Interview: Zardonic

“I am extremely pleased with the response [to 'For Justice'] and I also like this new sound I've found. It lets me try electro things, breakbeat things, then back to drum and bass, then ambient, then pure metal, it's like a compendium of all the music that I've done and liked through my entire life.”

IVM Introducing...

This section is open to any band who has formed in the past few years and are currently unaffiliated with a record label, but have at least one demo of some variety available to purchase/download.

Live Review: Wednesday 13 – Rescue Rooms, Nottingham 14/03/2015

WEDNESDAY 13 (+ Rival State) Rescue Rooms, Nottingham 14/03/2015

Come to Daddy: 5 Things we want to see in the new Hellraiser ...

"... with the new movie on the horizon here's what us fans would like to see, and not to see happen to our favourite slice of darkness."

The best of Record Store Day 2015

"...with hundreds of releases slated to go on sale on Saturday 18th April there's too much choice to get your head around. With this in mind we've made a shortlist of recommendations that will hopefully tempt you to part with your money and keep our beloved record shops open."

Thursday, 28 May 2015

Review: The Last Dance – 'Ruins'


It has been a long time coming but it's finally here. A new album from The Last Dance in the form of 'Ruins'. The pioneering darkwave band's last full-length studio output was back in 2005 with the brilliant 'Once Beautiful'. In that time the band have scattered across the globe and for a while it looked like their legacy may have been lost to the winds. But in the wake of a well received single in the form of 'Cages' in 2012, the band slowly began to regroup for something bigger. Which brings us up-to-date.

Despite a decade passing between releases it doesn't sound like they have been apart for more than a day. As the opening track 'Mesmerize' emerges from the silence, it is evident that all the classic elements that endeared the band to fans across the world are still all present and correct. The haunting vocals, throbbing bass, distinctive guitars, and catchy electronic hooks. But this isn't an exercise in nostalgia. This is a band creating music for 2015 and it shows. Songs such as 'Missing', 'KatSong', 'Cages', 'Edge Of The World', 'Scars', 'Medicine' and 'Still Waters' are some of the best darkwave songs to have come out in the past few years and the band can hold their heads up high knowing that they have come back and on top form.

The band blend uplifting music and gothic melancholia with great effect, but especially on the ballad-like duet that is 'Still', the hard and aggressive 'Thoughtless', and the piano-led cabaret of 'Everything That You Ever Wanted'.

The production is pretty strong for the most part. It is of the quality that you'd expect form a veteran act such as The Last Dance, and despite one or two parts which hit the ear a little flat it is fairly level throughout, with the choruses getting a big kick to really take them up a notch.

This is a strong return from a band that was sorely missed by many. And it is fair to say that 'Ruins' win them new fans and satisfy older ones. There's no re-workings of old songs, there's no trying to live up to their legacy, they have simply written an album that embodies who The Last Dance are in 2015 and it holds its own with the classics in their back catalogue.

Review: Ruinizer – 'Decimation In H.D.'

'Decimation In H.D.'

The arch duke of swaggrotech Jay Ruin returns with the second instalment of his post-Cedigest project 'Ruinizer'. The Ruinizer name has made quite a few appearances over the past year as a remixer for other artists, usually resulting in a stand-out contribution each time. But if this has been your only exposure to Ruinizer so far, prepare yourself for a big shock to the system. The genre-blending, and witty 'Decimation In H.D.' picks up the chaos left by it's predecessor 'Mechanical Exhumation Of The Antichrist' as it melds electro-industrial with elements of trap, hip-hop, drum 'n' bass, dubstep, and metal to create a fresh, modern and exciting take on the genre.

Songs like 'Doomsday Device', 'Devilution' (featuring Surgyn), 'Decimation In H.D.' (featuring Avarice In Audio), 'The Face Of Chaos', and 'Fukdat' give the album a firm club-friendly footing with hard dance beats, aggressive electronics and demonic vocals making them must-haves for dance-floor consumption.

