We Have a Technical brings I Die: You Die's discussions of industrial, EBM, goth, dark electro, and related music genres to the podcast format. Join Alex, Bruce, and guests as they explore music's darker alternatives.
We Have A Technical 475: If That Is Your Real Name
For our 475th episode, the Senior Staff are quizzing one another as to their own history with I Die: You Die. That is to say, we've each grabbed passages from reviews the other wrote years back, and seeing if the original author can identify the records they were writing about. We're hoping it'll be a chance to think about what has and hasn't changed in terms of our understanding of specific moments and artists within Our Thing. We're also throwing some roses Debby Friday's way, and talking Cold Waves FOMO.
We Have A Commentary: The Birthday Party, "Junkyard"
For this month's commentary podcast we asked our patrons which release by Aussie enfents terrible The Birthday Party they'd like us to discuss, and 1982's Junkyard was the resounding answer. We're talking about how the record captures a band which forever seemed on the verge of collapsing inward upon itself, the emergence of the themes and fixations which have gone on to define the next forty years of Nick Cave's art, grooves, spasms, Americana, Shakespeare, and oh so much more.
We Have A Technical 474: Industrial Bowlcut
The aesthetics of cringe, that is to say, the reasons why people within and without darker music are likely to view certain examples of it as profoundly embarrassing or amateurish, is the subject of this week's podcast. The Senior Staff end up talking about social identity, our perceptions of quality, and how and why goth and industrial music are specifically judged, fairly or unfairly. We also have some talk about recent sets from Ms.Boan and Nuovo Testamento.
We Have A Technical 473: Evacuated Bon Mots
Records by Noise Unit and Prager Handgriff are prompting Bruce and Alex to get into the weeds regarding cross-pollination of EBM sub-genres, foreshadowing of artists' future directions, and what is often overlooked when genres are looked back upon historically. Also, do we know as much about the Euro fest scene as our dogpiling on it would suggest?
We Have A Technical 472: Adam Pagecole
It's one of our vaunted Pick Five episodes this week, with Alex and Bruce each asking "How'd this get here?" That is to say, they're both selecting some artists whose inclusion within the worlds of darker alternatives might be puzzling to outsiders, or even themselves, at least initially All that plus a little bit of the "what are your first memories of Band X?" game so often featured on Bombers.
We Have A Technical 471: Basso Profundo Curly
We’re talking about Flesh Field’s Viral Extinction and Project Pitchfork’s Inferno on this week’s episode of the podcast, records which pushed dark electro into a denser, cyber-orchestral direction and into moody, prog-rock influenced territory respectively. We’re also talking about Edmonton’s recent Purple City fest, plus the announcement of new music from the aforementioned Flesh Field.
Best Dark Music Podcast in North America
This is one of the best dark music podcasts out there! Always, have interesting podcasts about what's going on the scene! Bruce and Alex are definitely enthusiastic dark music fans. They have a definite grasp of what's going on in and around the scene! Probably my favorite podcast of all time!
I’ve discovered more great new and old music from listening to these guys talk than from anyone or anything, ever. The amount of dedication and passion they put into the podcast/website is astounding - anyone interested in any of the genres they cover should have a listen and a close look through the blog’s archives.
The banter Real
It is only in this way, through touching the kernel of the Real, that banter can be used to counteract what one is tempted to call the musical practice of disidentification. That is to say, one should turn around the standard notion of music as providing the firm identification to its subjects, constraining them to their "social roles": what if, at a different — but no less irrevocable and structurally necessary — level, music is effective precisely by way of constructing a space of false disidentification, of false distance towards the actual coordinates of the subjects's social existence?