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'


Thursday, 31 July 2014

Review: Mr Kitty – 'Time'


Austin, Texas based solo project Mr Kitty (AKA Forrest Carney) has seen a big increase in exposure this year with the domestic and international re-release of his third album 'Life'. Most artists would simply ride the wave of fresh attention, but Carney is already back with his fourth outing, 'Time', which further solidifies his unique blend of catchy synthpop and chic witch-house that has characterised his “Dark Youth” series that began on the début 'Death'.

The double whammy of openers 'XIII' and 'Rats' gets things off to an aggressive start with hard beats and over-processed vocals giving the album a frantic kind of energy straight away. 'Glow' and 'Hollow' on the other hand revive the more melodic elements of the preceding album and let Carney's Neil Tenant style vocals shine through.

'Time' is one of those rare albums that is crammed full of songs, but utterly devoid of filler. Every track is strong in its own right and also compliments the LP as a whole. But Carney definitely comes into his own on the big tracks such as 'Devour', 'After Dark', 'Laceration', 'Black Truth', 'Hold Me Down', and 'Child Of The Earth'. None of them are “typical” sounding (as with all the tracks here), but each one is a sure-fired club hit.

The production on the album has a nice rough edge to it that stops the songs from sounding too pop, but neither do they get dragged into truly experimental waters. Instead the album sits nicely between the dark and light elements of the Mr Kitty sound.

It's hard to find fault with this album. Some may argue its not pop enough and some may say it could be darker and more experimental. But despite its often frantic energy and emotional melodies, it remains well balanced and well executed. 'Time' shows that Mr Kitty is a bright star rising and that he is confident and talented enough to strike out beyond the “Dark Youth” series.

Review: The Dreamside – 'Sorrow Bearing Tree'

'Sorrow Bearing Tree'

Over twenty years into their career and Netherlands-based ethereal gothic rock act The Dreamside are back with their latest album 'Sorrow Bearing Tree'. The band have enjoyed worldwide exposure and acclaim thanks to albums such as 'Pale Blue Lights', 'Apaika' and 'Spin Moon Magic'. The band have always been on the cusp of something big but never managed to push their way over the top and have for the most part remained somewhat underrated by the general public.

They may have traded in their earlier folk-tinged ethereal darkwave for a more generic electronic augmented gothic metal, but the band can still bang out the atmospherics and ambience. The new album is dramatic and incredibly well performed with every nuance of the band's 20 year history audible throughout. Ultimately though it doesn't really bring anything drastically new to the table, and unfortunately sounds a little too close to the bigger bands they no doubt inspired.

The album does have it's pulling points though. Songs such as 'Sorrow Bearing Tree', 'Miracle Days', 'Collide', 'Seraphim' and 'The Spiral Leads' give the album a strong backbone of groove-laden metal and exquisite melodies that stand alongside the band's most memorable past offerings. While the short folk tracks that break up the longer tracks are an interesting choice that could have really been developed more, perhaps even separately as an EP.

The band's biggest miscalculation is their choice to throw another lacklustre Depeche Mode cover onto the already heaving pile of tributes to the synthpop innovators. 'Walking In My Shoes' just sounds flat, unfinished and ultimately to close to the original to really add any merit to the album.

The production, mixing and the individual performances of the band are as strong as they have ever been. Each song is well crafted and well executed, but ultimately over the course of the fourteen tracks the effect of the strongest tracks take a hit from some of the more mediocre tracks included.

This isn't really the band's finest work, but neither is it their worst by any means. A shorter and more focussed track list would have benefited them rather than the stop and start feel that it has. The loyal fans will find enough here to reward their faith. But newer fans may want to start a little further back with the forthcoming re-releases.

Wednesday, 30 July 2014

Review: Virtual Terrorist – 'Re-Coded'


Virtual Terrorist may not be a huge name outside of the Canadian scene but there is no doubt that Siborg's industrial technoize project means business. Hard and uncompromising in its approach, Virtual Terrorist is an incendiary blend of hard beats, abrasive synths, samples and cyberpunk attitude that remains ultimately dance-friendly.

