Twiin, Tea, and Me.

Upcoming Jairus Events:

Tuesday Oct 28th: Playing live in Cyanotic for Industrial Strength Halloween. Lots of new angry industrial to play. It sounds great.

Friday Oct 31st: DJing for the ReVamp Halloween night at Dekuf. Digging through old spooky goth records. Will be fun.

Friday Dec 20th: DJing with Leslie at Denise’s Steel Ball! This is actually a really big deal for me. When I was young and sneaking into clubs, the two pillars of the scene were Industrial Strength and the Steel Ball. It’s very humbling to be here, over ten years later, participating in them both with the two women that made the Ottawa industrial/fetish scene the institution it was in the 90s.

Will be going to into the studio in Toronto next week to record for the new Cyanotic album. I’ve got this horrible feeling of anxiety and dread in my stomach and heart, and I don’t know why it’s there, or what I need to do to get rid of it. I’m hoping this will help.

Notes from thee basement.

HydroOttawa has fucked up, claiming that my power usage went up by an order of magnitude one month, and now I have a completely insane and impossible $3,300 hydro bill. They then proceeded to blackmail me into a payment plan by threatening to cut off my power within 24 hours, while saying it would take 48+ hours to get a supervisor to call me back to discuss the issue. They have since replaced my meter and refuse to discuss the issue with me until they’re done ‘investigating’. They have yet to tell me what they’re investigating. I may sue. Rogers has fucked up in a similar fashion that I don’t even want to get into, and now I have a completely insane $1,200 bill.

(In related news, I don’t think I’m going to Maschinenfest.)

Saw some guy wearing a totenkopf death head t-shirt when I was out for lunch with coworkers. Do people still think this is cool? I mean, it’s not as stupid as wearing an SS uniform to a nightclub or anything, but still.

Might be going on a US tour with Cyanotic/Acumen/Acucrack in November. Not 100% yet. This will, coincidentally, be the second time I will be in tour with Cyanotic in the US and Nine Inch Nails comes to play Ottawa.

Need to get on that fucking backpiece tattoo I already put down money for.

does i go electro-metal?

A second review of Bone Music hits ChainDLK.

Another new and yet-not-discovered-before new signing to the growing Electronica armada of the Chicago Heights-based Tympanik Audio label. We had this act already presented here with a review and a well deserved interview, I nevertheless come a bit later on this too. AD-VER-SARY is a solo effort by Jairus Kahn and long-year active Techno- and Underground-DJ. He has already shared some collaborations with acts like CONVERTER, TERRORFAKT or ANTIGEN SHIFT – and CYANOTIC. After having read this and heard the first both tracks, I really thought: “does Tympanik goes Electro-Metal”? Okay, those guitar riffs are sampled, stretched and manipulated, but it seems that some or another of the collaborations has left some organic influence on the musically outfit.

Luckily Jairus leaves the Coldwave-Industrial-like influence after the first tunes. AD-VER-SARY’s playing field is a rather straight oriented form of Electronica music, here and there infiltrated with a promising mixture of Dark Ambient (“International Dark Shies”), Powernoise (“No Exit”) and some Down-Tempo/Break-Beat impressions (“Friends Of Father”, “Bone Music”). It is promising, since the try to include diversity seems to the intended and outstanding point behind this release. Three additional remix work provided by mouthwatering Ant-Zen7Hymen-recording acts like SYNAPSCAPE, ANTIGEN SHIFT or the mysterious TONIKOM (marvelous!) fulfill a quite great release, whose magic can’t get discovered after only one listen. This album needs some more spins to reach fully satisfaction, which is at least guaranteed.

ReGen Jumps The Shark

ReGen Magazine is hosting an artist Spotlight on Ad·ver·sary, with interview:

Jairus Khan has spent the better part of the last decade developing his craft in the Canadian techno/industrial underground as a DJ and promoter. Making music under his Ad·ver·sary moniker, Khan has had the distinction of remixing and performing alongside such acts as Terrorfakt, Antigen Shift, Convertor, Cyanotic, and Iszoloscope, all the while composing his own original songs. Assembling a demo in late 2005, titled International Dark Skies, Khan began shopping for labels, all the while continuing to hone his skills, before finally landing on burgeoning experimental industrial label Tympanik Audio. Released under a Creative Commons license, the debut Ad·ver·sary album, Bone Music is an intriguing collection of tracks that combine caustic industrial beats with lush ambient beauty, running the fine line across varying genres of experimental electronic music.

