Project Pitchfork Discography Download

Project Pitchfork were formed by Peter Spilles and Dirk Scheuber. After agreeing to work together, they picked the project's name by choosing a random word from the dictionary.[1] The band gave their first performance in Hamburg in February 1990[1] and released their demo, K.N.K.A, in August. In May 1991, their debut album Dhyani was released. The band's second album, Lam-'Bras was released in February 1992 and yielded the first vocal appearance of Patrica Nigiani. Six months later, the band's third album, Entities was released. The band switched labels to Off Beat for their 1994 release Io. The album featured two singles, "Renascence" and "Carrion", and marked the first time the band entered the German Charts. The album was followed by a lengthy German tour.

In 1995, Project Pitchfork established their own label, Candyland Entertainment,[2] through which they would release the majority of their material as well as some side projects and bands such as Philtron and Deep Red. 1995 also saw the release of two EPs, CH'I and Corps d'Amour, and one album, Alpha Omega. The year finished off with a tour supported by Rammstein.[3] The next Project Pitchfork studio album Chakra:Red! was released in 1997. It was the first album since Dhyani to be written as a group effort, rather than by Peter Spilles alone, and the first to include Jrgen Jansen as a permanent band member.[4]

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PROJECT PITCHFORK

'Blood'

TRISOL MUSIC GROUP

One year on from the band's sixteenth studio, andGerman ebm pioneers Project Pitchfork unleash album number seventeen,'Blood'. The album continues to see the band play with aggrotech andfuturepop influences within the framework of their classic ebm sound.Hard beats, catchy melodies and sing-a-long vocals are at the fore ofthe album, showing that the trio are not in any danger of slowingdown any time soon.

Kicking off with the imposing slab ofdark dance-fodder that is 'Blood-Line (Never)', the band set the paceearly on. Songs such as 'Blood-Stained (Give Me Your Body)','Blood-Pressure (Just For My Pleasure)', 'Blood-Game (For You)', and'Blood-Thirst' follow-on in a similar vein, blending the hard dancebeats with some sublime synth work to get the audience hooked. Whilesongs such as 'Blood-Moon (Romance)', 'Blood-Shed (Dark River)','Blood-Lust (Mental Island)' and 'Blood Night' delve a little deeperexploring dark electro territory and throwing in some glitchy momentsfor good measure.

At thirteen tracks, 'Blood' is agood length album, and the band definitely vary things up to hold thelistener's interest. Though the three remixes included of'Blood-Stained', 'Blood-Lust', and 'Blood-Line' feel somewhatsuperfluous to proceedings as they are at best more club-orientatededits of what are pretty strong dance tracks already.

Asyou'd come to expect from a veteran act such as Project Pitchfork,the production on this album is excellent. The beats are big andhard, the vocals cut through the mix with great effect and the synthshave that big, room-filling quality that makes you want to see themlive.

After twenty-odd years in the game, Project Pitchforkare still a band with a lot to offer, and are indeed still at the topof their game. They know their audience well and still continue topush themselves to keep the hits coming. 'Blood' definitely stands upwith the classics in their discography.

With the recent reissue of the Teen Suicide albums, the announcement that Julia Brown's An Abundance of Strawberries will be getting a (long overdue) official release, and Sam Ray offering his entire discography as Ricky Eat Acid for 8 dollars on bandcamp I figure now is a pretty good time to dissect his discography, especially considering I rarely see it mentioned around here.

So, as a favor to you lovely people over at r/indieheads (also because I love Sam Ray so much), I am going to break down his entire discography. (Well, actually that's kind of a lie. Sam Ray has about a billion side projects. I will not be discussing them, because even though I may possibly be the world's biggest Sam Ray stan, I can't really call any of them essential).

Teen Suicide is by far Ray's most popular project, and for good reason. As the chief songwriter for the "band" (Ray was the only consistent member), he took inspiration from numerous different genres and styles, filtering them through his ideas about what a pop song should be. The end result is three albums and two EPs of intimate, beautiful, and unpredictable music anchored by Ray's frail voice and poetic (yet occasionally melodramatic) lyrics.