The one-man-projects latest release is the remix companion to February's 'Source Code EP' and features contributions from the likes of Xero, Mangadrive, and Kold as well as one brand new demo track.

New cut 'Escape' opens the album with its steady dance pace and post millennium synths. It isn't the most hard hitting track in his back catalogue but it has an undeniable catchy quality to it. Xero provides 'Firewall Breaker' with a nice rhythmic noise reworking while Mangadrive turn up its club potential with their mix-friendly take. Digital Winter give 'Hacking Software' an anarchic industrial remix that is both dirty and infectious, while Radutron turn up the metal guitars for what would be a great mix to include on a Terminator soundtrack. Gotthavok then bring the rhythmic noise back for their remix of 'Corporate Warfare'. Kold on the other hand break out the light and clean futuristic synths for a funky take on 'Retro Terror Punk'.

This is a very diverse release that will literally have something for everyone, no matter what genres they favour. It iss a testament not only to the quality of Siborg's song writing ability, but also the choices in remixers he has. Though being a remix album, 'Re-Coded' probably won't make a huge splash, it nonetheless gives Siborg the tools to infiltrate as many club sets as possible.

Review: Cocksure – 'TVMALSV'


The union of Chris Connelly and Jason Novak – whose careers should by now need no introductions – was always going to prove to be an engrossing assault on the senses. Combining the classic Wax Trax! sound of Connelly's early career and the compulsive beats of Novak the duo revive the Revolting Cocks sound for 2014. Nasty industrial, for nasty people.

It would be very easy for the duo to sound like a fossil from an outmoded take on the genre, but rather than merely replicating the sound, or simply picking up where Connelly and the Cocks left off. They instead approach the project with the same attitude of no set boundaries, just a penchant for uncompromising force. And it works.

The likes of 'Skeemy Gates', 'Guilt, Speed And Carbon', 'Cock Ripped To The Giddy Tits', and 'TKO Mindfuck' all deliver the big beats, dissonant synths and snarling vocals that fans of the late 80s/early 90s ebm meets industrial rock sound will undoubtedly be craving. While the likes of 'Ah Don' Eat Meat, Bitch!' and 'Cokane In My Brain' throw in some smatterings of old school punk and reggae respectively.

It's hard to put your finger on what it is that makes the tracks sound as up-to-date as they do. There's no overt use of edm or dubstep as is all the rage now. Instead its subtle and respectful, even down to the mixing and production which are unmistakeably 2014 but don't interrupt that old school vibe in the least.

As an album 'TVMALSV' works incredibly well. Its a strong union of musical traditions in the form of its members and proves that the Wax Trax! spirit is alive and well without coming off as an exercise in nostalgia. It would have been nice to have a couple more tracks included that had some potential as singles which would give the album more drawing power. But what is here works very well. Hopefully there will be more to come from Connelly and Novak.

Tuesday, 29 July 2014

Review: Society 1 - 'A Collection Of Lies'

'A Collection Of Lies'

After several years in the wilderness, the fortunes of controversial industrial rockers Society 1, once again look to be on the up. The return of founding guitarist, a new comic book, single and album to promote show that there is light at the end of the tunnel. The band's new album 'A Collection Of Lies' unites rarities, b-sides and some cuts from the albums that never quite made it from the studio to print in order to draw a line under the quintet's wandering years.

It's great that songs such as 'Lifeless', 'I Got You', 'Scream Out Your Breath' and 'Kill Me', which had only been available to watch as promotional videos on the band's YouTube page until now, are finally getting an official release. Indeed these alone show what the band was capable of during this period and why it was a shame that no official releases saw the light of day. Each one embodies the different angles to the band's sound, whether it is the relentless thrash of 'Lifeless' and 'Kill Me', the slow and groove laden 'I Got You', or the poignant emotional 'Scream Out Your Breath'. Any of them would have made a strong lead single for their respective albums.

