Voice Industrie New Album Emerged From Accidents And Bending Rules
"For as long as I can recall, I’ve wanted to write original music, never being a fan of jumping into a covers band and playing someone else’s music. I never understood why anyone would want to, apart from maybe doing a remake or remixing a song. I’ve done a few stints, and have friends currently in covers bands… fantastic players and performers.. and I respect that…. but it’s just not for me. Usually I find that the instruments themselves are the drivers that motivate and provide me with the inspiration for ideas that might eventually become songs on an album. That’s even more relevant now with all the choices one has in electronic instruments, VSTs, DAWS, etc.
Years ago, electronic instruments were far less intuitive and user friendly, but we managed to squeeze every ounce of functionality they offered to break new ground and explore things not otherwise possible on acoustic instruments. With Voice Industrie, I write and produce all the songs, mostly because I know what I’m after, and to a lesser extent because nobody has ever offered to co-write a VI track. I’m not entirely sure how that translates in the grand scheme of things lol…. But here we are six albums into it since 1992.
I am primarily a drummer who learned my chops by playing along to Pink Floyd, Yes, Genesis and King Crimson records many years ago. Suffice it to say Bill Bruford quickly became my idol. I loved how he approached drumming then and right up until the day he retired. I was determined to form or find a prog band to play with until Gary Numan came along and then things changed. I became fascinated with synthesizers and electronic music and began producing crude experimental electronic works in addition to maintaining my role as a drummer/songwriter for a prog trio we named Roboxis. Fast forward to 1992 after a few short-lived projects and solo outings, and the emergence of Voice Industrie, which included 2 drummers on electronic pads and 2 keyboardists armed with what resembled an entire music store’s synth department.
Back then “VI” performed live only about 4 times a year, including some very memorable outings with 2-Unlimited, KMFDM, Cassandra Complex, Assemblage23, SNFU and many other very good established or upcoming bands." After having undergone several renditions and roster changes over the years, a VI performance today offers up a blend of thundering mathematical rhythms with ethereal and cinematic soundscapes. "We're back to being two drummers (on Simmons electronic drums) and two keyboardists, and I'm loving every minute of it!."
The Technology We Use And Embrace
"In the early days I owned a Star instruments “Synare3” pad and was happy messing about with that, until the Simmons SDSV electronic drums arrived in 1984 everything really opened up. I was able to play melodies on those pads with sticks in hand while holding down the kick/snare back beat with my feet. I could contribute melodies and play harmonies to guitar or keyboard lines. Great fun, until the draw of commercially viable music lured away my mates, and thus Roboxis was to be no more. I continued to acquire synths and Simmons gear as it came available, making the task of creating music from a drummer’s perspective somewhat less difficult, and ultimately managed a decent studio filled with electronic drums, racked modules and keyboard gear.
Over the years the equipment of choice changed, but with much of the now vintage gear still serving my needs. The first two VI albums were written on and recorded directly off an Ensoniq ESQ-1 and Ensoniq EPS. A shift to Cakewalk DOS (!!) was made at album #4, to ultimately settle on creating with various DAWs [Digital audio workstations] until really finding my groove with FL Studio and Cubase. Within those, I have a few go to VSTs but still draw on sounds generated by vintage outboard gear such as the Simmons SDS7, SDE, MTM, Korg Wavestation, Ensoniq VFX-SD and others for inspiration. I quite enjoy randomly layering multiple instruments with MIDI to see what ensues, like playing the Nord Drum2 and Simmons SD2000 MIDI’d to a VST or Virus TI. I am never quite sure what will ensue.
For the past few albums, I have forced myself to toss away familiarity when writing. Only by subjecting oneself to discomfort and unfamiliarity can one reap unexpected results. This couldn’t be more true with the latest album, where a lot of it emerged from taking chances, accidents and bending the rules. I love that!"
credits
released April 27, 2018
Written and produced by Alan Levesque (SOCAN)
Mastered by Tom Frampton (Tiesto, Calvin Harris)
"Astral Dreamer" character and tray sketches by Derek Minshall
Voice on 440H by Christine Miller
c2018 Alan Levesque
Voice Industrie released "psychotica" in 1992. Tracks built on sharp industrial electronic rhythms dominated the inaugural
album and were again prevalent in the 1995 “the anatomie” CD. “Transmission” and “Power” saw a shift to trance and synthpop themes. Beyond these and a “best of” compilation, the 2018 “Dreams Of Flight” album offers up a palate of cinematic soundscapes and progressive beats....more
supported by 4 fans who also own “Dreams Of Flight”
It’s huge it’s big it’s nonstop. Every track is a go to go to go to gone. There is nothing not to like about this generosity is overwhelming. The stimulation is satiating. I never get tired of listening to the great plethora. STEPHEN FRYE
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