Douglas J. McCarthy
Kill Your Friends
Pylon Records
Douglas McCarthy needs no introduction, but perhaps the lead-up to this record does. McCarthy has kept himself busy both before and after Nitzer Ebb’s fantastic return LP, 2010’s Industrial Complex: in addition to his well-received, collaborative records with Terrence Fixmer, Between The Devil… and Into The Night, McCarthy’s lent his distinctive vocals – forever flipping between a seething, Vega-like croon and brassy, commanding barks – to a wide array of records, cropping up on tunes from Kloq, Yasmin Gate, Motor, and most recently the excellent And One/Daniel Myer club joint “Get It.” All of this is to say that it feels somewhat surprising to realise that someone so hungry and active in the game is only now making his solo debut proper.
Blessed with one of the most distinctive voices (and arguably the strongest) in EBM, one can’t help but think of classic Ebb cuts of all stripes whenever McCarthy’s voice is heard. And while Kill Your Friends holds a fair bit in common with Industrial Complex (which did the near impossible in giving old-school fans plenty of juice while not pandering or sounding out of step with modern sounds), it’s the more surprising moves to upbeat, even sunny melodies and 90s dance passages which make Kill Your Friends both a complete surprise and one of the strongest records I’ve heard this year.
The album art and title suggest a dark and aggressive ride, and smooth but menacing pre-release “Hey” did nothing to dissuade that: all dusty drums, woozy synths and hissed vocals, it primed me for a noir-ish listen upon first cuing Kill Your Friends. Opening cut “Death Is King”‘s name and initially stark drumbeat seemed to suggest I was right, but then something remarkable happened. A bouncy synth bass line appeared, fun and spritely and instantly calling to mind innumerable Eurodance faves from way back when. Some characteristically strong vocals rolled through, building to a swaggering chorus with some backing soul and that melodic bass line absorbing more and more of the space around it, becoming a punching refrain. “Death Is King” had all of the cocksure swagger and relentless beat that I want from McCarthy’s projects, but also a new warmth and swing that paired wonderfully with those earlier elements.
In retrospect, some of the brighter synths on the last Fixmer/McCarthy record, like “Love The Night”, could perhaps be pointed to as a sign of things to come, but it’s not just “Death Is King”‘s almost Balearic warmth that makes Kill Your Friends such a sunny listen in the midst of December. The Beatles-esque, psychedelically smearing vocal harmonies on “Find You” recalls YMO’s love for the Fab Four set atop a simple, splashy drumbeat, and “The Last Time” directly brings the Japanese synth pioneers’ “1000 Knives” to mind. The bobbing “Move On” more sits nicely between McCarthy’s turns with Kloq and classic Ebb, and things close with a wistfully affecting yet still infectiously peppy ride into the sunset on “Lovers Arms”. It’s a wide and bright palette of colours McCarthy is working with here.
“Hey” felt like a bit of a puzzling choice for a lead single upon revisiting it after listening to Kill Your Friends in its entirety: its mystery and restraint aren’t really present even on the darker tracks the record’s backloaded with (the classic Mute records pastiche of “Love In The Back Room”, the house pressure cooker of “All Kinds Of Wrong”). But after a few listens, it’s clear that what it shares with its neighbours is an unassuming yet relentless groove which you can’t help but ride and nod to. “Nothing After This” combines all the elements: the twangy, dusty guitar of “Hey”, minimal, well-clipped beats and the upbeat, heaty synths. The underlying grooves of Kill Your Friends‘ tracks are the backbone of the record, proving a strong thread which carries the listener through a wide range of territory at a fast clip, causing its fifty-five minutes to feel much shorter.
While touching upon nearly all of the modes McCarthy’s explored in the past decade, Kill Your Friends also adds a swath of new ones, all while maintaining an insistent rhythmic presence; a testimony to McCarthy’s legacy in electronic music and his continuing exploration of it. Kill Your Friends delivers 2012’s last great surprise: a summery blast of energy from one of EBM’s greatest. Highly recommended.
Douglas’s voice is great but why did he hire these PC nerds to make the music? The only thing worse than DJs are PC nerds bobbing their heads as if they’re Gods of music.
He sure has come a long way since writing “DJVD – It won’t get me – Originality deficiency”
His voice sounds FUCKING GREAT – Even more like old NEBB than Industrial Complex – So why not make some music to match it? Computers have ruined special f/x in movies and ruined music… When I want to hear Douglas Mccarthy, I want real synths hooked with real midi cables sequenced by real musicians… Not IPhone dorks pointing and clicking together “beats” and “loops”.