Giles Corey was the first main solo project of Barrett. It began as an outlet for country music but was progressively and supplementarily inspired by folk music.[3] Barrett said the music was influenced by country singer-songwriters Hank Williams, Johnny Cash, and Merle Haggard, among others.[3] The project took its name from Giles Corey, an English farmer accused of witchcraft during the Salem witch trials and executed by pressing. Barrett chose this as the namesake because it demonstrated the "immorality of execution", especially peine forte et dure. Barrett says of Corey: "He made them murder him. He made it ugly".[4] This fixation on death followed a one-year period wherein Barrett was contemplating, and had attempted, suicide.[3][4]

During the early stages of the Giles Corey project, he placed self-imposed restrictions on which instruments would be featured. However, as the debut album, the self-titled Giles Corey (2011), evolved, these constraints faded.[3][5] The album draws on philosophy and the paranormal, something Barrett explored to theorise the experience of death during his depressive year. While unconvinced by the idea of an afterlife, he appreciates its symbolism: speaking to Scene Point Blank, Barrett said "I don't believe in an actual afterlife, but I believe that the image and symbolism of the afterlife describes death in a way that speaks to people, myself included".[3] Despite the album focusing on the concept of death, he argues against it being a concept album: "I don't really like the term 'concept album,' since it just sounds corny".[3]

In continuation of the Giles Corey project, Barrett released Deconstructionist on 25 August 2012. The release comprised three tracks that in total, spanned over an hour and a half of runtime. On official sources, Deconstructionist is regarded as an album,[10][11] while Wired writer Phill Cameron called it an extended play (EP).[12] Barrett was inspired by "traditional ritual trance" while making Deconstructionalist,[12] and as such, described the release as being "designed to induce trances, possession states, and out-of-body experiences".[11] Musically, the release is composed of binaural beats.[12] Cameron described it as a "disconcerting racket" that feels "almost lonely; every sound echoes, as if in a huge space, and the constant pressure of electronic beats adds a sense of desperate urgency to the music. It's unsettling and uncomfortable."[12] Like his previous releases, Deconstructionalist was also accompanied by a primer.[12]

Black Wing is the second solo project of Barrett. The music is categorised within electronic subgenres, though maintains the gloomy and dark characteristics present in his work as Giles Corey and with Have a Nice Life.[18][19] While the primary genres are distinct from those of his earlier projects, Barrett still notes similarities: "there are certain things I can point to as being pretty indicative of my aesthetic sense, little fingerprints that connect my oldest stuff with my newest stuff. None of that's on purpose, but I definitely sense it there".[20] In an interview with The Seventh Hex, Barrett said "it's more a mood that I want to go for, rather than a specific sound".[20] He cited 1980s new wave as an inspiration, as well as Washed Out, whom Pitchfork described as "the godfather of chillwave":[20][21] a style of electronic music that Black Wing has been classified under.[22][23]

Barrett began creating music as Black Wing in 2013, releasing two demos onto Bandcamp: one self-titled and "My Body Betrayed Me".[24] In June 2015, "My Body Betrayed Me" received a music video and Barrett announced ...Is Doomed, the debut album of Black Wing,[22] which released on 25 September 2015.[25] The album was enjoyed by critics,[26][27] though some thought it was underwhelming when compared to his previous works. Sam Robinson for Echoes and Dust said it was refreshing yet reminiscent of his previous works, but that listeners should not expect it to be "the next great milestone" in Barrett's discography.[25] Thomas Brand for Beat was disappointed with the production but still lauded several songs, including the closer "If I Let Him In", which he considered Barrett's best work to date.[28] Tiny Mix Tapes highlighted the same song, describing it as "centering, chilling, later explosive, terribly despondent, but humbling".[24]

In 2003, Barrett founded his own record label, Enemies List Home Recordings,[a] because he wanted to release music to the public but did not have the financial means to distribute it through mainstream labels. It was founded solely for the purpose of releasing Have a Nice Life's debut Deathconsciousness, and as such he used it as a personal label until 2010, at which point he allowed submissions from other bands.[38] The label has released albums from Have a Nice Life; Barrett's solo projects Giles Corey and Black Wing; as well as unrelated artists, including Planning for Burial,[39] Mamaleek,[40] and Xasthur.[38]

In June, Killer Mike released his first solo album in 11 years, Michael. Though he has been making music alongside El-P as one-half of Run The Jewels for the last decade, Killer MIke's refreshing return to form on his latest project was both galvanizing and long overdue. ff782bc1db