Uberman's blog

EXS- all about the songs.

 The order which we're using is not finalised 100% but we have a good idea. Either way, here's a few words for the record on EXS and what it's all about.

1. EXS- We're kicking off with the titular album title this time. Why ? Why not. It's certainly a bit of a scene setter in many ways. The overall feel of things is crunchy, dark, distorted and nasty, this is an industrial album, not a synthpop album and while, as is the case here, the tracks have a heavy emphasis on groove and danceability, we feel that all this nice, sterile, preset driven stuff is a thing of the past. People like Combichirst, Modulate and Soman have kicked this far more aggressive, filthy sound into the ring and we subscribe to that. 

2. Break you. I think a definative brick in the wall of the "new" Uberbyte sound. It's tough and danceable but also kinda colourful, punky, spitty and weird. We've gone for a much more grinding, powerfull feel with the instrumentation, and tried to weave experimentation into an accessible sound rather than being pretentious. This song to me has some real cool ideas but its not attempting to use those ideas to make you think we're cleverer than we are. The opposite if anything.They service the song. End of story.

3. If something gets hard (Fuck It). One of the potential "dancefloor hits' here ? This is positively funky, like a disco from hell, but still possessed of the crushing vibe of much of EXS. I think we've improved allot on the production of our tracks and he had to raise our game cos there's lots of experimental and distorted sounds all round. To make things clear and dancey we had to really work on getting the kick drums deep and clubby, while also trying to improve the feel of the drum kit overall, we were pretty influenced in this respect by touring with Combichrist, and the sound of Joe Letz's live drums with the CC sound. So we've generally thrown out the polite 808 hats and korg-y snares and gone for elements of the sound that sound more "real" while still being, if  not moreso, thumpy and "industrial".

4. The Miracle. If there was an industrial equivalent of Phil Spectors "wall of sound" this would be it. We've tried to build something thats sounds like pure unrelenting power, and could have redfined what "Brit Industrial" is in the process. In the choice of samples, the overwhelming power of the beat and the feel of this one we've decided to showcase our own identity as a British Act and stop politely deferring to the continental scene. Sure they've had the better of things for the last 10 years or so, but this is OUR UK thang. Whether we'll put the UK back "where we belong" god only knows but by thunder..it would be nice to stand up and be counted.

5. Almighty and Relentless. The favourite of at least 2 of the band, this one will surprise allot of people. We think of it as having an "organic power noise" base, although we've woven synths and melodies in. Nevertheless this is our "most crushing beat' ever. A real pounding, stomping monster where we've gone further in terms of sheer intensity than we would have though possible back on the first two albums. 

6. Dein Himmel. There's more prominence on this album to Chars Voice and this is one of two tracks she sings solo. In terms of "some chick talking over big beats and grindy synths" we reckon she's got a really distinctive, weird voice. Kinda dry and with this odd cadence to it. A few people had asked to hear a bit more of her. So here we go. It's also got a very dark feel this one, and some big powerful synth lines. Kudos to our friend Ozzy Karohmed by the way who helped us record and write the German Lyrics.

7. Insecto. On the last album we had tracks like "Aeon" and "...Fundamentalist" that experimented with this strange, spiked mix of live drums and distorted rythms. This really carries on that thread albeit with the more "militaristic / stompy" feel of this album brought to the fore. We like to break things up and have colour and variety on our albums and this is that in action. Its a grubby, noisey thing so it is.

8. Hail to the Freak. The "marmite" song as we call it. People will either love this or hate it and that gives us a nice warm sense of job well done. Nitzer Ebb style basslines and synths with live drums, danzig-esque vocals and a real retro feel ? Yup. We're all about taking risks and upsetting the apple cart and this does that job very well if we do say so ourselves.

9. The lie. Glitchy, glissando synths, howling vocals and overall a real melting pot of a song. Even to us this sounds bizzare and out there while it's very much a song. Like a vortex of anger and general strangeness but held together by the beat and the repeated vocal phrases. We hope this one works live as well as we think it might. 

10. The Black Classroom. This track owes allot to C/A/T and Ben's clubby, noise driven industrial sound. We're fiercely keen on the throbbing bottom end we've put on this album  and this one shows it off really nicely, its gonna detonate some club systems. And with that we're more or less at the end. EXS is a shorter album than DOS or SIC but we were much much more brutal in terms of our quality control, not only were these 10 songs picked from nearly 120 plus ideas, but we lopped off the long intros, kept the stuctures tight and generally opted for a more punk rock, down to earth approach to songwriting. Just so you don't feel short changed the album WILL include at least 3 great remixes, but when we had these 10 we knew we had EXS as a body of work, more songs would have diluted the feel and direction we've gone for, which overall is a more strident, original and tightly directed version of Uberbyte. It'll be out in spring next tear and we hope you dig it... 
10 // 11 // 2009

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