Bone Music – Available Now

Bone Music is out now. Rather than write pretentiously about my own album, I’m going to let my label’s press release do it for me:

Hailing from the Canadian electronic music underground after a decade of Techno and Industrial DJ and promotional work, Jairus Khan, aka Ad·ver·sary, now presents his debut album three years in the making. While providing North American tour support for such acts as Terrorfakt, Antigen Shift, Cyanotic, Adam X, Iszoloscope and others, his many remixes of such Industrial Noise icons as Converter and Iszoloscope have enjoyed heavy club and airplay around the world. Now, Ad·ver·sary is ready to conquer minds and destroy dancefloors with his debut album ‘Bone Music’ out May 13th on Tympanik Audio. Hard Industrial rhythms meet enormous organic soundscapes to create what Re:Gen Magazine calls “…a balance between the brutal and the beautiful.” Featuring remixes by Antigen Shift, Tonikom, and Synapscape. Mastered by Yann Faussurier of Iszoloscope. Get ready to rock.

…as promised, I’m also making the entire album available for download under a CC license, free of charge, with all album art and liner notes included.(If so inclined, you could even print out the art, burn the CD, and use an old jewel case to make a DIY copy of the album.)

1) Ancients (7:41)
2) Waiting For Gira (3:04)
3) Friends Of Father (6:40)
4) Bone Music (7:12)
5) International Dark Skies (7:06)
6) No Exit (5:15)
7) Number Nine (9:48)
8) Just (Spooks) (6:41)
9) Epilogue (0:59)
10) Friends Of Father (Tonikom Remix) (6:01)
11) Bone Music (Antigen Shift Remix) (4:44)
12) Number Nine (Synapscape Remix) (4:01)
13) Urusai - Learned Helplessness (Destroy And Contaminate Mix By Ad·ver·sary) (Bonus Track - 7:56)

I do have copies in Ottawa that I’m going to see about selling at End Hits (or somewhere) before the Tympanik release party in July, but I’d prefer that if you’re going to buy the album now, you buy it directly from the label online (or at the Kinetik festival in Montreal). Tympanik Audio has supported my idea to distro the album for free online as an experiment, even though they think it’s a terrible idea — and I’d like them to see that it will help early sales, rather than hurt them.

My sincere thanks to everyone for all of your support over the last three years — I hope you enjoy the music.


Three years later, Bone Music is finally done. 13 tracks, just under 77 minutes.

Waiting For Gira
Friends of Father
Bone Music
International Dark Skies
No Exit
Number Nine
Friends of Father (Tonikom Remix)
Bone Music (Antigen Shift Remix)
Number Nine (Synapscape Remix)

Bonus Track: Urusai - Learned Helplessness (Destroy and Contaminate Mix by Ad·ver·sary)

Yann came into town for the weekend so that we could mix it down and get the master ready, and he worked some kind of audio voodoo — it sounds so much better than the old International Dark Skies demo. I have to finish some final level adjustments to the mastering, and then the album is ready to press — I’ve decided to mix the album to an average RMS level of about -14 dBFS, rather than the much louder -8 to -5 dBFS that’s currently standard for most electronic albums. (For reference, My Bloody Valentine averages at about -17 dBFS, Cyanotic at -9dBFS , and DJ? Acucrack at -6dBFS.) This means that you’ll probably have to turn up the volume when you listen to it, but it’ll sound much better for it.

The art will be done in the next few days, and then everything gets sent to the CD replication house early next week, in time to release at the Kinetik festival in May. There’s also a remix EP coming in the fall (which I’m very excited about), with Cyanotic, Imminent, Stendeck, Asche, Iszoloscope, Synkro, JF Coleman (Cop Shoot Cop, Phylr), Mo (Zykotik K9), Totakeke, Shane (Fiveways) and more.

When Bone Music is released I’ll be making the tracks and artwork available for download on my site– payment optional — and I’ll post here with details on how to buy or download the album. I’ve redesigned the Ad·ver·sary website in preparation, and I’ve put together a new look-and-feel for the Tympanik site, which I’ll be handing over to them next week sometime. Then to design some new merch: stickers, buttons, and maybe hoodies, hats, or new shirts. (Any preferences?)

And maybe, if things work out, a tour in the fall.

softer, lesser, slower, weaker

I took a sick day today. I’m feeling pretty icky, but mostly I’ve just got the winter blues, and I wasn’t up to a Monday morning.

