The Soundshark Artist of the Year 2016 – Mr.Kitty

While this is the very first of the end of year posts for this site and officially the first time anything like this has been on the site before, it gives me great pleasure and happiness to write a piece, giving a greater emphasis on an artist that has been a constant for this year. Limitations are boring and if locking a piece like this solely to any artist’s accomplishments in one year, it doesn’t grant the necessary freedom to write something engaging enough. So take this as a love letter to the one artist or group of artists whose music has been cherished through thick and thin this year, and would like to dedicate this year’s piece to self-proclaimed ‘suicidal synth-pop’ artist Forrest Avery LeMaire a.k.a. Mr.Kitty.

If you want to talk about 2016 for Mr.Kitty, then it hasn’t been as active as past years. Despite playing numerous shows over in the States, we were expecting what was to be Mr.Kitty’s sixth album in as many years to be released in October, making him certifiably in the conversation as one of synth-pop’s hardest working artists around. Sadly but understandably, the album was put on hold until next year as health concerns became a priority into the latter half of the year. But that does not speak for the quality of the music that Mr.Kitty has produced over his six-year plus lifespan as a recording artist. Far from it.

10915231_782892825093648_8704063085057317392_n

Credit: Doug Schwarz Photography

Channeling the mechanical heart of classic 80’s electronica and the drum machines of the great original goth movement, into chilling dreamscapes and darkened dancefloors, narrated by the oft distorted and reverb-drenched lullabies and shrieks of Forrest; the output of Mr.Kitty is an emotional outpouring of a vulnerable soul against an array of unforgettable analogue synth dialects. His first four albums form part of a quadrilogy of works known as the Dark Youth collection, spanning both light and darkness which broadcasts and touches upon many subject matters in that time frame, moving and macabre. It also serves as the perfect window or measuring post to show how much Mr.Kitty has grown and matured as an artist. But every release is its own separate universe, with its own atmosphere and a complete anthology of melodic masterpieces.

Arguably the greatest of his works is Dark Youth’s final installment Time, which although is one of the darker albums of that collection, is uncompromising in its vision, truly emanating the rawest feelings of every song, no matter how black its subject matter. How so many of these songs contain the musings of a mind much darker than you can imagine, but are entangled in some of the most memorable synth-pop written this decade is a true wonder and testament to Mr.Kitty’s abilities as a songwriter, let alone a fascinating juxtaposition. Although we have had snippets of a new album this year, how Forrest has tirelessly spun such outstanding retro-contemporary electronic webs together year after year is commendable. Each one is more enchanting and enrapturing than the next, and there is absolutely no hesitation in saying that everything that Mr.Kitty has created is consistently among the best music heard all year.

So if Mr.Kitty does get to read this, thank you so much for your music, with love and kind regards,

The Soundshark

Five Essential Mr.Kitty tracks:





The vast majority of everything Mr.Kitty has ever produced can be found on his Bandcamp page, and if it can’t be found there, then it can be found on his Soundcloud page instead. Though unconfirmed, a 2017 release window is pencilled in for A.I., to be Mr.Kitty’s next album of which this site will take great interest in. You can shop here if you are in need of any t-shirts or the likes in the near future.

And finally, you can find all news and the means to give him a virtual hug right here:

http://www.facebook.com/mrkittydm
http://www.twitter.com/mrkittydm

And if you wish to give me a virtual hug at all for whatever reason, then you can do so at these social media channels, or by subscribing to the site using the link below:

http://www.facebook.com/IAmTheSoundshark
http://www.twitter.com/The_Soundshark

Advertisements

Track of The Week: Bullet Height – Hold Together

Let it be said that some things carry on the way they started. In Bullet Height’s case, it carries on the sonic storm previously began by debut single Bastion in February, heading towards potential live dates in the near future and a forthcoming album tentatively inbound for the year’s close. But Bullet Height’s roots date back much farther. Circa eight years ago to be precise. For Pure Reason Revolution, the former band that frontman Jon Courtney had a significant hand in, after the success of their opus The Dark Third and subsequent departure of violinist James Dobson, their songwriting took a turn in a more electronic based direction, birthing second studio album Amor Vincit Omnia; an album that transformed the band’s sound from an atmospheric progressive rock opera, into a punchier, synth-injected rock hybrid, with scaled down but still ever-present progressive leanings. This evolution was completed on third and what would become final album Hammer And Anvil, which in my opinion remains one of the most underrated albums of the decade, and would be the only Pure Reason Revolution album to be published by Superball Music, whom the band signed with prior to its distribution. Pure Reason Revolution were to disband in 2011, a year after Hammer And Anvil’s release.

Fast forward some five years later, elements of the sound encapsulated from Amor Vincit Omnia and Hammer And Anvil, the revival of the partnership with Superball Music and the union of Jon Courtney and IAMX keyboardist and vocalist Sammi Doll in Europe’s second biggest capital, brought together Bullet Height, a duo whose talents can equal the exhilarating and electrifying nature of their music. Though quiet for several months since being hotly tipped as one of the bands to keep an eye on in 2016, the emergence of second single Hold Together is a swift reminder of what whipped up the frenzy and excitement in the first place, and an excellent point of entry for anyone curious about the diversity of electronic rock.