While tracks such as 'All Hail The Might!', 'Mechanichrist', 'Go To Hell' (featuring Seraphim System), and 'Somewhere Between God And the Machine' show the depth and skill of Ruin's song writing talent as they blend experimental electronics, down-tempo beats and urban hooks to create some genuinely inspired and intelligent work.

The production on the album is gritty, but clear. Again like the music it walks a fine line between industrial aggression and more modern electronic flavours. But it works, and it works well. All the elements within the songs, no matter how harsh and distorted they may be, are all easy to pick out, while the bass and beats have the power they need to penetrate the chest.

'Decimation In H.D.' is one hell of a beast. Its big, bold, brash and brutal. It melds genres with ease as it stays true to the experimental origins of industrial but brings in influences of a myriad of modern styles. The second album for any band is supposed to be tricky, but Jay Ruin has just gone ahead and kicked the door down with this one.  


The term 'Freudian slip' is part of the modern lexicon, and shows how successfully an idea can chime with our instinctive understanding. With this term we can describe 'that awkward moment...' when people say what is actually on their minds rather than what they are trying to say; the moment when the mask of the superego slips, and lets us see the messy subconscious underneath. And, this being Freud, the messy subconscious is all about sex.

The horror and gothic genres have long lent themselves to this kind of analysis; with the blood, murder, hauntings, cruelty and other libidinal undercurrents of the horror culture we are used to dismissing films and books as a 'metaphor' for sex:. From 'The Howling' to 'The Blob', from 'Ginger Snaps' to 'The Thing', from 'Lost Boys' to 'Twilight', it's all about sex. This is standard stuff nowadays. In fact even if it's not about sex we suspect that it kinda is about sex after all (cue many a feminist critique of 'Prometheus' or 'Saw').

What we also assume is that this is an intention on the part of the artist – that such motives are an explicit subtext as intended by the writer. But what if it isn't, and what we have is simply a massive Freudian slip?

Take Stoker's 'Dracula', for example – it is generally assumed nowadays that the proliferation of phallic symbols, neo-orgasmic death scenes, tortured innuendos and being 'hard at it' in the bedroom was intentional, in which case it makes perfect sense; but Stoker actually railed against such smut and even wrote an article condemning sexually explicit horror - meaning that all this was actually accidental. Oh embarrassing!

So what, then, are we to make of what can only be described as Hammer's 'femdom' period? During a 6-year period Hammer produced three films – 'She' (1965), 'Prehistoric Women' (1967) and 'Countess Dracula' (1971) – which all riffed on the single idea of dominant, cruel women who must be obeyed. Pretty racy stuff for the '60s/'70s before the ideas of fetish and BDSM had begun to gain any cultural cache. So were these films radical forerunners of a soon-to-be resurgent theme in sexual politics? Or were they simply the baffling offshoot of a cringingly exploitative cinema aesthetic?

In 'She', the titular figure is an immortal goddess with a stunning beauty that leads to her having an army of adoring supplicants, as well as an egomaniacal cruelty which involves throwing be-chained men in loincloths into a deep pit. In 'Prehistoric Women' the tyrannical Kari rules a tribe of brunettes who have enslaved a tribe of blondes whilst all the men are kept chained in a dungeon (and no, I am not making this up), and as the 'white hunter' male archetype lead tries to resist her domineering cruelty he ends up a slave like the rest of them due to Kari's overpowering jealousy and anger. And in 'Countess Dracula' our eponymous heroine is rejuvenated by the blood of female virgins (which she naturally obtains by beating them in a cruel and domineering manner) before using her rediscovered sexual power to dominate the court. So tell me – what the hell would Freud have made of that lot, then?