I feel like shit whining about how I feel like shit, especially since I’m well aware how heavily the season is weighing on my mood. I know that it’s exaggerated, and that if it were bright and sunny I wouldn’t really feel this way, but that doesn’t change what it’s like inside my own skin.

I’m not going to be heading out on the Chemlab tour with Cyanotic. The details of why aren’t really important, but mostly it just didn’t make for good logistics.

I’d like to take some of my vacation time and travel somewhere, commitment-free. Nowhere fancy or far away, just somewhere where I won’t be DJing, playing, working, or doing anything out of obligation. A week in Toronto, Montreal or Vancouver, to drink coffee, explore the streets at night, and wrap myself in the anonymity that comes with being a stranger in a big city.

I do have friends and family in all of these places, but I’m not sure that my navel-gazing would make for good company. I’m also not sure where I stand with a lot of these people — not for any reason other than the erosion that silence and distance work on relationships — and I don’t want to impose my yearly existential crisis on anyone else.

I don’t talk much about why this time of year upsets me so much, or about the place that it puts me in.

A year or three ago, I wrote my excessively wordy LJ bio:

“I would tell you of my childhood, but I remember very little. I lived with my mother, and I was sixteen before I saw both of my parents in the same room together. I remember moving, always moving. I remember being kidnapped when I was eight, and a Christmas that the Hell’s Angels gave us a tree and gifts when we didn’t have money for food, much less toys […]

Mostly I remember a sense of profound sadness; A feeling that above all, life is about survival, and little else.”

That’s what Christmas reminds me of, and that’s how winter makes me feel. I was always profoundly aware every Christmas just how poor we were, and how hard my mother worked to bring my brother and I that single day of toys, smiles, and happiness. She’d do everything she could to get us whatever it was we’d been dreaming of all year (which was almost certainly video games), and more often than not she’d succeed — but it wasn’t what she gave us that was depressing, it was the struggle itself. It brought into sharp focus just how little life cares for fairness, how naive the idea of karma really was.

When I was a very, very young child, it was Kelvin, my grandfather, who would take me fishing, or to a new movie, or to the arcade. He wasn’t related to me by blood, but he was my grandfather, and I loved him as much as I loved my mother.

He died on Christmas day when I was eight. My mother didn’t tell me until Boxing Day, and I vividly remember how numbing the news was. I didn’t feel shocked, or sad, or much of anything at all. I didn’t cry when she told me, or at his funeral, and in all truth and honesty I don’t remember crying again until I was fourteen and I found a hidden folder of stories and comics on a friend’s computer, each one making fun of me in a different way: My hair, my nose, my teeth, my voice, my everything.

I do have good memories of Christmas — staying up all night and all day with Josh playing our new Nintendo 64, seeing the little furry ball of kitten that my mother surprised me with, sitting on the porch with Tracy Page and smoking cigarettes, watching the snow fall — but they’re few, far between, and hopelessly outnumbered.

Now I try to spend Christmas with friends, in a quiet, safe space; but Christmas is just one day in a long winter.

This is why I travel so much during winter, in spite of how unhappy the cold makes me. When I’m writing in an empty Toronto cafe with the wind pounding at the door, or walking down St. Catherine between giant snowflakes, that’s my insulation. My quiet, safe space. It’s not fair to expect my friends and family to shore me up emotionally every day until the sun comes back.


Have I ever mentioned how much I hate this time of the year? Every year, you say?

Well, I still do.

I don’t know what’s happening with this Cyanotic/Chemlab tour. Which is bad, considering that I should be booking my time off now, if it’s happening. The problem with being involved in Cyanotic is that you can never really count on anything; the ground is always shifting whenever you look the other way.

…which is fine, given that I’ve been neglecting Ad·ver·sary as of late, due to post-cyanotic-fatigue and pre-label-frustration. I’ve got a handful of releases in various states of completion that I need to deal with:

International Dark Skies: My 2005 demo that labels keep saying they want to release and then not releasing. Current label: Fich-Art, run by the Ars Moriendi crew (Asche, etc). This thing is years old, and I’m tired of it just sitting here.

Bone Music: Full-length album containing some tracks from IDS, some newer reworkings of IDS tracks, plus remixes of IDS from other artists. International Dark Skies 2.0, really. Mostly done — just need to collect remixes and finish one or two tracks.