You may want to check out this interview with Bon Harris, Nitzer Ebb’s ‘music man’:
http://www.youtube.com/watch?v=X-JYGM1UBm4
“Computers have ruined special f/x in movies and ruined music…” He thinks not.
And before some idiot defends it – no, simply hooking real instruments via midi and really sequencing songs will NOT make it a good song…
It’s simply a prerequisite.
I like a lot of these songs because from a musician’s perspective, I understand where he was trying to go – and again, his voice is sounding better than ever…
But that only adds to the frustration of this “pop hits” point and clicked
together sounding album which, as most so-called “electronic music” today,
has no balls. And today they’ve added a million “categories” to electronic music but all it does is scream “we have no skills”, our “music” is simply a product of the software we use and anyone with the same could do the same.
I’m not trying to bitch here because really in contrast to other stuff today,
anything with Doug singing is gonna be better… But damn…
The bar has been lowered for soooo long! Dig out an MS20, a 909 and a
sequencer, down half a case of Becks beer as you used to and start from
there. Make a hard hitting insane sound then if you feel the need to DJ
it up, you can do so and make the kiddies happy. It’s just so sad to see
videos where Douglas Mccarthy… THE DOUGLAS MCCARTHY FROM NITZER
EBB – Is fucking ROCKING the stage but then there are these undeserving
dorks bobbing their heads behind laptops posing as the “band” – You
can Google the actual performances and see this but your ears should
be able to tell without actually doing so anyhow…
That’s funny, because the first thing I notice when I watch the first second of this video is that the guy handling the hardware for Douglas’ performance a month ago in Los Angeles is using a bunch of modular analog gear:
https://www.youtube.com/watch?v=OXiXTKXMgL4
For reference: http://www.tiptopaudio.com is the manufacturer of the portable modular synth rack that Douglas’ live band uses.
I was wrong… I dunno which is worse…
Because it sounds like the same humdrum 2 me and I know there’s
this huge retro revival thing going on and everyone likes 2 show
off all their nifty retro equipment and all but it still sounds weak..
Like I said above, simply doing it the proper way is only a prerequisite.
A huge part of Nitzer ebb’s appeal is their abti-industry/anti-pop/anti-dj
mentality. This doesn’t sound like that to me!
Plus the video I saw WAS just as I said Doug rocking the stage while
these dorks with laptops bobbed their heads…
It looked & sounded offensive.
If he’d sing like this but work with Bon and continue in the vein
they started with Industrial Complex, they might have something.
Real instruments or not, this sounds and looks like pointed and
clicked together nonsense.
“I know what you buy… But I’m not selling!!!”
“I know what you buy… I’m not gonna… TRY!!!”
Keep it real man, half these new songs sound like they were
written about a girl… Now I don’t expect a solo project to sound
exactly like the band the solo guy came from but shouldn’t it at
least carry the same artistic principals?
Everything is fucking kids with PCs today, it’s the same thing as
DJ’s taking music over in the 90’s. If they had the skills, they’d
be embarrassed t0 be up on stage like that but they don’t have
skills. “Oh? You’re in a band? What do you play?”
– “Oh… I play the PC. I’m a “modern” dj and I kick sweet beats.”
“Yeah but what talent and skills do you have?”
– “Oh… None really. The bar is so low, simply being able to operate
the software seems to be enough anymore so what we do is put
our little headgear on and get our mice out and try to act cool.
Kinda like how lame DJs were in the 90’s ya know but a modern
version of it, right?”
There’s that one song where you half expect Doug 2 start
rapping when he’s spelling words.. E V I L L O V E
Pretty cringe worthy to me.
….from a technical perspective it’s pretty obvious you don’t know what you’re talking about when it comes to the gear. in this day and age the only difference between a “kid on a pc” and the dude rocking a modular synth is how crazy of a routing path you can come up with for the same price and as someone with a full eurorack setup i can say without a doubt you can do way the fuck more on a pc. really it just comes down to what you want out of your gear, and what interface suits you best as an artist.
that said i can agree that when i go to a show, i want a SHOW. watching some guy stare at a pc screen the whole set is boring as fuck. if an artist wants to do that then they need something to distract the crowd from it, vox, visualizations, dancers or something
thanks guys!