheric electronic style proves to be an ideal outlet for Vix’s powerful vocals and strong songwriting.
With “The Secret of Letting Go,” Lamb once again manages to bring a fresh edge to their already unique sound. The duo of Lou Rhodes and Andy Barlow initially formed in Manchester, England, and released their self-titled debut album in 1996. Lamb went on hiatus after their 2003 “Between Darkness and Wonder,” during which time Rhodes embarked on a successful solo career and Barlow worked on a variety of projects. They reformed Lamb in 2009 and have been performing and releasing music together regularly ever since.
The Church recently kicked off the second leg of a US tour celebrating the 30th anniversary of their “Starfish” album. We interviewed frontman Steve Kilby before the first leg, and recently had the chance to speak with guitarist Ian Haug, as well. Haug is the newest member of The Church, having joined in 2013. Previously, he was best known for being part of the long-running and highly successful Australian band Powderfinger.
After releasing “Scarves & Knives” in 2005 and touring to support it, North Carolina-based Cole Guerra took an extended break from music to pursue a career in clinical psychology. Now he’s back with a new album, “Carnival Barkers,” released under the name I Am Casting. Guerra recorded the album primarily at home, and he took full advantage of the freedom by experimenting with more rhythmic composition as well as electronic sounds.
Throughout their long career, electro-Industrial band Front Line Assembly has consistently re-defined their style and musical approach, and their latest release, “Wake Up The Coma” is no exception. The album makes extensive use of guest vocalists, with Jimmy Urine (Mindless Self Indulgence), Robert Gorl (DAF), Nick Holmes (Paradise Lost) and Chris Connelly (Revolting Cocks, Cocksure) making appearances.
On “Romantic Cancer,” her latest release as Globelamp, psych-folk influenced singer/songwriter Elizabeth Le Fey has adopted a much more stripped-down sound than her previous releases. Le Fey’s powerful voice can effortlessly bounce between being ethereal and aggressive, and minimalism in the instrumentation lets it truly shine.
Cellist Julia Kent was an original member of Rasputina and worked with a variety of other artists before establishing herself as a solo artist with 2007’s “Delay.” Her instrumental compositions combine looped and layered cello with electronic sounds. On her recently released album “Temporal,” Kent presents “a meditation on the transitory and fragile nature of existence.”
On his new album Come, Deathless, musician/producer Surachai continues to blend styles into a unique dark electronic sound. There is a strong emphasis on sound design and electronic tweaking, but the rhythmic nature and tight composition instantly draw in the listener. Come, Deathless is the seventh full-length album from Surachai and features guests Aaron Harris (drums, ISIS/Palms), Joey Karam (keyboards, The Locust/One Day As A Lion) and singer Sara Kendall. In an email interview, Surachai discussed the making of the album.