Channel Zero: This is what I’m working on now. All new material, concept album. Maybe 1/3 done. I’m probably biting off more than I can chew with how I’ve planned it, but we’ll see how it turns out.

The Raven Prince: This won’t be an AVS release — it’ll either come out as a self-titled (if there’s not already a band called The Raven Prince), or I’ll release it under Jairus Khan. 3-track EP soundtrack to a children’s origin-myth-slash-fairy-tale I’m writing.

It would be nice if any of these ended up the way I see them in my head.

Ryan’s a good friend, and I hope his new night is a smash success (and selfishly it would be awesome to have a place where Leslie or I could play an all-goth industrial-free guest DJ set), but I really wish that someone would do a weekly that wasn’t marketed as a statement about Industrial Strength Tuesdays (or “the scene” or whatever). It’s always “re-vamp” and “making the scene a threat” and “the REAL underground” and etcetera. It would be nice if someone did an event that was just marketed as “You like good music? Come to our night! We play good music!”

(Here’s the part where I sound like an arrogant jackass) Aside from Victor (RIP Le Bistro), I’m the only person in town who’s run a successful goth-oriented night in the last ten years (if I’m missing someone, let me know), and I did it twice. The reason they were successful is because they weren’t a reaction to Leslie’s night; if we picked them up and dropped them in a club in Montreal or Boston, we wouldn’t change anything about them. All of the nights/events that have started as an ‘alternative’ to Tuesdays have crashed and burned, because a) the music they play will always be defined by the music played on Tuesdays, and b) there just aren’t enough people who wear black to support two competing events — and let’s be frank — Industrial Strength Tuesday has over ten years of inertia, and any of the events that have openly and directly positioned themselves as competition are punching far above their weight.

The only events that have done well here in the last fifteen years (and this includes Zaphods, Le Bistro, Thunderdome, Dark Crystal, Absinthe, or any other) are the ones that worked to compliment the nightlife, rather than compete with it.

You can run an event that’s founded on aesthetics, or the community, or what-that-guy-across-the-street-is-doing, but they’re not sustainable. The only events that have any staying power are the ones founded on the music.

I’m done now.


Well, ladies and sirs; it seems every single tour that I was supposed to join has fizzled out. I passed on the Cyanotic west coast tour (with Acumen) so I could do the east coast (with Chemlab), but Jared decided to take out Paul Barker’s new band instead. The EU thing with Rabbit Junk is apparently a fizzle, as well.

Now I need to figure out what I’m going to do with all the vacation time I’ve saved up.

Maybe I just need to get really high, fuck and play Tetris Attack until dawn.

I haven’t been writing much lately, life has been too chaotic. Home is crazy, work is crazy, all is crazy. Crazy and frustrating. Not all frustrating, but frustrating enough. My computer isn’t working right, I’m not done moving yet, I owe more money today than I ever have, I’m not doing the things I enjoy nearly as much as I want or need to be, blah blah blah.

(Also, there’s cat hair everywhere, and it’s making me lose my fucking mind.)

I’m waiting on tour news from Cyanotic, looks like I might be joining them for November thing supporting one of the coldwave greats. With that said, I’ve planned on at least three tours this year that didn’t happen, so I’m not holding my breath. I was hoping there would be some European dates that would let me work around Maschinenfest, but all the overseas dates seem to be exceptionally flakey.

I’m finishing up the Ad·ver·sary album now, so we’ll see what happens after I send it off to Stefan. If he still wants to publish it on Ant-Zen, that would be fantastic. Otherwise, I’ll send it off to Ad Noiseam (even though I doubt they’d be interested) and Hands, and/or just publish it myself. I should also start calling in the remixes promised to me relatively soon.

There’s so much tension under my skin, and I don’t know where it’s from, or where to channel it.

I’ve been realizing this week just how much I miss being involved in the front lines of computer security, in the way only a disaffected teenager with no social life can be. I’m still involved in security, but I’m not discovering exploits, I’m not participating in anything global, or working with anything dangerous. I’m not doing anything that hasn’t been done and documented a thousand times before by a thousand other people.

What I miss, I think, is being involved in something that matters.

Housewarming soon.

Visit Sunny Ontario

I’m playing a benefit show (as Ad·ver·sary) for the World Wildlife Fund, Thursday at SAW.

