Out now: EXIT ELECTRONICS “Every Shade of Grey”
Digital release: LINK
Standard edition cassette: LINK
Special edition cassette: LINK
Music video by Skintape: LINK
Worldwide tape distro coming soon.
From the vacuum emerges an unbridled sonic mid finger to it all. Justin Broadrick serves up a searing indictment of our collective failure as a society — mired in monotonous greyness, rampant disinformation and rife with callous exploitation and disillusionment. With four new longform tracks, "Every Shade of Grey" sees Broadrick return to his very essence in true industrial mental make-up, railing against the system that seeks to keep us down.
Don't be fooled, however, as it’s far from being simply derivative of old-school industrial music. Instead, it undergoes a revisiting and updating process in a mature and modern vision. At the core of his newest vessel of dissent, EXIT ELECTRONICS, lies an unyielding philosophy of transcending the boundaries of genre and embracing the power of unfiltered expression.
Gone are the shuffly 2-step rhythms found on the two previous and very recently self-released outings of EXIT ELECTRONICS. This time basslines reign supreme, while drums are smashed to the point of resembling whip cracks, wrecked heavy duty pistons and atonal power hammers, the most melodic part is a gut punching two note shock wave. Born from a liberating creative exercise, “Every Shade of Grey” weaves a vortex of distorted frequencies reverberating like behemothian machinery, ignoring emergency shutdown. It spews out mutating cycles of dissonance that spill out between the chaotic interplay of slamming, drilling and wobbling basslines and cavernous snares until speakers ignite in a blinding white-hot blaze, melting away the illusions that bind us. With iron-willed, mechanical rhythms that charge the textural onslaught grinding you into submission, and one track adding visceral screams to the cacophony of noise, tracks break down into serrated landscapes of sinister drone and shrill feedback that awaken haunting memories of signals shrouded in analog static. There's no redemption to be found…
Broadrick, with double-distilled disillusionment and an insatiable appetite for sonic exploration, embraces the chaos with a no-holds-barred assault against half-truths force-fed for too long. Alongside the standard cassette edition, Deathbed Tapes presents a special edition enclosed in a clamshell case including a bonus USB drive-fitted cassette holding the release in digital format and a music video by Skintape. Embrace the curse of our terminal flaws through this relentless barrage reminding us of the unyielding cycle of disappointment we find ourselves trapped within. — Luke Lund
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# 4,361
Exit Electronics: Believe Anything, Believe Everything (2023)
It’s great being a Justin Broadrick fan because there’s no shortage of new music released. Any day you can wake up and find out his tenth album from one of his many projects came out a few weeks ago. Many circulatory systems came to a sudden halt upon first listen of Learn The Hard Way with its filthy over-the-top rhythmic noise overload. Only six months later had Broadrick (Godflesh, Techno Animal, Jesu) unloaded more defunct electronics with Believe Anything, Believe Everything. With his endless output of sound and innovation, it comes as no surprise that he had plenty more of steel-heavy industrial payloads to deliver. Believe Anything…’s themes and track titles of blind worship, herd mentality, and deception say a lot without lyrics and goes hard explaining it sonically in busted and pulverizing textures and structures. Imagine the surprised look on your face on “Act First, Think Last” where flesh is ripped off and your head gets bashed in. Multitudes of ice-cold knives are thrown all around in “Kneejerks”, transitioning into “Who’s Your God” where five-plus minutes gets mercilessly disintegrated into shreds. Believe Anything…’s unbearable industrial hell ends with the final hammer blows of “How We Love To Mock” that seals all the rusty nails in the coffin. If last year’s Learn The Hard Way already didn’t demolish everything in sight, then Believe Anything, Believe Everything will certainly finish the job. Chances are, it may not be the last.
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ONE TOO MANY MORNINGS
THE CHEMICAL BROTHERS
[EXIT PLANET DUST, 1995]
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Give life back to music studio outtake was amazing!!!
it felt do different yet do familiar it was beautiful
i love it its definitely going on a playlist its so amazing to see some of the earlier versions of their work really show how perfectionist they are it makes everything we got from them feel even more special
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Caterina Barbieri — Spirit Exit (light-years)
Photo by Furmaan Ahmed
The cover of Spirit Exit shows the artist suspended in a shaft of light above foaming waves against an otherwise blackened sky. At first glance, she appears to be falling or do her trailing limbs suggest she is rising or held in stasis? That’s more or less the position that Italian composer Caterina Barbieri places the listener in over eight tracks in which ascension is complicated by inertia and descent. Although best known for her work with modular synthesizers, Barbieri introduces classical guitar, strings and voice to lend a human feel to the mystical bent of the music. She explicitly links the polyphonic qualities of the synths and renaissance music to collapse time and create a liturgical synthesis in which her rhythms and patterns reflect a struggle for transcendence.
Deliberate anachronisms interpolate references to Bach and sacred music amongst Vangelis and Jarre galacticisms. The album’s gothic architecture is both grand and disquieting. Spirit Exit’s intimacy is disturbed by external forces and derange by ecstasy, whether in the nervy thrum of “Canticle for Cryo” or the distressed mechanical waltz of “Terminal Clock” or the febrile dance floor rush that interrupts “Broken Melody” It is in these intersections of the ethereal and the earthly that Barbieri is most effective, singing with a plaintive almost operatic tone that contrasts with eruptions of turmoil. “Life At Altitude” blooms from a scratchy unyoking. It circles and falters before breaking the bonds of gravity to glide. As it rises on currents of synth over a counterpoint of bass tones, the cut reminds us that gravity’s weight of gravity is not so easily eluded. Barbieri closes the album in a state of relative grace on the lush romanticism of “The Landscape Listens” which feels the most personal and harmonious statement on Spirit Exit, one of acceptance if not acquiescence.
The title is ambiguous; it could be an exorcist’s exhortation, a plea for freedom from earthly matters or a meditation on mortality. The music sometimes meanders as perspectives shift and but Barbieri’s juxtapositions of church and club in which transcendence through music can be both a public and intensely personal experience is never less than transporting.
Andrew Forell
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# 4,314
Exit Electronics: Learn The Hard Way (2022)
One week before Christmas. I took the train to Penn Station and then to Williamsburg to meet up with one of my all-time favorite mutuals. I threw in Exit Electronics for the ride not knowing it was from Justin Broadrick. “World Wide Wasted” comes on with an added bass boost and it came within a millimeter of destroying my ears clean off. My mutual, being a massive Justin Broadrick fan, knew about it and we both agreed it was going to be something. It should’ve gone great with the few slices of Joe’s pizza we mercilessly chowed down. According to JK Flesh himself, these were ultimately rejected ideas that didn’t make it into inclusion but have consolidated into its own, stressing “NOT techno, “NOT slo-mo techno…just pure release”. Learn The Hard Way is the furthest thing away from techno and only Broadrick would put it perfectly how it sounds. Distortion is pushed to the limit while showing a coherent body of rhythmic noise partially assembled by shredded beats and song structure deteriorated beyond recognition. After all is done, it’s nine songs of dislocated machinery, faulty wiring, and recycled crumbled steel that never sounded better. Blast this through your system or headphones - extra bass recommended - and try not to have the neighborhood police banging at your door yelling at you to turn down this racket. (But the neighbors will love it, by the way.).
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ALIVE ALONE
THE CHEMICAL BROTHERS
[EXIT PLANET DUST, 1995]
And I'm alive, and I'm alone
And I never wanted to be either of those
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