The rest of the tracks expand on these angles with songs such as 'Never Been One', 'All My Pain', 'Hard To See' and 'Open Cries' in particular really serving to whet the appetite at what could have been. While simultaneously building the anticipation to see what the band's forthcoming studio effort will bring.

'A Collection Of Lies' being a compilation of tracks doesn't have the same flow to it that a unified studio album would do. But the arrangement of the songs and the mastering job has done it's best to create as sense of continuation throughout the track list that makes it an easy listen. There are a couple of songs such as 'I Will Dominate' and 'Still Alive' that don't quite fit with the rest of the album's sound, but it's not a major issue.

This album will provide the band's fans with some closure and finally allow them to own a piece of what has only been hinted at of the past several years. It does, however, raise further questions as to how the full albums the band had been working on in this time would have sounded. But with Matt and co's sight set firmly on the future it nevertheless represents a shedding of the skin and a new start.  

Film Review: 'Living The American Nightmare (The Story Of A Rockstar)'

'Living The American Nightmare (The Story Of A Rockstar)' 
Dir: Pawl Bazile 

The 2011 documentary 'Living The American Nightmare (The Story Of A Rockstar)' is inspired by the book 'King Of And Empire, To The Shoes Of A Misfit' by former Empire Hideous founder, Myke Hideous, and chronicles the career of the New York underground legend. The film also features interviews with some big names connected to the scene including members of Type O Negative, The Misfits, Danzig, Empire Hideous, Murder Junkies, Life Of Agony and Overkill as well as Bill Ward of Black Sabbath, and journalists and DJs as they dish the dirt on the dark and desperate world of a musician trying to “make it” in America.

The way the documentary is set out is somewhat unusual with the narrative flicking between a wider look at the process of musicians writing, touring, trying to get record deals and living the rock 'n' roll lifestyle and a closer look at the case study of Myke Hideous that runs alongside the story of The Misfits which ultimately converge.

The film's stories are told through jumping vox pops and archival footage, (the quality of which can occasionally vary) and has separate narratives that attempt to intersect at various points. It ultimately feels like you're watching two documentaries in one, which perhaps would have been a better prospect with both sides being more focussed on their subjects and less scattered in their focus. But the documentary is still nonetheless insightful and revealing in a brutally honest way.

Myke Hideous' narrative of his early struggles, forming Empire Hideous and being a star of his local scene but never making it to the big time until the ultimately ill fated opportunity to join the misfits and the fallout of that time is engrossing. It's a frustrating look at someone achieving their dreams and ultimately blowing up in their face. Although his central role is buffeted by a huge cast of supporting characters, it remains a powerful and compelling story.

The show is ultimately stolen by the last and heavily confessional interview of Type O Negative's Peter Steele who died shortly after the filming of the documentary. Although his portion of the documentary totals less than fifteen minutes, his experiences as he tells them carry the most poignant weight.

The extra interviews included serve to further expand on the stories of the Empire Hideous breakup, The Misfits and Michael Graves, relationships, and more of Peter Steele's insights. These again could have been worked into the main narrative had this been two separate documentaries.

The highs and lows of every level of the music business are wrapped up within 'Living The American Nightmare (The Story Of A Rockstar)'. Yes it does often lose focus, and it jumps about a bit too much. But the lessons contained within should mean that it is required viewing for anyone who has ever picked up an instrument and dreamed about being a rockstar. The people in this documentary have literally made every mistake so you don't have to.


Monday, 28 July 2014

Broken Links announce new album and single

Southampton trio Broken Links have announced the details for the sophomore album, 'Divide/Restore'. The album will be available via Devil Theory Records on 6th April 2015 and follows on from their début last year 'Disasters: Ways To Leave A Scene'.

The band have also announced the first single from the album, 'Blood On The Motorway', which can be heard on the band's Soundcloud page or in the video below.