The show is being put together by some of the XVI crowd, and the idea behind it is to bring together local producers of different styles of electronic music in a sit-down event:

This July 5th, Neil_nonstop and Phil Beta of T.C.P. will host a truly original electronic music show at none other than Club Saw. For one night, you will see and hear 7 of Ontario’s best new original musicians spanning different realms of the electronica spectrum.

This is a NOT A RAVE, this a night of 100% original music. So grab a seat with some friends, sit back, and prepare for a journey through sound.

The Styles will range from trance, to retro, to hard techno, to metal and beyond. The purpose of this show is to bring together different genres of electronica that seldom are played at the same event. This unique mix-up of amazing original music is just what you would expect from this beautiful province of ours. Not only will you hear some of the best new artists around, you’ll also be transported to another astral plane with visualizations by Brainwerx; the master behind the visuals at Illuminatrix.

Most importantly, we’re not doing this event any money. All profits from ticket sales and internal sales will be Donated directly to the World Wildlife Fund to assist their efforts Worldwide.

So if you want a night of amazing new music, the finest visuals, and support wildlife and the local music scene at the same time, you’ll want to be at Techno Ontario this July 5th at Club Saw.

It’s $10, and it’s an early show (I’m on at 8:20, and it ends at midnight). One of the projects is fronted by S4, who was a guest DJ at one of the Dark Carnivals, and also performed as Lou Cypher Project.

Featuring All-Original Electronic Music sets By

– Comrad [Link]
A rising name in the Ottawa Techno scene, Comrad is heavy into writing new tracks, all of which are unbelievably better than the last. The band is work of Nikolaus Sands, a classically trained musician from Ottawa. Using created and found resources, Comrad successfully incorporates organic instrumentation with thick analog bass and drum sounds. His style is constantly evolving and his latest releases clearly reflect it, pushing glitchy-atmospheric melodies to the limit on a wide arsenal of Analog Korg Synthesizers and Drum Machines. Comrad is a name to watch in the near future and you might just witness his burst into scene. This July 5th, Comrad will bring you a live set of his latest and best tracks along with the synths that made them!

– DJ Lushys
Djing and producing since 2000, 2001, and having played along side names such as Luna C, Dominik, SOS, S4, Ruffage and Deacon to name a few, his sound is forged from his love for all forms of dance music. Expect to hear a mash up of his own productions and collection which will take you from breaks, to old skool hardcore and jungle, to trance and back and everythign in between.

– Blake Sutherland [Link]
Although he’s a new name in Ottawa’s electronic music scene, Blake Sutherland has been quickly making a name for himself with his many amazing releases of dark, hard driving, trance fused with a generous helping of melody. When we first found this guy, we thought he was from out of town and were offering to bring him in Ottawa to play the show, he was that good. As luck would
have it, he’s from our own little city of Ottawa and would be more than happy to bring his original productions to you for a night you’ll never forget. Check out his tracks and then come for his first performance, live, at Techno Ontario.

– I Awake [Link]
Since forming in 2006 I Awake was the full on new project by djs S4, Lushys and Agent 1475, together with Phill Christy and Jon Sheriff their sound was awoken. Hard driving melodic music driven by an eclectic list of influences ranging from metal, post-punk and extensive experiences in EDM and Live Music performance, you do not want to miss this band!

– Ad·ver·sary
Ad·ver·sary is a project from local techno-industrial promoter Twiin, who brings over a decade of DJing and production experience to his music. Combining distorted and tribal beats with melodic arrangements and experimental sound design, Ad·ver·sary has been turning heads at shows throughout Canada and the United States. Fresh from a US tour with industrial-metal powerhouse Cyanotic, AVS is preparing for a two-week UK tour in the fall, and finishing his first album for Germany’s Ant-Zen records.

– Chris Girard
Chris was born in the city of Ottawa, Canada. His father’s strong love for music influenced him into the sounds of rock and alternative, and as he grew older, it became an even bigger part of his life. After playing in a band for over 4 years, and taking professional drum lessons, Chris became a very skillful percussionist. Studying the theory of music, Chris also became a mastermind of his own passion, and put it to work when he began to create his own music. After only three years of composing his own music, he has reached a level which is now being recognized by many top DJs and producers alike (ex. Paul Van Dyk, DJ Tarkan, V-Sag, Snake Sedrick, Nikola Gala, Perry O’Neil, Hernan Cattaneo, Jon Sinclair, and Ariel Cybana). He strives to create the perfect sound, and feels blessed to be given this opportunity to share his music with as many people as possible.(labels:,

– Zarnoosh
Born December 20th 1987 in Mumbai, India, Zarnoosh started producing at the young age of 14, when he sequenced drums for his first band. Now residing in Ottawa, Canada where he has had experience playing drums and percussion with numerous bands and other projects he is well-versed in the music scene. Having recently signed up his first couple of releases with more projects on the way things are fresh talent! (labels:,

The fine print:

+ The Video Game Hermit will be bringing his games to play free on the big screen.
7pm-9:30pm – The Best of Dos Games (email for game suggestions)
9:30pm-11:30pm – Nintendo Wii!

