Interview: Society 1

“People come and people go for many reasons. Music is the main drive and what compels me to continue. Everything effects everything but you can't stop because you're an artist so I don't really think about it.”

Interview: Alter Der Ruine

“Everyone needed space. We took it. We honestly thought we buried Alter der Ruine the day we signed off with that stupid video.”

Interview: Phil Barry (Be My Enemy)

“I know where I’m heading and what I’m doing. That doesn’t mean that I will stick to a formula and pump out loads of similar sounding albums like some bands, I’ve never done that.”

Review: Everything Goes Cold - 'Black Out The Sun'


Review: Beauty Queen Autopsy – 'Good, Giving, Game'


Monday, 1 September 2014

Interview: Die Krupps

The machinists travel guide...

"Berlin was cool when the wall was up, it had a special flare, I really liked the atmosphere, it was like whoever did not want to get the draft went to Berlin, and so it was very artistic. Nowadays it is just a big city without a centre."

Die Krupps has been manufacturing Musik fabrik for 30 years. A creation of steel worker hard bass and a production line rhythm, that seeks to move. Last year was marked by the ‘Machinists of Joy’album. A successful mixture of 90s electro year rock, with an en-laced feel from impounding fabrik bass and then lifted up with EBM technik.

It’s just gone past midnight on a hot Monday morning at Amphi Festival in Cologne. The Labyrinth of the Stattenhaus venue is quickly remembered, as Hermann (tour manager) takes us into the dressing room. After a performance that neared disaster with monitor failure at the beginning (also happening to Front 242 on Saturday), Die Krupps are lounging backstage. A combination of improvised percussion and determination, until the issue was fixed led to a successful performance.

So now it is time for me to answer the deep questions of...

Intravenous Magazine: So who is the best cook out of the lot?

Bradley: Totally not me! I’m a great cocktail mixer.

Marcel: I think Bradley is the best cook, but I’m good on cocktails.

Bradley: I'm a big bourbon fan, you should try ‘The Derby’. Really good bourbon like Basil Hayden 2oz, a spoonful of maple syrup & 1 Oz pineapple juice and a pinch of nutmeg. The Moscow mule I've been drinking a lot of recently.

Bradley’s Bar:
Moscow Mule
  •          Vodka
  •          Shot of lime juice
  •          Top off with Ginger Beer

Bourbon X

·         2Oz Basil Hayden's
·         1tbsp Maple Syrup
·         1 Oz Pineapple Juice
·         Shake it!
·         Dust with a pinch of Nutmeg

IVM: You should try an Islay Mule…
·         1part Islay peated Whisky
·         2 parts ginger beer
·         1 part lemon juice
·         Serve on ice cold.

or a Pain Killer.

Marcel: What is a Pain Killer?
  • 2-4 oz. of Pusser's Rum
  •  4 oz. pineapple juice
  • 1 oz. cream of coconut
  • 1 oz. orange juice
  •  Grated fresh nutmeg
(At this point I am assuming at least 50% of the band is surviving on alcoholic calories)

IVM: Do things like tonight's monitor sound failure irritate you?

Jürgen: Honestly I think you can use things like tonight to your advantage. If you keep the crowd informed, involve them and improvise, then it will work in your favour. I know it wasn't our fault, but issues can arise now and again.

IVM: What was the aspect of the 'Machinists Of Joy' album?

Jürgen: Essentially to bring out a Die Krupps album for all of the years, the only element we didn't include was the noisy part of the first album, all the rest is there. But now we are going to branch out again. At the moment new stuff is formulating, but we think some time in spring next year we'll work on it.

IVM: You are currently based in Austin Texas, when you are coming back to the continent do you feel the culture difference?

Jürgen: The only two places I've really liked on the continent are London and Moscow. But Austin is the best city in the world. It’s like the San Francisco and New York of the South, all mixed into one. Austin is the oasis of Texas and is really the music capital of the world, there is nowhere I’ve seen with  such a variety of live music, clubs and bars.

