mercredi 27 juillet 2022

Electraumatisme du 27/07/2022

Encore une bonne pelletée de récentes sorties à présenter dans cette édition régulière d'Electraumatisme. Nomad et Ozymandias ont momentanément disparu de ma mémoire lors de sa production...l'âge, que voulez-vous.

Razorback Hollow - The Third Kind
Mionokage - You First
Transhuman Rebirth - Nocturnal Emissions
Matt Hart - Absolute Zero (Rotersand Classic Ride rework)
A Perfect Error - Midnight Wire
A-tria - Ya no Juegan
Amnistia - The Sinner (ner.ogris Remix)
G.G.F.H. - Secret friend
Fluid Ghost - Heatwave
Monstergod - Austere feat. Daray, Heinrich and Cesar Soto
Astralasia - Gungadin - Pass The Khyber
Whitar - Gaia
Holon - Agents Of Chaos
The Juggernauts - Religion (V.2K16)
Corrupt - Active Cancer
Kris Baha - Revolting

Releases of the week:



Mionokage - Mionokage


Transhuman Rebirth - Preparing Singularity


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samedi 23 juillet 2022

Kitchen Notes : Monstergod on Ozymandias


La grosse surprise de ces dernières semaines, c'est d'avoir vu sortir sur un sous-label assez pop (Space Race Records) un excellent album dark-electro/industriel aux larges influences metalliques. Monstergod nous donne des informations sur le matériel mis à contribution et les méthodes de composition jamais fixes utilisées pour réaliser Ozymandias (un mystère demeure cependant, que j'aimerais bien éclaircir).

The big surprise these last week has been to see the release under a mainly synthpop label (Space Race Records) of an excellent dark/electro industrial album with wide metallic influences.
Monstergod gives us informations on the tools and never really fixed composition methods used to produce Ozymandias (there is a mystery remaining I'd like to clarify, though...)


Gears and software

What gears/software did you use for Ozymandias ?

I used a lot of different software and hardware:

Hardware: Fender Bass V Aerodyne and Strandberg Guitar + some hardware synths: Novation Ultranova and Roland SH-201, TC Helicon Voicelive 2 and 3 for vocal effects. As a sound card I used SSL 2+.

Software: it's hard to name it all but I used Logic Pro X as DAW, a lot of different virtual synths lika ANA, Some of Native Instruments like Massive or FM8, some from Arturia's stuff like Pigments or MiniV. I also used Korg VST like Monopoly or Wavestation. And of course a lot of different effects.

Your favorite gear(s)/software(s) ?

I really love ANA, a virtual synth and Neural DSP software for guitars: Soldano SLO-100 or Parallax.

Any evolution in your setup ?

All the time :) I change the gear when it's possible. I have a rule that if I do not use particular gear for more than 6 months, I should sell it.
But it's sometimes confusing, because from time to time I feel that I made a mistake, that's why I had 3 different Viruses all, I bought 2 or 3 times Roland SH201 or Novation Ultranova.


Sound Design

Do you use/tweak presets  ? 

Sure, it's one of the easiest ways to start working on a song. But I tweak them to sound as I prefer.

Do you design you own sound  ? On which synth/plugin in particular ?

Rather not. I want to make songs fast enough to not forget the melody or music ideas I have.

Writing/composing method

What would be your main writing/composing method ? Do you start classical rythm/bassline then arrange around it ? Do you already have structure in mind ? Do you improvise, record sessions then select ? ...

I have a few different methods. Sometimes I start with drums/percussions like in a song called Beloved. Or with guitar as in Subdreams.
Of course, I check some presets on VST/hardware synth and some ideas come to my mind. We could call it an improvisation.

I try to build 3,4 "stages" and then arrange them in a song - intro, verse, chorus, bridge etc. After that I try to add additional instruments. Sometimes I kill the tracks I made at the beginning. The process is never obvious and can be changed. The most important thing is to have a song at the end.

Producing/mixing method

Do you produce/mix in the box or do you use mainly external gears (effect/comp/eq...) ?

What is your most painful / enjoyable step in track production ? Sound design, arrangement, mixing, mastering ?