+ HUGE visual effects budget. Entertain your eyes as well as your ears with nonstop Visualizations by BRAINWERX!!

Techno Ontario
July 5, 2007
67 Nicholas St.
Ottawa, Ontario

Club Saw is not a large venue, to ensure optimal comfort and seating, this event will be limited to 100 tickets.

Tickets are 10$ and are on sale now at:
– Norml Clothing, in the Byward Market.

** Limited Tickets available at door, msg Phil Beta on XVI to reserve (15$)**

Transhuman 2.0

Just when you thought machine-driven rock and industrial couldn’t get any meaner, Cyanotic tear through the barriers with a double-disc set that will grind your proverbial bones and leave your ears begging for mercy!

Cyanotic certainly have proved their worth in the realm of the modern industrial music underground. Cutting their teeth with a successful demo EP, Mutual Bonding Through Violation, and the debut full-length album Transhuman, this Chicago-based group stands as perhaps the best example of where heavy electronic music has yet to go. Drawing as much from the current electronic flavors of power noise and drum & bass as from the older modes of coldwave and EBM, Cyanotic’s sound is a raging assault of searing synths, grating guitars, and pounding percussion, offset by a healthy dose of glitches and film samples. After two years of touring and selling out their first album, the band blasts out Transhuman 2.0, a new double-disc collection featuring the original album digitally remastered by Trozoc Productions’ Chris Cozort, and a plethora of alternate versions and remixes that more than stand up to the originals, but could be considered new songs unto themselves.

To call Transhuman 2.0 a remix album would be a total misnomer; these are no mere remixes in the way that one thinks of adding a house beat or some additional synth lines as a remix. No, this is something new, taking the original songs further into harsher territory. One need only listen to the blistering energy of “Resurgence,” featuring JP Anderson of Rabbit Junk adding his penetrating screams and programming, or the industrial menace of “Chaos Incarnate,” with Chris Peterson and Jeremy Inkel of Front Line Assembly helping to toughen the track up even more from its original fury, to realize that Transhuman 2.0 is no mere remix album. While the original “Transhuman” was one of the more ominous moments of the album, this new version penetrates your speakers like a murderous cyborg with a jackhammer. “Deface” remains a perfect track for the dance floor, but is completely reworked with a new chord progression, while Eric Powell of 16volt lends his haunting vocals to “Axi-Ethereum.”

Closing 2.0 out are remixes by the likes of Drukore, whose remix of “Transhuman” speeds the track up into a brutal array of glitch-laden drum & bass, and Deadliner with a powerful take on “Deface.” Also noteworthy is mindFluxFuneral’s All Hope Lost mix of “Suspension of Disbelief” with its stuttering synth and vocoder work. And in case you thought Cyanotic were incapable of being anything other than loud and heavy, the atmospheric piano work on “Altered States of Consciousness” or “(Paranoid) Disbelief” provides evidence to the contrary. What truly stand out on the album are the vocals of Cyanotic’s founder Sean Payne. While not completely doing away with the distortion effects that permeated throughout the first album, Sean goes for a much rawer approach, using less effects and belting out a raucous and venomous performance on this album that only adds to just how much the band has matured over the years.

Not enough credit can be given to this enormously talented and creative band. Few groups can adequately recreate the same power of their debut without flat out repeating themselves. Like the original album, Transhuman 2.0 presents elements that are familiar but in an unfamiliar fashion. Just when you thought machine-driven rock and industrial couldn’t get any meaner, Cyanotic tear through the barriers with a double-disc set that will grind your proverbial bones and leave your ears begging for mercy!

Tour Diary – Day 2 (Columbus, OH)

Due to an equipment failure (alarm clock), we were late getting on the road to our Columbus show. We’re all running on Very Little Sleep, so things are very smelly, scruffy, and twitchy.