IVM: When did you first start coming over?

Jürgen: At the end of the 80s and then I moved to NYC in 1991 and then I saw Austin and found everything. The down town area has it all in one place from an industrial, reggae or rockabilly club, it’s all there in one place! The nature in Austin is like the South of France and if you love good food, you will be spoiled all the way!

IVM: What makes Berlin not cool any more?

Jürgen: Berlin was cool when the wall was up, it had a special flare, I really liked the atmosphere, it was like whoever did not want to get the draft went to Berlin, and so it was very artistic. Nowadays it is just a big city without a centre. Nuremberg is more of a medieval town with a huge castle enclosed with walls you should definitely go there. We actually were asked to play infest this year, but this is two weeks after Mera Luna and we can’t be touring 24/7, what’s it like there?

IVM: It’s a cool end of summer festival in the UK, it’s cheap to go to and very laid back. Everything is on the University of Bradford Campus, and includes a good turnout good variety of electronic orientated bands. Also has possibly the best Karaoke players the scene has to offer!

The corridor begins to resonate in low frequency. The last band downstairs, has come to the closing chapter of its performance. Looking back Jürgen finishes off speaking to a passing by music artist departing into the evening.

IVM:  What would Die Krupps do in a Zombie attack?

DK: Get up on stage and do a performance, see maybe if I could get some back vocal from them.

The interview has ended and so has Amphi. We trace our steps back through the West German structure returning into the Statennhaus theatre.The skeleton that once enveloped the Stage, has begun its deconstruction piece by piece, though the floor is still warm from boots and high heels.

The first glimpse of Die Krupps was at Amphi 2008, the blast of their metal pipes to' Der Amboss' hooked me to them, and seeing the history of the machine years continue on in success, just as Amphi has from then.

'The Machinists Of Joy' is available now via Synthetic Symphony / SPV. For more information on the band, including tour dates and future releases, please visit their official website.

Interviewed by Dominic Lynch aka DJ LX-E

Photography: Daniela Vorndran

Friday, 29 August 2014

The weekly compendium 29/08/2014

And just like that, the Summer is gone and Autumn is now upon us. We hope you enjoyed your bank holiday, especially those who managed to get down to Infest for the weekend. It sounded like an absolute blast. I took advantage of the three day weekend to get some very serious relaxation done so we kicked things off a little late this week. I'm sure you'll forgive us though when you see what we did give you.

It was a little sparse on the website with reviews from the likes of Antigen Shift, Three Winters, Asmodeus X and Machine Rox taking centre stage. However, over on Facebook we had plenty of treats for you including: music videos from Blush Response and Die So Fluid. New music from End Of Green and Kunoichi. Highlights from Resistanz Festival. News from Cold Spring Records, Laibach, Fields Of The Nephilim, and Faderhead. And a cool teaser from Aeon Sable.

Right, so that's your lot for this week. Keep your eyes peeled this Monday for more. In the meantime here's something cool...

Thursday, 28 August 2014

Review: Machine Rox – 'Next Level'

'Next Level'

Following on from last year's dull-length début 'Shout', London's Machine Rox have waisted no time in unleashing another collection of industrial metal head-bangers. They took their time before releasing their first album, but 'Shout' saw the quartet become the band that they had strived to be, hard, fast and surprisingly club-friendly. 'Next Level' as the title suggests sees the band aiming to raise their game further with a sharper focus and some even better riffs.

The guitars are loud and savagely distorted, the synths are slick and catchy, and the vocals sound better than on any previous album. Songs such as 'Love Explosion', 'Electric Sun', 'Cycle Complete', 'My Own Religion', and 'You Belong To Me' really show how far the band have come in terms of songwriting and execution. They are heavier, tighter, more polished and not afraid to mix things up, such as in the lush instrumental 'Last Kamikaze' or the fist-in-the-air southern rock riffing of 'Losers In Your Game'.