Whether or not these films were picking up on cultural changes in the zeitgeist of the '60s counterculture and laying the foundations for what was to be become the fetish/BDSM scene, or were simply just an excuse to have a lot of chaining up done by women in leopardskin bikinis, is hard to tell. And of course even if the latter was the case it wouldn't necessarily mean there was nothing in them that was indeed an indicator of changes in modern sexuality. But what Freud would have to make of them is anyone's guess...

Wednesday, 27 May 2015

Book Review: Tarn Richardson – 'The Damned'

'The Damned'

It is hard to believe that 'The Damned' is Tarn Richardson's début novel. The Salisbury-based author has a writing style that is engaging, intense and full of visceral descriptions. And what is better is that this is set to be the first of a trilogy of books. 'The Damned' is a sublime work of dark fiction meets mystery, meets horror that recalls the likes of 'Anno Dracula', 'Hellsing', and 'Constantine', with a hint of 'Fight Club'. It is dark, seedy and full of gore. In fact after 25 pages or so, you will lose count of the number of fictional casualties.

The book follows the life and work of Poldek Tacit, one of the Vatican's most effective and brutal Inquisitors as he navigates the carnage of the First World War to achieve his aims. It is set in an alternative history where the inquisition is still a real force, albeit one that works in the shadows, and something terrible stalks soldiers on both sides of the trenches, as well as a clergy who are mired in conspiracy.

The book runs on two timeliness – one which follows the young Tacit as he grows up within the church, and the other which follows his present mission. There are also two other strands, that of the beautiful and free-spirited Sandrine, and the British officer Henry Frost, whose stories all eventually intertwine. The author handles the separation of the timeliness well, however it is an element that does become rather tiresome, especially seeing as there are a lot of predictable plot devices employed. However, Richardson's writing style still has you glued to the page.

Another element that walks the line is the author's use of metaphor. The text is wonderfully descriptive with a very cerebral and visceral attention to detail, and a lot of the times the metaphors and similes employed are apt. However, there is a tendency to over rely on metaphor and this does lead to some rather clumsy text in places. This isn't a common occurrence, but when it does happen it glares out of the text.

With the narrative being very character driven, Tacit and his supporting cast of allies, and enemies grow as they struggle morally with their situation and try to stay alive amidst the supernatural horror and mechanised slaughter all around them. There is no real sense of good versus evil at work here. It is a battle of wills with the different faces of mankind's desires for love, compassion, honour, loyalty against its lusts for destruction and avarice. Tacit in particular is by no means a hero, but neither is he without any redeeming features. He is the dirtiest of those who carry out the churches dirty work, and a victim of his own ruthless efficiency.

It is anachronistic at times, and the plot does have moments of predictability. But as a first novel this is a very promising and unashamedly addictive read. It is fast paced, atmospheric, it blends genres with ease and it keeps you hooked throughout. By the end of the book you will be looking forward to the further mission's of Poldek Tacit. Fans of modern horror fiction, alternative historical fiction, werewolves, and even thrillers such as the 'Da Vinci Code' will be gripped by 'The Damned'.

Tuesday, 26 May 2015

Leaether Strip, Haujobb, Conjure One, and Velvet Acid Christ all to headline the Dark Electronic music festival Aftermath

On August 27th-30th the second edition of the Aftermath Music Festival. Taking place at the Phoenix Concert Theatre in Toronto the Aftermath Festival showcases some of the top and upcoming artists in the Dark Electro, and Alternative scenes.

Headling the festival this year will be Leaether Strip, Haujobb, Conjure One,and Velvet Acid Christ. Having a musical career that spans over 25 yearsLeaether Strip (Claus Larsen) is widely considered one of the most influential artists in the Industrial/EBM music scene.

Haujobb's sound has ranged from Electro-Industrial to IDM and even Techo. Their sound has crossed over into many different genres of music and they are one of the main artists to help introduce many different styles of Electro to the fore front. Haujobb was also featured on 2014's Eye Vs Spy North American tour withSkinny Puppy, Front Line Assembly, and Youth Code.

