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Artist info
Karl Mohr

Karl Mohr

Karl Mohr


Canadian electronic music producer Karl Mohr composes and performs evocative, moody, electronic songs with heavy beats, powerful vocal performances and dramatic, provocative lyrics. Since 1987, Karl Mohr has been composing and recording music, the vast bulk of which has been experimental and electronic. During his BMus degree at Queen's, Kingston, Mohr specialized in electroacoustic composition and piano performance, where he took the boundaries of musical genre to task Read more on Last.fm
Canadian electronic music producer Karl Mohr composes and performs evocative, moody, electronic songs with heavy beats, powerful vocal performances and dramatic, provocative lyrics. Since 1987, Karl Mohr has been composing and recording music, the vast bulk of which has been experimental and electronic. During his BMus degree at Queen's, Kingston, Mohr specialized in electroacoustic composition and piano performance, where he took the boundaries of musical genre to task, merging styles and periods to the extremes of an entire sci-fi techno reconstruction of Vivaldi's Four Seasons (1994). Having released 30 cassettes of his own material, Mohr released his first compact disc in 1997, "The Heck", which rounded up his industrial-techno work, rich with sampling and fast, heavy, electronic beats. A far more experimental and cinematic compact disc release in 2000, entitled "The End of The Line" featured some dark rock and electronic works, as well as ambient-oriented songs. After a long wait of eight years, 2002 saw the release of Mohr's earlier Vivaldi tribute, "The Four Seasons 2117" on the Interdimensional Industries imprint.

In the same year, while living in Vienna, Austria, Mohr released the mutant "Magic Christmas" holiday album, as well as the introspective lo-fi quirk electro record "Vereinsgasse". Relocating to Toronto, he began to formulate his live presence, and brought to light the decidedly political and heavy duty retro-wave release "Tools For The Analog Revolution". His current album, "Full Moon Film", a marked return to his goth/glam roots, is in the mixdown stage and is slated for release in the winter of 2007. A major supporting force behind the post-Heck period has been Interdimensional Industries, the record label based in Edmonton, Alberta, Canada. Since Vienna, Mohr has also been developing the Multibeat Records label for various projects including his own work under: Karl Mohr, Droid Charge (hardcore techno) and Blue Visions (chill house). INFLUENCES: Early influences: classical composers, Nettwerk Records, Wax Trax Records, acid house and rave movement, new wave, coldwave, darkwave, ambient, industrial, death metal, concert art song, impressionism, hardcore techno. Recent influences: Muse, Trainspotting soundtrack, Parkdale Revolutionary Orchestra, Drums & Machines, Interpol, Laugh Out Loud, internet DJ sets of hardcore techno, photography of David Waldman, Ankixa Risk, Russian Orthodox Church Music, grace, redemption, integrity, the pursuit of the genuine. Vocal influences: Nivek Ogre/Ohgr, Hawksley Workman, Tom Jones, Neil Diamond, David Bowie, Mick Jagger, Lisa Gerrard, Peter Murphy, Laurie Anderson, Andrew Eldritch. COMPARISONS: Typically, KARL MOHR sounds like: DARKWAVE, GOTH, EBM, IDM, TECHNO, INDUSTRIAL, MACHINE-CORE, ALTERNATIVE, DARK ROCK, EXPERIMENTAL, DARK JAZZ, DEEP HOUSE, CHILL HOUSE, AMBIENT, CLASSICAL, ELECTROACOUSTIC, CANADIAN, MULTIBEAT RECORDS. His vocalizing has been compared to Nick Cave, Iggy Pop, David Bowie, Marilyn Manson, and Talk Talk. CONCERT CONFIGURATION: There are two performance modes: the electronic show, which is sequencer-driven, darkwave, electro-goth, dance/rock-oriented, and the acoustic show, which is intimate, dramatic, inviting, unplugged.

While the electronic show emphasizes rock power and sonic textures, the acoustic show emphasizes bare, vulnerable, acoustic textures. While other guests may appear from time to time, Karl Mohr's band, The Fallen Angels, consists of a trio configuration in both electronic and acoustic contexts, being joined on stage by the mighty Saint Benjamin and Revolution. KARL MOHR: vocals, electronic crossbow, piano SAINT BENJAMIN: piano, synthesizer REVOLUTION: guitar, pandemonium BAND BIO: SAINT BENJAMIN: Ben Heaslip has been a composer of new music since 1998, with a focus on small chamber ensembles and voice. A former church organist and a trained pianist and composer, Heaslip composes, arranges for, and conducts his own group, the Parkdale Revolutionary Orchestra, an acoustic neo-classical group reclaiming the concert stage toward its own rebellious ends. BAND BIO: REVOLUTION: Ian Revell is an international, multi-threading being of pure information exchange when he isn't exhibiting his exquisite photography and photo-collage experiments. ------------ Additional search terms: KARL MOHR AND THE FALLEN ANGELS, Karl Mohr and the Fallen Angels, karl mohr and the fallen angels, KARL MOHR & THE FALLEN ANGELS, Karl Mohr & the Fallen Angels, karl mohr & the fallen angels, droid charge, blue visions, multibeat records. Read more on Last.fm.

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