The production has continued to improve as well on this release with far fewer instances of the vocals getting swamped by the guitars. It still has a roughness to it's sound, but when the synths are high in the mix it creates quite a nice balance between their dirty rock and slick dance sides.

If the band's aim was to raise their game to the next level with this album, they have certainly achieved that. The album takes a big step on from the solid foundation of 'Shout' and consolidates their position as a force to be reckoned with. The band's confidence has soared over the past couple of years and the effect it has had on their output has been impressive. If they can continue this kind of pace at this level they will only continue to see their stock rise further.

Review: Asmodeus X – 'The Bright Ones'

'The Bright Ones'

It may have been around for a few years now but this release from veteran US trance influenced ebm outfit Asmodeus X is still worth a review. Recorded between 2008 and 2010 and filled with compelling dance leads, entrancing synth melodies and a heavy dose of esoterica, 'The Bright Ones' is a strong club-friendly record that sees some of the bands strongest material to date.

It's a high energy assault that channels the likes of ebm pioneers such as Front 242 through a very modern trance framework to create a high energy dance floor assault. Songs such as 'Destination Calling', 'Grosser Haus', 'Seasons Without End' , 'The Bright Ones' and 'Theos' bring the fast pace, big beats and memorable leads that can't help but get bodies moving. The use of samples gives the album a nice old school flavour as well that is further emphasised by the distinctive vocal style.

Though the vocals are well performed the way they're mixed does occasionally hit the ear wrong. Amongst the big synths and beats it's not as noticeable, but on some of the quieter portions of the songs they sound a bit tinny and raw compared to the more polished musical backing. It isn't a huge sticking point though as the songs have a lot of energy behind them to carry them through. Other than that the album is very well produced and maintains a nice balance between the band's classic and modern leanings.

'The Bright Ones' is a solid album full of tracks that would be a welcome addition to any deejay's setlist. It's by no means a perfect album but in terms of songwriting it is a very strong offering with all ten songs a potential single, but in particular the final two tracks 'Theo' and 'Power Factory'. It's been a while since we've had some brand new music from the trio, so it will be interesting to see what they have been brewing since they released this.

Wednesday, 27 August 2014

Review: Three Winters – 'Chroma'


The trio of Kim Sølve [Blitzkrieg Baby, K100], Anders B [Babyflesh, Mind & Flesh] and Lars Fredrik Frøislie [Wobbler, White Willow] last made an appearance with the brief but brilliantly executed taster 'The Atrocities EP' which featured three tracks which now make up part of their full-length début, 'Chroma'.

The trio blend catchy synthpop and dark coldwave into a dystopian sci-fi soundtrack style that draws as much influence from John Carpenter and Giorgio Moroder as it does from modern acts such as The Soft Moon and Zombi. It's bleak, Minimal, downbeat and cold in it's atmospheres, but ultimately it gets under your skin with it's simple but infectious melodies and hooks.

Songs such as 'Atrocities', 'At the Centre Of Dystopia', 'Animism', 'Aeon Surveillance [mkII]' and 'Lieke' feel like grainy retro sci-fi relics from the early 80s with their analogue sounding synths and minimal Kraftwerk-esque construction. But ultimately they are augmented with a strong sense of pop melodies and dance beats. While the likes of 'Daybreak Monuments', 'Hazard' and 'Channel 0' engage in more atmospheric ambience with their slower pace and more evocative cinematic slant.

As you'd expect the production emphasises that old school, 80s sound. But it isn't hiding behind the retro tag to cover-up poor quality. This is a very well mixed and produced album with each track sounding crisp and modern despite the heavy use of classic synth sounds.

'Chroma' is an interesting, unusual and very rewarding listening experience. The band have created something that isn't quite a dance-friendly record, yet isn't a complex ambient soundscape. Instead the trio have taken strong elements from each and crafted them into something original yet familiar. It will be very interesting to see whether they choose to continue down this line on further releases or whether they have something else up their sleeves.  