Conjure One is the brainchild of Rhys Fulber (Front Line Assembly and Delirium) Bringing his own brand of Ambient Pop as Conjure One. Rhys Fulber has worked with artists such as Sinead O'Conner and POE also has remixed artists such asAlice Cooper, P.O.D and The Realm.

Bryan Erickson formed Velvet Acid Christ in 1990. Since it's formation he has developed a cult like following in the Dark Electro scene. He has multiple songs in the top 20 Billboard Alternative Charts and numerous highly successful releases.

Featured also at Aftermath this year are William Control and The Dreaming.

William Control (Formally of the band Aiden) is known as a highly charismatic front man similar to the likes of Iggy Pop or David Bowie which translates to new standard of on stage performance. He is a skilled producer, having melded a majestic fusion of Electronic Darwave, Goth, New Wave Punk and Glam Rock reminiscent of artists like New Order, Gary Numan, and Depeche Mode. He also has contributed to the soundtracks for the movies Saw V, Underworld: Rise of The Lycans, and Underworld: Awakening.

The Dreaming was founded by former Stabbing Westward members Christopher Hall, Walter Flakus, and Johnny Haro. Their sound is an intense blend of Alternative Rock, Metal, and Electronics that harkens back to the days ofStabbing Westward. Their newest album, Rise Again was released in February on Metropolis Records.

Other artists featured at Aftermath this year are Electronic-Rock artists 3Teeth,Kevorkian Death Cycle, Ego Likeness, Go Fight, and Dead On TV. Dark Electro artists Tactical Sekt, FGFC820, Ludovico Technique, and Nitro Noise. Alternative Dance artists Mr Kitty, Brudershaft, and Electrovot.

Rounding out the line up are Electro and IDM artists Stoneburner and Mend. Aftermath also features three Toronto artists Peter Turns Pirate, Glennlove, and Squid Lid.

Tickets are on sale now for Aftermath and can be purchased HERE
For more information
Aftermath's Official Site
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Friday, 22 May 2015

Review: Drakkar – 'Run With The Wolf'

'Run With The Wolf'

There seem to be more bands with the name Drakkar than most would care to count. This review however refers to the 20-year Italian power metal veterans and their fifth full-length studio album 'Run With The Wolf'. Power metal may be scoffed at by a few, and yes it has been unfairly lampooned in the past, but its hard to deny its pedigree with bands like Helloween, Hammerfall, Symphony X, Stratovarious, and Blind Guardian at the helm. While bands such as Drakkar keep adding originality and passion to the genre.

The band's new album is both epic and direct. Soaring guitars, big choruses, symphonic keyboards, sing-a-long vocals and thunderous rhythms cut a fine shape on tracks such as 'Under The Banners Of War', 'Watcher Of The Wall', 'Burning', 'Gods Of Thunder', and 'Call Of The Dragon Blood'. While tracks such as 'Rise Of The Dark Lords', and 'Southern Cross' adding drama and poise to the track list.

The bonus CD offers up some more epic cuts with 'Coming From The Past', 'Dragonheart' and 'Pure Of Heart' standing alongside the main track list with ease. But it is the symphonic strains of the folk-infused 'Galadriel' Song' that trumps them all.

It would be nice to hear more of the folk elements coming through, and for the band to slow things down and even go instrumental to break the track list up. But on the whole it is a decent collection of songs that is well performed and well produced.

'Run With The Wolf' my not be a genre defining album. But the Italian's do it well. Everything a power metal fan could want is present and correct. It would be nice to have a little more variety, but there is something charming about their balls-to-the-wall execution. It's a fine way to mark 25 years doing what you love.  

Thursday, 21 May 2015

Review: Red Sun Revival – 'Identities'


Hot on the heels of last year's 'Embers' EP, London-based gothic rockers Red Sun Revival return with their second full-length studio album in the form of 'Identities'. The band continue to blaze a path that defines what modern gothic rock should be moving between dark and dreamy atmospheres, and heavy grooves. The band, led by Rob Leydon, have over the course of their releases crafted a presence that has seen them join the likes of The Eden House to aim beyond the confines of genres and conventions and to push their song writing further, and 'Identities' is no exception.