13433327_1741564486119278_6179295718055340314_o.png

And a reminder and point of entry none more swift and excellent than the blasting of intense volcanic guitar tones, dark and deep synth throbs and a incredibly forceful percussive pattern. Such is the impact and ferocity of the introduction here, that it relegates Bastion to a mere nursery rhyme in comparison. If your eyes weren’t open before, they certainly will be. The cavalry is quietened for the vocals to take centre stage, the warm hum of synth hovering below and the drums remaining as imposing a presence behind them. It’s here we’re also treated to the luscious vocal harmonies that Jon and Sammi are capable of conjuring. Each individual voice has its own powerful merits, but together it produces an intoxicating sensation yet still a hint of menace which serves the aggressive instrumentation well throughout. Especially as it reaches the pre-chorus, where against a thunderous series of drum kicks and synth throbs that devolve into shrieks, adds that extra edge to twist the tension into a truly explosive chorus. Hitting with the accumulated musical force of a tempest, the guitars, synth and drums decimate anything in the immediate vicinity, with vocals picking up a soaring pop sensibility which sounds eerily calming considering the annihilation unfolding before you. The result however is unfathomably satisfying. A quick glitch from the synths and a drum fill later, and you’re thrown head first back into the carnage. Nuances like additional fury vented on the microphone, jagged guitar you can feel the volatility of, synths expanding and growing in character and ambience and even solo moments of formidable gritty synth stabs all keep the soundscape an unpredictable thrill ride all to the very end. Hold Together is much less a song and more an event; a shockwave of inconceivable artistic and musical vision which can be experienced as both punishing and piquant. It almost seems as if Bullet Height had a crack at their own personal Manhattan Project, and boy did they nail the execution. This duo have the chemistry, talent, uncompromising attitude and simply immeasurable ambition to solidify their status as one of the most awe-inspiring bands in the world at this moment, with the potential to supercharge their electronic rock engine into one of the planet’s all-conquering live acts, just around the corner. The world is theirs for the taking. If they don’t destroy it first.

 
Hold Together is out right now at all respectable music retailers as a digital only single. You can pick up their previous single Bastion at the same music retailers also. The band are in the process of gearing up for live dates in their native Berlin which are yet to be announced, but certainly worth keeping an eye out for. Bullet Height’s debut album has been pencilled in for a release in Winter 2016 which no doubt you’ll hear more about in the coming months. And for a taster of what’s to come as well as back story for the band’s formation, check out this short documentary on them.

Once you’ve digested all of that, go give them your support right here:

http://www.facebook.com/Bulletheight
http://www.twitter.com/BulletHeight

And if you want to give me your support, entirely optional, through a like, a follow or a subscription to the site down below so you never miss a post, you can do so:

http://www.facebook.com/IAmTheSoundshark
http://www.twitter.com/The_Soundshark

3TEETH

I have a theory as to how this band got its name. Imagine three of industrial’s biggest names, Nine Inch Nails, Ministry and KMFDM getting into a physical altercation in a bar. In the ensuing brawl, Trent Reznor, Al Jourgensen and Sascha Konietzko all lose a tooth and the sheer brainpower and psychic energy between the teeth, births this Los Angleles four piece. Perhaps far too sci-fi or comic book plot a reason, but I’d pay to see that adapted. Joking aside, there’s very little to laugh about 3TEETH. This is dark, dark music, with elements of all three of those bands, manifesting itself into a soundtrack for the sinister of psyche. Cold, mechanical and splattered in grey, 3TEETH’s debut album represents somewhat of a restore factory settings reset to industrial’s origins and principles and for a band only two years of age, their vision of an electronic oblivion is all the more staggering. Unveiled, a lighter shade of oblivion, combines haunting modular synths, a metallic and electronic percussion arrangement and a monotone snarl inside of a glitchy, malfunctioning server room, echoing to high heaven. The 80’s meets the 90’s, and the track is a gloomy but glorious work of art. 3TEETH present to you a show reel of urban decay and social deconstruction so well produced and so well composed, very few words can truly do it justice.

3TEETH’s debut album, and an album of remixes from high profile industrial names can be purchased on their Bandcamp page, or at all respectable music retailers, in physical or digital format.

https://www.facebook.com/3Teeth?fref=ts

NTRSN

There’s a trend of bands or groups taking vowels out of their names, the problem is, it’s getting harder to distinguish if they are words or abbreviations. My guess with this Belgian electronic duo, is I haven’t a clue. All I’m interested in is the blurring between the boundaries of 80’s synth-pop, industrial and some colder, darker electronic ambient compositions. Sadly, the group have split has of 2012 (I’ve had a real morbid obsession with dead or defunct bands recently, fuck), but their music could just as easily score a factory production line as it could an EBM club. Although their murky, gritty synths and basslines prowled the seedy underbelly of the latter 00’s and early 10’s, there’s a satisfying timelessness to the drum machines and keyboard arpeggios. Not to mention, whilst the vocals take upon a harsh tone, it’s not excessively aggressive nor drenched in unnecessary distortion, unlike so many of the genre’s stalwarts. There isn’t an abundance of their material around the internet, but People Like Gods from the 2009 album of the same title, emphasises that perfect reproduction of the synth-pop/cold wave sound, whilst bleeding through shades of that EBM club floorfiller personality that other songs personify better. A true underground gem, this pair of Belgian producers, although gone on to pastures new, had a winning formula on their hands, it just seems a shame it never gained greater exposure.

2009’s People Like Gods and 2011’s Hardlines are available at most select online retailers, in a noticeably expensive physical format or digital mp3.

https://www.facebook.com/pages/NTRSN/428006670669438?fref=ts