Autobahn - Ecstasy Of Ruin - VINYL LP
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Close to five years since their last record, Leeds denizens Autobahn re-enter the fray with the of their third record, Ecstasy of Ruin. Many of the hallmarks of their characteristic blend of industrial post-punk remain intact, but under the bonnet they're a much leaner, more focused machine. Live drums have given way to drum-machines and sample-based percussion, and with it the band reconfigure their typically blackened aesthetic into a hardened take on Electronic Body Music. As with their previous record, it's an entirely self-produced collection, recorded between two self-built studios on a range of analogue equipment, the ghosts of their industrial forefathers haunting the circuits. Indeed, some of Ecstasy of Ruin was made with pieces salvaged from Martin Hannett's legendary studio. Autobahn certainly feel part of the long tradition of crepuscular music to emanate from Northern Britain, be that the transgressive activities of COUM Transmissions from Hull, Sheffield Steel City or the gothic history of their very own hometown. Ecstasy of Ruin also speaks to right now. No album opens with a song titled 'Post-History' and closes with another called 'Class War' without some concession to the current condition and it's place within it. Industrial music by it's nature is a physical concern, often placing the human body and it's experience in the context of technology, reflecting the varying trevails of late capitalism. Autobahn strive towards some kind of articulation of that conflict. The music is unrelentingly taut and terse, and the vocals of Craig Johnson are invariably intense, though lyrically there are repeated allusions to beauty, empowerment and, ostensibly, hope. As such, the title of the album is an instructive one - there's some kind of bliss in all this mess. Autobahn don't so much push against the pain as ride it out to it's (il)logical ends.1. Post-histo
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- GenreRockDescriptionClose to five years since their last record, Leeds denizens Autobahn re-enter the fray with the of their third record, Ecstasy of Ruin. Many of the hallmarks of their characteristic blend of industrial post-punk remain intact, but under the bonnet they're a much leaner, more focused machine. Live drums have given way to drum-machines and sample-based percussion, and with it the band reconfigure their typically blackened aesthetic into a hardened take on Electronic Body Music. As with their previous record, it's an entirely self-produced collection, recorded between two self-built studios on a range of analogue equipment, the ghosts of their industrial forefathers haunting the circuits. Indeed, some of Ecstasy of Ruin was made with pieces salvaged from Martin Hannett's legendary studio. Autobahn certainly feel part of the long tradition of crepuscular music to emanate from Northern Britain, be that the transgressive activities of COUM Transmissions from Hull, Sheffield Steel City or the gothic history of their very own hometown. Ecstasy of Ruin also speaks to right now. No album opens with a song titled 'Post-History' and closes with another called 'Class War' without some concession to the current condition and it's place within it. Industrial music by it's nature is a physical concern, often placing the human body and it's experience in the context of technology, reflecting the varying trevails of late capitalism. Autobahn strive towards some kind of articulation of that conflict. The music is unrelentingly taut and terse, and the vocals of Craig Johnson are invariably intense, though lyrically there are repeated allusions to beauty, empowerment and, ostensibly, hope. As such, the title of the album is an instructive one - there's some kind of bliss in all this mess. Autobahn don't so much push against the pain as ride it out to it's (il)logical ends.1. Post-histoArtistAutobahnTitleEcstasy Of RuinFormatVINYLLabelTough Love
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Close to five years since their last record, Leeds denizens Autobahn re-enter the fray with the of their third record, Ecstasy of Ruin. Many of the hallmarks of their characteristic blend of industrial post-punk remain intact, but under the bonnet they're a much leaner, more focused machine. Live drums have given way to drum-machines and sample-based percussion, and with it the band reconfigure their typically blackened aesthetic into a hardened take on Electronic Body Music. As with their previous record, it's an entirely self-produced collection, recorded between two self-built studios on a range of analogue equipment, the ghosts of their industrial forefathers haunting the circuits. Indeed, some of Ecstasy of Ruin was made with pieces salvaged from Martin Hannett's legendary studio. Autobahn certainly feel part of the long tradition of crepuscular music to emanate from Northern Britain, be that the transgressive activities of COUM Transmissions from Hull, Sheffield Steel City or the gothic history of their very own hometown. Ecstasy of Ruin also speaks to right now. No album opens with a song titled 'Post-History' and closes with another called 'Class War' without some concession to the current condition and it's place within it. Industrial music by it's nature is a physical concern, often placing the human body and it's experience in the context of technology, reflecting the varying trevails of late capitalism. Autobahn strive towards some kind of articulation of that conflict. The music is unrelentingly taut and terse, and the vocals of Craig Johnson are invariably intense, though lyrically there are repeated allusions to beauty, empowerment and, ostensibly, hope. As such, the title of the album is an instructive one - there's some kind of bliss in all this mess. Autobahn don't so much push against the pain as ride it out to it's (il)logical ends.1. Post-histo
Twenty Twenty Joe Keery, who you may also recognize from the show InchStranger Things,Inch began playing music in his teens after co-opting his sister's guitar, but it was during his college years at DePaul University in Chicago that he formed his first band and began to seriously pursue music. That band was Post Animal, the heavy psych rock outfit that went on to a self-titled EP and two subsequent albums via Polyvinyl. They also toured with artists like Twin Peaks, Wavves and Cage The Elephant and played a number of US festivals. In 2019, with no announcement or fanfare, Keery's solo-project Djo was unveiled not with a single, but a rich, self-reflective, layered 12 track full-length album titled Twenty Twenty. InchJoe Keery built a carnival. The resonance of each riff or beat is not new, but redesigned and reshaped into the beauty it is today. The face of psych or alternative mirrored through his own design, and it reveals a person who shouldn't be underestimated,Inch said Rodeo Mag. Despite the album being released under the radar and without a tag, fans found their way to it, and Twenty Twenty has now seen more than 200 million streams to date. Album Tracks 1. Mutual Future (Repeat) 2. Just Along for the Ride 3. Tentpole Shangrila 4. Total Control 5. Mortal Projections 6. BNBG 7. Ring 8. Flash Mountain 9. Personal Lies 10. Roddy 11. Chateau (Feel Alright) 12. Showtime
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