All posts tagged Post-Industrial


Incentive. Photo courtesy of the official Facebook page.

By Rick Polo (Editor-in-Chief)

Magnificent talent lurks from every crack and corner of Northeast Ohio. Many can be seen slugging it out for dominance in local clubs and bars. Yet some fly under the radar, spreading like a disease around you before finally creeping out at the last possible second, and altering your idea entirely of what the scene is, can and should be.

Such is the case for Incentive. Hiding along the shadows of the Canton, Ohio music scene, Incentive is a self-produced, self-released one-man post-industrial act. The music is comprised of distorted and contorted electronic noise, with hints of melody laid throughout. Similar to the likes of Coil and Cabaret Voltaire, Incentive utilizes the blatant noise and atmospherics of classic industrial, with hints of Post-Punk, Goth, IDM, Noise, and Witch house for a classic yet contemporary electro-industrial sound.

The man behind Incentive, James Osborne, said his musical influences’ roots lie across all plains of the electronic spectrum.

“In high school I listened to quite a bit of Japanese Noise, the old stuff from the Boredoms before they turned into more of a Kraut Rock-type group. I was also into industrial music a lot too, stuff like KMFDM and some of the works from Killing Joke,” said Osborne.

However, he said his perspective of the industrial genre is based more in imagery and ideas than a one particular sound.

“I think the best way to describe industrial music is not necessarily trying to categorize it by its sound, but by its mindset as well. When you look at a lot of early-80’s industrial videos and such, they all have very similar imagery. That sort of weird post-dystopian imagery and wastelands. I think it’s about trying to show the reality of industrialization, and now this post-industrialization that we’re living in,” said Osborne.

Incentive began making noise in 2003, experimenting with limitless boundaries of the process of creating machine-based music, with an indication of a broken human soul subtly strung throughout. By 2009, Incentive had compiled enough material for a debut release, No Justice, No Peace. Since then, he has released an album’s worth of music consecutively each year. Three of the more recent albums, Cyberpunk Age, Ascension of Isaiah and Prospect St., are available for purchase at Incentive’s official Bandcamp page.

Currently, Incentive is hard at work on yet another album, which is nearing completion.

“The album I’m working on right now, I’ve been working on since August. And I’d say it’s about 75 percent complete right now,” said Osborne.

Music is not the only trade Osborne has mastered. He has also launched the successful independent record label, Dystopiaq Records. Along with Incentive’s entire discography, Dystopiaq, which operates under and Creative Commons License, has released records from various experimental electronic bedroom artists, as well as a number of compilations featuring bedroom artists from around the globe. The label, which was founded in 2009, was designed to release and promote “products that put wrinkles in your brain.”

The label’s official Facebook indicates:

“Dystopiaq releases consistently unique and interesting cuts from the around the world. We primarily focus on a wide range of electronic music, but we have no issues with other styles.”

Osborne said Dystopiaq will continue to seek out and release distinctive talent, from whatever corner of the world it may lie.


(Crosses) †††, Chino Moreno and Shaun Lopez. Photo courtesy of

(Crosses) †††, Chino Moreno and Shaun Lopez. Photo courtesy of

By Rick Polo (Editor-in-Chief)

For many Deftones fans, frontman Chino Moreno can do no wrong. He has one of the most recognizable and hypnotic voices in alternative rock/metal next to Maynard James Keenan, and has fronted the aforementioned genre-spanning, multiplatinum act for the last two and a half decades He’s also dipped his hand into a number of interesting work outside of the band over the years. Interesting to say the least…

Aside from dozens of guest appearances, Moreno has fronted three acts other than the Deftones. In 2005, he formed the dream pop outfit Team Sleep, embracing his love for The Cure and post-punk. However, it’s been in recent years last we’ve seen Moreno at his busiest. After release the successful Koi No Yokan with Deftones in 2012 and performing with the supergroup Palms just last year (see past reviews), Moreno now takes a step into electronica and “witch house” with his new project, ††† (Crosses).

Formed with childhood friend and Far guitarist Shaun Lopez and milti-instumentalist Check Doom and drummer Chris Robyn, ††† released their self-titled debut record via Sumerian Records in February. The record itself have received mixed reviews, but an explosive performance on Jimmy Kimmel Live! and a healthy buzz among underground rock fans have garnered the band some serious attention.

One thing Moreno has yet to do is repeat himself. ††† dabble into the Witch House genre, a style coined over the last several years that employs elements of dark ambient, electronic, industrial, experimental hip-hop and noise. While the clash of sonic textures are present, most of the tracks on ††† are more pop-structured, albeit experimental, which isn’t typical of Witch House. They sound similar in ways to new Nine Inch Nails music, and none of the tracks exceed four and a half minutes, leaving them easy to digest individually.

The tracklist does however flow into itself on ††† and the music feels like one long piece, a trademark of Witch House. It kicks off with “This Is A Trick,” featuring Loaded frontman and former Guns N’ Roses member Duff McKagan on bass. Songs like “Telepathy,” “Bitches Brew” and “Nineteen Ninety Four” clearly establish the sound on †††, with slamming and brutal bass riffs and a thick atmospheric heaviness. Other tracks like “The Epilogue,” “Frontiers” and “Option” provide a more eerie vibe, and sound a bit more in tune with something Mike Patton would conjure up. Overall, the album flows seamlessly and is best listened to in it’s entirety or at least in chunks.

††† and Deftones have little in common other than Moreno’s voice and signature dramatic song writing. They create a heaviness out of glitched samples and wailed noise, whereas the Deftones utilize heavy down-tuned riffs for their space rock atmosphere. Still, fans will most likely embrace ††† for most of the same reasons; it’s deep, brutal and it simply rocks! One can play White Pony and ††† back to back, and still feel most of the same sensations. Overall, another win for Moreno.

Check out their official music video for “Bitches Brew” and explosive performance of “The Epilogue” from Jimmy Kimmel Live!