Review: Antigen Shift – 'Brotherhood'


It has been eight long years since the last Antigen Shift album, 'Way Of The North', was released. But this time hasn't dulled the edge of Nick Thériault’s songwriting. Indeed with the addition of Jairus Khan (Ad-ver-sary), the now duo of Antigen Shift and their aptly named 2014 return 'Brotherhood' present a sharper and more complex entity than before.

There is ever present that familiar sense of urgent rhythm that continually drives the album forward. Yet there is a constant exploration of sounds and styles that elevates the sonic formulas at play here. The influences of jungle, breakbeat, edm, ebm and acts such as early Juno Reactor, Aphex Twin and of course some good ol' fashioned 90's industrial can be heard in tracks such as 'Forced', 'Angry Pillbox', 'Legion', 'Godkrusher', 'Console Nation', 'This Is An Exit', 'Reborn1130', and 'So Much Closer Now'. The sound of the album is one of variety yes, but it isn't a disparate collection of songs. The lighter ambient textures, pianos and classic techno sounds that crop up again and again subtly tie the whole album together with a recognisable and deliberate pallet.

In terms of production the album sits happily somewhere between a dance album and a complex ambient album. The big beats and melodies are high in the mix, but the prominence of the lighter elements give this more listen-ability than you'd expect.

At fourteen songs, some of which break the seven-minute mark, you'd be forgiven that the duo had just tried to squeeze eight years worth of ideas into one album. But that just isn't the case. What they have presented on 'Brotherhood' is a diverse and rich collection of songs that, while keeping one foot firmly in the industrial pool, isn't afraid to explore new ideas and sounds. And they've managed to do this on a nicely unified and succinct album that doesn't sound like someone has thrown ideas at a wall to see what sticks. It might not be what long-time fans were expecting, but it is certainly been worth the wait.

Friday, 22 August 2014

The weekly compendium 22/08/2014

It's the end of another week here at Intravenous Magazine, and it's nearly the end of August! We've been hard at work bringing you news and reviews to brighten up your dark little lives and are looking forward to a long weekend of... more writing! Here's what we had for you this week.

We kicked things off with another insightful column from Joel Heyes. We brought you news of The Gothsicles signing with Negative Gain. And there reviews of the new releases from Prude, Dicepeople, Cyferdyne, Witches Of Doom, and Flammpunkt.

While over on Facebook we saw a new Petrol Bastard remix courtesy of the legendary Ultraviolence. 3Teeth have launched a remix contest. Black Tape For A Blue Girl have released a free compilation. There is some late news from Infest. And finally tour dates from Velvet Acid Christ.

Right that's it for the weekend. I'm going to heroically plough on with this big article on silent horror cinema. So I'll leave you with this...

Thursday, 21 August 2014

Review: Flammpunkt – 'Amphetamine Psychosis'

'Amphetamine Psychosis'

Flammpunkt is the solo project of Frank Sparti, an Atlanta-based industrial musician with 20 years of experience to his name, which his first outing on Beyond Therapy Records certainly attests to. 'Amphetamine Psychosis' – his third outing under the Flammpunkt moniker and fist full-length album – is a seething blend of hard ebm, power noise and nasty industrial.

Primarily instrumental, at it's core it is a fundamentally solid dance album. The hard beats and catchy melodies on tracks like 'Civilisation Collapsing', 'Nekronamicode', 'The Creeps', 'Amphetamine Psychosis' and 'Digital Razor' do their job to draw the listener into the album and get their bodies moving. While the more crazy and experimental embellishments in the songs give the album a madcap veneer. Though Sparti isn't afraid to just go a bit nuts as he does on the short and sharp 'Cybergenic Freaks' and the spaghetti western invoking 'Gunslinger', which prove to be two of the albums most enjoyable moments.