I like to create, write and arrange songs but mixing is sometimes terrible. That's why I usually work at this stage with mixing/mastering professionals.
On Ozymandias I worked with Filip Hałucha from Heinrich House Studio. I found him on the Internet, I checked his previous works and I knew it would "click".
He's a great listener and great musician (played in Vesania or Decapitated). He also suggested that I could record real drums with his friend Daray, known from Dimmu Borgir, ex-Vader etc. It was a great experience to see how these 2 guys work together. Fast, professional, and all the best words you can imagine.

Filip asso added some additional synth layers, bass sounds or reamped my guitars. So he was some kind of co-producer of this album.


Monstergod's tips

Some of my friends ask me to listen to their new songs at the production stage. Some of them are good, some of them are bad. But it's my particular feeling. I rather prefer to answer questions about mix, or general sound than talking about feelings. In my opinion we shouldn't do it. Making music is a part of your soul if you share it and listen to what people think about it and try to tweak, change the song before they, not you, think in a different way - that's bad. I think that many music productions are almost the same. Of course we all are under some music influences but the case is to give to your music as much heart as it's possible to avoid creating copycats. So my tip is to focus on what you want to do, not what others think you should.

Contact info 

Bandcamp :


mercredi 20 juillet 2022

Playlist Electraumatisme du 20/07/2022 - Dark Electro à l'ancienne et ses multiples sauces

Qu'elle soit break, dansante, montée à l'Industriel, la seconde partie de cette édition d'Electraumatisme donne dans la Dark Electro à l'ancienne, la meilleure.

Fluid Ghost - Persuasion
Monstergod - Beloved
Unroyal - My heart is gold
Teleskop - True
Maskindirektivet - Direktiv Zombie
tEaR!doWn - Priest
Index AI - Black soil under twilight
Individualdistanz - Uneins
Individual Totem - Levitation (Remix)
Digital Slaughter - Determity
Plasma Pool – Láz/Fever 1991 (2011 Re-Recorded)
Dementia Simplex - Bugbear
Working People – Without Dream
Interlace - Relapse
Inure - This disgrace
Inva/id - Cast

Releases of the week:


Monstergod - Ozymandias


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jeudi 14 juillet 2022

Kitchen Notes : Skren on Chaos


Avec leur deuxième album Chaos, Skren est un duo de Düsseldorf à suivre de très près sur la scène electro-indus agressive. Voici fournis avec moult détails le matériel et les méthodes de productions utilisés pour concocter cette impressionnante sortie. Fan de synthés hardware, c'est l'heure !

With Chaos, their second album, Skren is a Düsseldorf duo to track closely on the aggressive electro-industrial scene. Here are delivered with many intersting details hardware and production methods they used to cook this impressive release. Synth fans, it's time for diner !

Gears and software

What gears/software did you use for Chaos ?

For this album we used:

Synth: Virus TI, Sequential Pro3, Waldorf Iridium, Leipzig V3, Moog Grandmother, Waldorf Blofeld, Korg Monologue

Drums: Electron Analog Rytm, Jomox 999, DFAM

Sequencer: Octatrack, Toraiz Squid, Pro3(integrated), Iridium(integrated)
Guitar: Epiphone Les Paul Studio Goth, Charvel, Amp: Peavey 6505

Bass: Fender Amp: Darkglass

Various Effect Pedals Strymon, Animal Factory and more
Different Mics: Rhode, Sennheiser MD421, Shure

Software: Ableton, Soundtoys, Izotope, Brainworks

Your favorite gear(s)/software(s) ?

All Instruments have their special place in our setup. We use all instruments stand alone without any automation from the DAW all parameter changes are done by hand.

The Virus Ti is a very reliable piece of gear, we use it mostly for heavy rhythmic pattern or powerful lead scapes. For example the main sequence in „HYPERSCHLAF“, the chorus- and intro-sequence in TUNNEL and EXISTENT, the rhythmic pattern in the chorus parts of UNTERGANG and CHAOS, and the „pad" scapes in STAUB.
The Moog Grandmother mostly plays on top of the whole song foundation with weird syncope sequences playing with cutoff and LFO modulated pitch. It adds a lot of atmosphere and organic transitions to the songs.
We use it in TUNNEL for the main melody theme, in IM KOPF for the weird arp sequence on top, in the last experimental part of SUBSTANZ, as an atmospheric arp in UNTERGANG and it delivers the main melody layer in CHAOS that plays underneath.
Analog Solutions Leipzig V3 can do these massive basslines with a very organic feel and the possibility to make filter and resonance changes for a sonic development during a song.