The album keeps the hallmarks that we've come to know of the past couple of releases: the jangling guitars, deep expressive vocals, throbbing bass and atmospheric keyboards and continues to push this simple set-up in new and interesting directions. Songs such as 'Echoes', 'The Reckoning', 'Fade In Time' and 'In Your Name' draw on the likes of The Mission, The Cure and Fields Of The Nephilim which gives the album a steady and accessible level for fans of traditional gothic rock to instantly find a rapport with.

While the likes of 'Four Walls', 'Mistakes', 'The Condemned Part I', 'The Condemned Part II' and 'The Awakening' take a more progressive stance and make good use of extra instrumentation and playing with their musical formula to create some genuinely inspired music.

The production is crisp and clear and sounds like the sort of quality you'd expect from a band who are aiming high. It has a retro slant not unlike the classic albums by The Mission, but it preserves a modern dreamy quality favoured by the likes of The Eden House.

'Identities' continues to develop the band's sounds and push them as song writers. The end result is a mature and high quality collection that hints at even better to come. This album should quite rightfully put the band on the map and fans of guitar based gothic rock should quite rightly embrace it.  

Review: Klone – 'Here Comes The Sun'

'Here Comes The Sun'

French psychedelic/progressive six-piece Klone unleash their seventh full-length studio album in the form of 'Here Comes The Sun'. The band may not be a common name on these shores but with a penchant for hard riffs and delicate ambience, the band will undoubtedly find common ground with fans of bands such as Anathema, Opeth, Gojira, and Porcupine Tree. Progressive rock meets atmospheric metal to create an ethereal yet visceral sound.

The album is a hard one to predict, just as you think you've got the measure of things they unleash a new trick, which is a nice change of pace from the rather static album structures that many bands choose to employ these days. Songs such as 'Immersion', 'Nebulous', 'Grim Dance', and utterly stunning 'The Last Experience' give the album its heavier credentials with some wonderful riffs, strong grooves, and brilliant vocal performances. But it is on tracks like 'The Drifter', 'Gleaming', 'Come Undone' and 'Summertime' where things get really interesting with nods to Pink Floyd coming through and the ethereal aspect of the band's sound comes front and centre.

The album has a nice, modern post-prog sound to it in the same style as the recent albums by Anathema where the mix creates a great sense of space in which the instruments reverberate and create a cavernous atmosphere.

This is a strong album that fans of prog/psychedelic bands will easily be able to get into. The band have blended elements of progressive rock, metal, grunge and a pop-friendly execution to create a rich and accessible tapestry. It is passionate, atmospheric and most of all, brilliantly executed. Lets hope it sees their stock rise further outside their homeland.  

Wednesday, 20 May 2015

Latest WGT announcements still rolling in

The annual Wave Gotik Treffen festival in Leipzig Germany will take place in a few days but the artist announcements keep rolling in with the line-up swelling to 218 (at the time of writing.

Full line-up:

.com/kill (D) - Accessory (D) - Agent Side Grinder (S) - Alex Kaschte (D) - Alexander Nym (D) - Andre Ziegenmeyer (D) - Anja Bagus (D) -Antimatter (GB) akustischer und elektrischer Auftritt - Ari Mason (USA) - Arkona (RUS) - Ash Code (I) - Ashes You Leave (HR) - Ashram (I) -Astari Nite (USA) - Asynje (DK) - Automelodi (CDN) - Axel Hildebrand (D) - Beborn Beton (D) - Bella Donna (D) - Bergtatt (N) - Birdmachine (D) - Black Lung (AUS) - Blackhouse (USA) Weltpremiere - Blood And Sun (USA) - Blutengel (D) - Cacophoneuses (F) - Capella Fidicinia (D) -Centhron (D) - Cesair (NL) - Chor Und Ballet Der Musikalischen Komödie (D) - Chor, Kinderchor Und Jugendchor Der Oper Leipzig (D) -Christian Von Aster (D) - Clan Of Xymox (NL) - Client (UK) - Clock DVA (GB) - Combichrist (N) - Crash Course In Science (USA) - Cromdale (D) - DAF (D) - Dalriada (H) - Dark Funeral (S) - David Splittgerber (D) - David Wonschewski (D) - Dear Strange (D) - Death In Rome (D)Weltpremiere - Deine Lakaien (D) - Denny Wilke (D) - Der Weg Einer Freiheit (D) - Die Kammer (D) - Diorama (D) - Dirk Bernemann (D) -Distel (NL) - Donnertrummel - Doppelgänger (RUS) - Dr. Mark Benecke (D) - Dragóna (D) - Dupont (S) - Eisbrecher (D) - Eisler Trio (D) -Eisregen (D) - Eluveitie (CH) - Empathy Test (GB) - Ensemble Wilde Jagd (D) - Esa (GB) - Escape With Romeo (D) - Euzen (DK) - Evi Vine (GB) - Faey (D) - Falloch (GB) - Feuerdorn - Fields Of The Nephilim (GB) Konzert zum 30. Jubiläum - Fixmer/McCarthy (F/GB) - Frank The Baptist (USA) - Freiraum Syndikat (D) - Frigoris (D) - Front 242 (B) - Gerechtigkeits Liga (GB) - Gewandhausorchester (D) - Ghosts Of Dawn (D) - God Seed (N) - Goethes Erben (D) - Grendel (NL) - Greta Helten (D) - Haggard (D) - Harmjoy (D/USA) - Heldmaschine (D) - Hezzel (LV)- Hologram_ (F) - Hubertus Schmidt (D) - In Ruin (USA) - Ingo Martin Stadtmüller (D) - Isabel Gabbe (D) - Ivo Nitschke (D) - Jamey Rottencorpse and The Rising Dead (D) - Jäger 90 (D) - Jörg Scheidt (D) - Jo Quail (GB) - Jordan Reyne (NZ) - Kathrin Christians (D) - Kaunan (D) - Keluar (D/GB) - King Dude (USA) - Kirlian Camera (I) zwei Konzerte mit Frühwerken und aktuellem Material - Klutae (DK) - Koffin Kats (USA) - Konzertchor Wümme-Wieste (D) - L'ame Immortelle (A) - L.E.A.F. (NL) - Last Dominion Lost (AUS) - Laura Carbone (D) - Leipziger Ballett (D) - Lex Wohnhaas (D) - Liebknecht (D) - Lights Of Euphoria (D) - Lisa Cuthbert (IRL) - London After Midnight (USA) - Luci Van Org (D) - Luigi Rubino (I) - Lukas Dreyer (D) - Lukas Heinig (D) - Lydia Bennecke (D) - Lydia Gorstein (D) - Majdanek Waltz (RUS) - Markus Heitz (D) - Männerchor Leipzig-Nord (D) - MDR Rundfunkchor (D) - Megaherz (D) - Metal Cambra (E) - Michael Schönheit (D) - Midgards Boten (D) -Mila Mar (D) erstes Konzert seit 2004 - Minimal Consort (D) - Minuit Machine (F) - Mirja Dahlmann (D) - Modulate (GB) - Mono Inc. (D) - Mono No Aware (D) - Monolith (B) - Moonspell (P) - Morthound (S) - Murkeley - Mushroom's Patience (I) - Nachtmahr (A) - Nachtwindheim -nemus!-Ensemble (D) - Nosferatu (GB) - NZ (A) - Orchester Der Musikalischen Komödie (D) - Orphx (CDN) - Otto Dix (RUS) - OWLS (I/GB) -Phase Fatale (USA) - Phasenmensch (D) - Postscriptum (N) - Qntal (D) - Rabbit At War (D) - Reliquiae (D) - Rezurex (USA) - Roma Amor (I) -Samsas Traum (D) - Sólstafir (IS) - Schonwald (I) - Sea+Air (D) - Seasurfer (D) - Sektion B (D) - Shield Patterns (GB) - Skaluna (D) -Skyforger (LV) - Snog (AUS) - Soko Friedhof (D) - Sol Invictus (GB) spielen das Album "In The Rain" - Sophia (S) - Soror Dolorosa (F) -Spencer (CH) - Spiral 69 (I) - Steinkind (D) - Stoneman (CH) - Substaat (N) - Surturs Lohe (D) - Svartsot (DK) - Sweet Ermengarde (D) -Tüsn (D) - Tehôm (HR) - Tempers (USA) - Terrolokaust (E) - Terrorfrequenz (D) - Thalia Lauer (D) - The Beauty Of Gemina (CH) - The Essence (NL) spielen das Album "Glow" - The Exploding Boy (S) - The Frozen Autumn (I) - The Juggernauts (B) - The March Violets (GB) - The Other (D) - The Present Moment (USA) - The Saint Paul (D) - Thomas Manegold (D) - Thomas-Michael Gribow (D) - Tibetréa (D) - Tommi Stumpff (D) - Trio Concordia (D) - Twisted Nerve (GB) - Two Witches (FIN) - Unterschicht (D) - Unto Ashes (USA) - Uwe Nolte (D) - Valéry Suty (D) -Vannina Horbas (D) - Veil Of Light (CH) - Virelai (DK) - Vive La Fête (B) - While Angels Watch (GB) - Wrangler (GB) - XMH (NL) - Youth Code (USA) - Zackenflanke (D) - Zeena Schreck (USA) - Zombiesuckers (S) -