It does feel as though he is holding back in some respects, as though the album is easing the listener in while threatening to drop a major bomb. Yet the explosion never quite comes. But what is here is still strong, and shows the depth and potential for this project.

Despite the penchant for getting crazy this is a very well mixed and produced album. The dance fundamentals are always preserved no matter what Sparti pulls out of his bag of tricks, which keeps it accessible enough to get his hooks into that club audience. But it is still complex enough to warrant catching him live.

'Amphetamine Psychosis' is fast and crazy, but it keeps one hand inside the straight jacket for good measure. It's an album that shows Sparti is not knows a good dance tune, but he can really spice things up. It would however be very interesting to see just how crazy he can get. But this is a very good starting point that should pique quite a few people's interests.

Review: Witches Of Doom – 'Obey'


With a name like Witches Of Doom it's pretty easy to guess where this Italian quintet are coming from. The gothic presence of Type O Negative meets the crushing doom of Orange Goblin with a healthy dose of classic bluesy Danzig thrown in for good measure. The combination not dissimilar to The 69 Eyes ditching their glam metal fixation and joining the Southern Lord roster.

Big riffs, deep vocals and atmospheric keyboard accompaniments power the relentless backbone of the album with the likes of 'The Betrayal', 'To The Bone', 'Dance Of The Dead Flies' and 'Rotten To The Core' proving their heavy credentials. However its when they really let their goth sides out that the magic really happens. The solemn and mournful centrepiece 'Crown Of Thorns' and penultimate track 'It's My Heart (Where I Feel The Cold)' channel Paradise Lost and the Sisters Of Mercy in this powerful ballad. While the album's epic nine-minute finale 'Obey' breaks out the middle eastern instruments for a sumptuous ending.

The production is pretty solid with the band sounding like they've been turned up to eleven for most tracks. This can sometimes come across as a wall of noise, but it does mean that the quieter elements to the tracks are always easy to hear and define. There is a persistent roughness to the recording, which is a little distracting in places, but overall doesn't detract from the songs.

This may be the band's début album, but it shows a lot of accomplished song writing. It is a little rough around the edges and it perhaps over relies on their default heavy sound, but they do show a lot of promise. Exploring some of the more gothic end of their sound would be nicer to hear, but if you like your riffs Witches Of Doom are definitely for you.

Wednesday, 20 August 2014

Review: Cyferdyne – 'Keep Your Silence'

'Keep Your Silence'

With a reshuffle of personnel last year, there may have been some question marks surrounding the sophomore from Lancaster's own ebm upstarts Cyferdyne. But moments after pressing play, those misgivings are immediately laid to rest. The band's second album 'Keep Your Silence' is leaner, meaner and cleaner with a more powerful production giving the bands infectious dance grooves a more confident presence. The band's sound continues to evolve but remains distinctively English with nods to Mesh, Depeche Mode, Gary Numan, and Prodigy throughout.

The band's penchant for hard, beat-driven ebm, dance-friendly melodies and industrial grit has come on a lot since the band's first full-length outing 'Genesys', Yet everything that endeared them to the public first time around is still present and correct. Even the most hardened club goer will be stretched to find a track on this album that wouldn't have them heading straight for the dance floor.

Tracks such as 'Cables And Codes', 'Disease', 'Glass', 'Escape' and 'Visions' epitomise the appeal of the album. Every song is different but at the heart of it is designed to make you dance and belt out the lyrics at the top of your voice. The album's crowning glory has to be the sumptuous 'Clockwork' with its steady pace, sing-a-long lyrics and industrial rock flirtations really show off the depth to the bands songwriting ability.

The production on the album is exceptional with a real top-shelf quality. Every element in the mix sounds fresh and distinct which really brings out the best in every song. It's easy to see that this is the album where the band are defining and refining their sound and have justly given it the attention it deserves.

'Keep Your Silence' is a highly polished monster of an album that really shows off what the band can do as songwriters. It wouldn't be a surprise if this album proves to to be a real game changer for them.

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