The Pro3 has this wonderful build in 64step sequencer but in our setup sometimes it is very hard to tame its frequencies and to include them into the whole sound spectrum. We use the Pro3 on STAUB for the striking bridge part.
In TUNNEL it plays the rhythmic sequence during the instrumental parts of the song. And in SUBSTANZ it delivers the rhythmic one note Pattern that opens up in the „immer hungrig“ part.

The Iridium is a digital monster with endless possibilities of sculpting and shaping a sound. It takes its time to create a sound with it that fits into our already build up layers. It has a great stereo width and sounds very unique.
We used it for the solo melody on STAUB that repeats in the second half of the song. It also has its part in UNTERGANG during the mid section of the song with the rhythmically evolving buzz bass.
And we use it on CHAOS for some  sequences.

The Iridium is also a sequencer for the Blofeld via midi. Blofelds audio output goes straight into the audio input of the Iridium where everything from LFO modulation to granular synthesis is possible to happen.


Any evolution in your setup ?

The Moog DFAM is an evolution in our setup. We use it on every song. It has as massive low end that sometimes is hard to get under control, but it also has a wide range of different analog sounding bassdrums and it is possible to fine tune it very good. We add lots of distortion to it to get more bounce out of it and to add upper harmonics. You can hear it in the main rhythmic pattern and bassdrum on EXISTENT. It was an evolution in our setup to give the drums both a more organic modular kind of feel and the possibility to make drum transitions without programming too many different drum parts and fills.


Sound Design

Do you use/tweak presets  ? Do you design you own sound  ? On which synth/plugin in particular ?

Sometimes we build up sounds from scratch on Virus, Iridium, Pro 3 and of course on Leipzig and Grandmother. Sometimes we tweak presets on Pro3 and Virus. They deliver a good foundation to get an impression of where the song sonically could go. And by tweaking and redesigning we define more and more our personal direction of the sound.

Writing/composing method

What would be your main writing/composing method ? Do you start classical rythm/bassline then arrange around it ? Do you already have structure in mind ? Do you improvise, record sessions then select ? ...

We mostly start making music with lots of improvised sessions. Fragments of lyrics develop during these sessions through the atmosphere of the sound. When we have the feeling that everything is spit out we listen through and decide which ideas express our intention best. After that its all about rearranging and sculpting the sound and structure of each song in particular. The lyrics often have to be reduced to a minimum cause mostly in the beginning we have too many words. Especially for this album we thought about how to perform them live, while arranging the songs.

Producing/mixing method

Do you produce/mix in the box or do you use mainly external gears (effect/comp/eq...) ?

We do not use any software instruments. Everything is recorded from our hardware into Ableton and all songs are mixed and mastered there. During the mixing process lots of plugins are used to shape and define the single sounds and the overall sonic sphere. The vocal and guitar recording this time was a little bit different from previous recordings. During vocal recordings we both were together in our main studio room without using a vocal recording chamber, so we had a much better response on each other in terms of feeling the vibes of the vocals. The guitar layers this time were recorded with a mic directly from the cabinet wich was a new experience for us and added space to the guitar tone.

What is your most painful / enjoyable step in track production ? Sound design, arrangement, mixing, mastering ?

Creating and performing music is definitely the best part, while mixing is for us the hardest part in track production.
Creating sounds and atmosphere is something where we can rely on our Intuition and freely express ourselves. Thats the fun part. Mixing and mastering has lots of technical issues and we get painfully lost in frequencies sometimes.
Especially when mixing a whole album we have to find a flow that brings the different songs together to one piece of art.

Skren's tips

Breaks and PowerProteinBars
Martial Arts
push the boundaries
Gain Staging


Contact info 

mercredi 13 juillet 2022

Electraumatisme du 13/07/2022

Retour en douceur avec cette courte édition régulière d'Electraumatisme. Une seule nouveauté mais de taille avec le dernier album d'Amnistia.

Amnistia - E.Y.S.I.D. Beta
Silver Walks - Silence the Dark
Noisy Deafness - Next to the grave
Ritualz - Terminus
First Aid 4 Souls - The Well Of Bones (instrumental)
Pride and Fall - Paragon (Club Version)
Volatile Artillery - Lost Emotions
G.G.F.H. - Fiending Korpse
Electro Implant - Moment Of Death (Post Mortem Mix)
Noxious Emotion - FPMO
Contagion - Scratch

Release of the week:



Download :