We also got a speeding ticket, which was nice.

The venue itself was a little place called The High Five, and while the staff and manager were very nice, the sound was complete shit and the turnout was worse. As it turned out, the booking agent didn’t give them a tech rider beforehand, and I guess the sound man was ill-prepared for the type of music we’re playing.

So, after playing to a dozen people or so, we went down to Columbus’ big goth/industrial club (Why didn’t we play there, you ask? I’ll let you know after I yell at the booking agent some more), and did a bunch of Cyanotic giveaways, and made the DJ play a few tracks from the album. Given that the crowd went ballistic, I should expect we’ll play there next time around.

It was a surprisingly awesome venue, even if the music was mostly retro and/or EBM. There was a fetish section full of people who actually knew their stuff, and were’n into not fashion. Walls of floggers, very nice racks (with bolt cutters on the floor beside them), a number of electro-play items (TENS unit, violet wands, etc).

We chatted for a bit with a few people who’re really involved in the scene here (I think Flesh Field asked Sean to do breaks for their next album), and then headed off. We’re en route now to a hotel outside Pittsburgh, and we’re going to spend the day tomorrow doing promo at record stores and shops. That’s the idea, at least. I haven’t heard shit from the booking agent as to where the good stores in this town are, so it might make my idea a little difficult.

Today’s driving music: Ice Cube – The Predator, Lil Jon – Crunk Juice, Empusae – Error 404

Tour Diary: Day 1

Tour Diary: Day 1
Unlabeled pictures are in my Flickr acct)

Today’s plans began with a simple task: Pick up the minivan reserved for us at Enterprise.

This plan was complicated when Enterprise changed the terms of the rental agreement without notice. Originally, the requirements were that the primary driver has a license and a credit card, on which they will put a $200 hold until the car is returned.

When we attempted to rent the car, we discovered that they had changed the terms to require a hold being placed on the credit card for the full amount of the rental, plus $100.

Given that the full rental cost is well above the credit limit of anyone involved in this little adventure, this caused a few problems.

These problems were made even more pressing by the fact that I had spent an entire day on the phone earlier in the week, during which time I discovered that Enterprise was the only car rental company within 50 miles that had any vans available.

Not having a van would mean we would have to cancel the entire tour, 12 hours before we were scheduled to play our first show.

I ended up knocking on the door of every car rental company in the cities of South Bend and New Carlyle, hoping for some kind of miracle — and in an incredibly rare stroke of luck, the final car rental company in the area had just received an early van return.

It wasn’t just any crappy minivan, either. It was a fullsized touring van. The kind with reading lights, and blinds on the windows.

I am sitting in it right now. It is very nice indeed.

After somehow coming up with a massive cash deposit (which would not have been possible without the foresight and generosity of my leslie-bee), we rented the van and headed back to home base.

Almost as if by magic, a delivery van arrived at the same time we did. Suddenly, we were armed with all 1000 copies of the new compilation CD that we’re releasing, as well as an advance shipment of the new Cyanotic and Ad·ver·sary shirts.

My friends, let me tell you something. I was very worried about these adversary shirts. The design I submitted was complicated and difficult to screenprint, the inks I chose were unusual and exotic, and the base t-shirts I asked for were extraordinarily expensive (using sweatshop-free materials is a very costly thing). If I had gone with a standard white-ink-on-generic-black-material tshirt, I could have gotten four times the number of shirts I got for the same amount of money; and so I was very worried.

Until I actually saw them, that is. These are some fucking awesome shirts.

Seriously. Fucking awesome.

So, we somehow manage to tetris a thousand CDs, a hunded shirts, six people, five equipment rigs and four fullsized luggage cases into this van, and then it’s off to Allegan, Michigan.

The venue itself was fantastic, and reminded me a fair bit of The Haunt in Ithaca. (There was a local opening band which played a pretty fucked-up cross of metal, prog, and post-rock. It was pretty weird.)

The set went well, mostly. My laptop did a lot of very interesting things that it never did during practice (of course), so for our encore we played two songs that we fucked up the first time around. It was much more awesome than it sounds – the second time around, everyone knew how the songs went and were much more into it. There was even a mosh pit at one point, which was pretty impressive considering that it was a relatively small turnout.

The sound tech asked us for our contact info and a copy of our CD, as his friend is a guitarist for Rob Zombie and Ozzy Osbourne, and also happens to manage the booking for Ozzfest. He was of the opinion that we should join the tour next summer, which would indeed be awesome, but I’m not going to get my hopes up.

