Tonepusher’s Industrial Throwback: A Wax Trax! Revival

Buss DR-550, DX7, EMU Drumulator, Fairlight CMI, Kawai R100, Kawai R50E, Minimoog, Oberheim DMX, Serum

Dive into the gritty sonic world of the ’80s industrial scene as Tonepusher pays homage to the legendary Wax Trax! Records. From clanging drum machines to searing synths, the video is a journey through sound that defined a rebellious era. JET explores Tonepusher’s methods for capturing that raw energy.

Wax Trax Records: The Sound Revolutionaries

Back in the 80s and 90s, if you were looking for music that could punch you in the gut with industrial ferocity, Wax Trax Records was your go-to. Based out of Chicago, they did more than just put out records; they crafted a sound, a movement. It’s like the clash of a pub brawl translated into soundwaves. Tonepusher delves into this era, reminding us of acts like Ministry and Front 242, who provided the soundtrack to countless dark, energetic dancefloors. With their support, European noise makers like Coil and The Young Gods found a voice across the pond. It’s a history lesson wrapped in distortion and grit.

"Wax Trax Records was a major force in the industrial and punk scenes during the 80s and 90s."

Machine Magic: The Gear Behind the Madness

Now let’s get down to brass tacks: the gear. This era was all about peeling paint off walls with relentless drum machines. We’re talking about the EMU Drumulator and Oberheim DMX, the backbone to many Wax Trax hits. But Tonepusher isn’t just dropping names; he’s diving headlong into the circuits. He cheekily plugs his own drum packs while waxing lyrical about the Kawai R100 and R50E—proper dodgy machines that surely would’ve been admired at a punk gig. Then there’s the bass, the throbbing heart of tracks like Ministry’s ‘Everyday is Halloween.’ Whether it’s analog synth grit from a Minimoog or the digital clang of a DX7, it’s all about bending and breaking sounds until they’re barely holding together.

The Art of Sampling: The Secret Sauce

"Sampling was the core of the Wax Trax trademark sound."

Sampling isn’t just a trick; it was the lifeblood of Wax Trax’s output. Tonepusher outlines how acts like Frontline Assembly turned limitations into an art form with the Fairlight CMI. It was like composing symphonies with blown speakers, each loop a layer of dark texture. From Clint Eastwood’s film samples to Slayer riffs, nothing was off-limits. Tonepusher reminds us how these craftsmen moulded existing sounds into something defiantly fresh, rather than soulless replicas—the same way you might repurpose that dodgy kebab into tomorrow’s breakfast.

Crafting the Chaos: Building The Sound

When it comes time to actually craft a track, Tonepusher doesn’t mess about. He starts with drums, choosing the Buss DR-550 for its raw, punchy tones. It’s the drum sound that’s less polished, more primal—like a proper warehouse party should be. Each drum tone is meticulously sculpted with EQs and plugins to get that authentic Wax Trax echo. RX-950 for the Akai texture makes an entrance, enhancing the sound with a modern edge but keeping it rough around the edges. Jumping to bass, Serum takes the spotlight, blending distorted oscillators with layers of electric bass for a sound thicker than a Brit’s accent. Tonepusher’s not just reconstructing; he’s shaking the industrial scene down to its foundation, and it’s magnificent.

"For this one, I used Buss DR-550 samples."

The Synthetic Soul: Lead and Pad Sounds

"Then to finish it up, I sampled this classic movie."

In the world of Wax Trax and their synth-centric ethos, leads and pads were about delivering emotional punches. Tonepusher uses Serum to conjure haunting arps and aggressive leads reminiscent of Front 242’s glory days. The Fairlight CMI samples make another appearance, oozing nostalgia. It’s synth programming that prioritises feeling over finesse, like a rough, affectionate hug from an old friend. It’s about cranking up the volume until the walls vibrate with shared histories and untapped emotions. Wrap it all up with a classic movie sample, and you’ve got a track that’s pure vintage dynamite.