The festival so far boasts names such as Clan Of Xymox, Eisbrecher, Esa, Fields Of The Nephilim, Front 242, God Seed, L'Ame Immortelle, Modulate, Nachtmahr, Moonspell, The March Violets, and XMH.

The festival will take place this year from 22nd May until 25th May. For more information please visit the official Wave Gotik Treffen website.    

Tuesday, 19 May 2015

Review: Go Fight – 'Napalm Baby'

'Napalm Baby'

Go Fight return with their sophomore outing in typical Chicago style on 'Napalm Baby'. The electroscuzz outfit fronted by Die Warzau (and occasional Pigface member) vocalist Jim Marcus and completed by a motley crew of industrial veterans push their Wax Trax! in new and interesting direction. The big beats are recognisable and the construction of the songs is very familiar to past projects, but Go Fight is definitely its own beast and is striving to be recognised as such.

With songs such as 'Sundown', 'Rocket', 'Gay On The Dancefloor', 'Make Some Noise', 'Moscow Drag' and 'Kill What You Eat' into, with their steady beats, sing-a-long choruses memorable melodies, and scuzzy basslines they will certainly have no trouble in converting the masses.

The album's main strength is in its strong use of rhythms, couple that with a strong funk element running throughout and Jim Marcus' penchant for a great vocal hook and you have a winning formula. It's sexy, sordid and brilliantly straight-forward. The band's pro-sex-anti-war message unites each track and leaves no room for ambiguity to create a linear and accessible listening experience that holds your attention throughout.

The production is crisp, clean and has a definite pop dimension to it. Overall the execution is more ebm and edm that industrial , but the big Wax Trax! style beats are ever present in the mix and drive the album.

'Napalm Baby' is a strong and accessible album that begs to be danced to. It's memorable and addictive in its simplicity. It may not be radically transforming the electro scene, but it is refreshing nonetheless with a pop sensibility and a nod to the past that makes for an endearing combination. The band have certainly carved a niche for themselves with this album and you should expect to hear a lot more from them in the future.

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