It would be pretty fucking cool, though.

Tour Diary – Day 2

Due to an equipment failure (alarm clock), we were late getting on the road to our Columbus show. We’re all running on Very Little Sleep, so things are very smelly, scruffy, and twitchy.

We also got a speeding ticket, which was nice.


Tour Diary updates will resume shortly.

It is with great regret that I must announce the cancellation of the following dates:

Charlotte, NC
Spartanburg, SC
Tampa, FL
Spring Hill, FL
Ft. Myers, FL
Atlanta, GA
Memphis, TN
St. Louis, MO

A number of logistical difficulties arose which made it impossible for us to play in those cities, on those dates.

More specifically, the booking agent is fucking useless.

We are in the process of booking a makeup tour to hit the cities we can’t make on this tour (and a few more in the area), which hopefully should happen around Fall/Winter. We put together a special merch bundle for people who live in one of the cities which had its show cancelled, so if you’re not able to see the show, at least we can get the new merch, compilations and tour album to you.

$20 + S&H
1 Cyanotic shirt
VA – Hordes of the Elite
VA – Modern Destruction 1.1
10 Cyanotic stickers
5 Adversary stickers

$40 + S&H
1 Cyanotic shirt
1 Adversary shirt
Cyanotic vs Adversary – Music for jerks
VA – Hordes of the elite
VA – Modern destruction 1.1
VA – dark sonus
10 Cyanotic stickers
10 Adversary stickers

Edit: Prices now obsolete. :)

This town needs an enema.

For those of you who will be seeing Cyanotic and Ion tour, here’s a sneak preview of one of the 3 (three!) new compilations we’ve put together for this little outing:

Rabbit Junk – Industrial is Dead (Demo)

like some girl in a snuff video
with a chord around her neck
and her veins full of blow
she’s dancing like she doesn’t know
that she’s hanging in the morgue with industrial
so gothed out like “black number 1”
She’d rather slit her wrists than have some fun
Shaking her corpse to the same old shit
Playing it safe is boring, isn’t it!?

Oi! Mr. DJ, what records are ya playin’ today
Oi! Mr. DJ, are you gonna play the same damn thing that you did yesterday

This ghetto
like gangstas
in limbo
a fortress
a mission
this corpse has been re-animated
pale embrace in a sick romance
it’s dead and gone but still they all dance

Every day is Halloween
but it’s Halloween stuck in ’93
And it makes me think of the good old days
of skinny puppy and ministry
combat boots and pvc
Dressing up like a scary drag queen
It’s dead and gone, so let’s move on
Industrial R.I.P.

If yer lookin for a zombie fuck
then get your kicks at the “club noc noc” (Seattle, WA.)
dancing all ro-bot-ic
120 bpm goin tic toc tic toc

un-dead posers drinking at the bar
and broken pretty things that can’t get very far
and the 3 legged dogs that are on the the prance
I say step aside bitches I’m here to dance

Let’s fucking dance


Friends and foes, I am happy to announce that I will be joining Cyanotic for their upcoming HAIL THE GLITCH tour. These are the cities/dates we’ll be hitting:

Jul 21 - Grounds Sphere Rhythm - Allegan, MI
Jul 22 - High Five - Columbus, OH
Jul 23 - Garfield Artworks - Pittsburgh, PA
Jul 24 - The Penny Arcade - Rochester, NY
Jul 26 - TBA - Boston, MA
Jul 27 - Bottom's Up - Flushing/Queens - New York, NY
Jul 28 - The Sterling [Rock Room] - Allentown, PA
Jul 29 - TBA - Baltimore, MD
Jul 30 - Wetlands - Chapel Hill, NC
Jul 31 - TBA - Charlotte, NC
Aug 02 - Ground Zero - Spartanburg, SC
Aug 03 - TBA - Tampa, FL
Aug 04 - Saints & Sinners - Spring Hill, FL
Aug 05 - TBA - Atlanta, GA
Aug 06 - TBA - Nashville, TN
Aug 08 - Creepy Crawl - St. Louis, MO
Aug 09 - Double Door - Chicago, IL
Aug 10 - TBA - South Bend, IN

Additionally, I have taken the liberty of slightly modifying the tour poster to indicate the change in lineup.

If you live in one of these lovely cities, please come say hi. I promise not to suck.*

* not actually a promise