Restraint

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.

Things I found on Flickr, first in a series.

DSC04387

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.)

Tracklisting:
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.

ad-ver-sary.com

Bone Music

It’s done.

The Canadian release will be at the Kinetik Festival in Montreal, May 15th.

The American release will be at The Darkroom in Chicago, May 11th, where I’ll be playing a live Ad·ver·sary set with Cyanotic.

(We’ll also do an Ottawa release event of some kind after Kinetik – details to come.)

AVS

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

Ancients
Waiting For Gira
Friends of Father
Bone Music
International Dark Skies
No Exit
Number Nine
Just
Epilogue
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.

LE SIGH

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.

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