Track List:

1 - Submission
2 - The Bounty Hunter
3 - Dead Embers
4 - Life of the Biologically Dead
5 - I'll Run Away
6 - Blood On The Motorway
7 - Asphalt
8 - Transient/Fourth Planet
9 - The Sickness In Your Eyes
10 - What You Want
11 - Unnatural

The band will be releasing a track every month until the the release of the album and will be unveiling a slew of videos and promotional material along the way as well.

For more information on the new album, please visit the Devil Theory Records website, or the band's official website.

Interview: Phil Barry (Be My Enemy)

The enemy within...

“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.”

Formerly of UK rave-rock pioneers Cubanate, Phil Barry has spent the past few years carving out a new path for himself with the anarchic and riotous new band Be My Enemy. Imbued with hard riffs, punk vocals and acidic synthesizers, Be My Enemy lit the touchpaper with their 2011 début, 'This Is The New Wave'. Now in 2014 Barry and his crew have unleashed the sophomore offering to solidify the band's sound and focus their rage.
We caught up with Barry to talk about the new album, retaining control of his work and the shadow of Cubanate.

Intravenous Magazine: Your second album under the Be My Enemy name, 'The Enemy Within' was released recently. How has the reaction been to it so far?

Phil Barry: It’s been great, I’m happy with how it has been received.

IVM: How do you feel Be My Enemy has developed since the release of your first album 'This Is The New Wave' and now?

PB: I think I have found the Be My Enemy sound now. 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. I also think I’m improving and evolving as a song writer, musician and as a performer and I’m enjoying the journey.

IVM: How do you typically approach writing a song for Be My Enemy?

PB: That’s a huge question. There isn’t a set way. On the whole I’ll set up a groove, drums bass and guitar and then see if it evokes a particular emotion to write some words to. Writing words for the songs is by far the hardest part of the process for me. I’ve already made a decision to change the way I’m going to work on the next BME album, I’m not going to say how but changes are a foot.

IVM: You shot a video for the track 'Party Monster' how did the concept for that come about and are you happy with the results?

PB: I’m very happy with the results Malwalka Production did an unbelievable great job with the budget. They mostly came up with the concept and did everything . There’s some really great acting in the video, really top stuff. I did want to make sure the ‘Party Monster’ in the video is not a hero, he does commit mass murder at the end of it, and he is a total bastard.

IVM: The album is a riotous and anthemic affair. What were your thematic and stylistic influences going into writing it?

PB: The album is in two halves split by the track ‘The Memory Hole’ in the middle. Two themes are ‘The Enemy Within’ looking out and ‘The Enemy Within’ looking in. So looking out, corruption, police brutality and TV mind control. Looking in, drug abuse self destructive thoughts and so on. The song ‘We Become God’s’ is about the “Singularity”, which on the surface seems wonderful and exciting until you realise that uploading your consciousness to machines is only going to be available to the uber rich, effectively they will become gods with endless wealth and power and everyone else will be their slaves. It sounds like Science Fiction but it’s only a decade or two away now.

IVM: The new album has been self-released this time in comparison to 'This Is The New Wave' which was available on DWA & Bit Riot. Why did you opt to go for this route?

PB: I want to own and control all my own master recordings from now on, I don’t want to be in a Cubanate situation where the albums we put blood sweat and tears into have effectively disappeared into the Memory Hole. It just seems like the right thing for me to do right now and fits in with the overall philosophy of Be My Enemy and what I sing about.

IVM: You are of course formerly of Cubanate. Has this association cast a shadow of expectation over Be My Enemy at all?

PB: When I first started this project I was very aware that anything I did was going to be compared with Cubanate. That’s good, I don’t mind at all. I think those albums have aged pretty well and it’s my past. I think people are now aware that BME is a different animal although very much from the same gene pool.

IVM: You enlisted the help of Steve and Deb Alton of System:FX, as well as Keef Baker of Nimon and Slipdrive (et al). What do they bring to the band's live sound and have they had any part in the studio process?

PB: Live, they are all great players. We aren’t a laptop band, if you take their individual parts away then it’s a incomplete sound. They haven’t had any input as yet into the studio process but they will do.

IVM: Be My Enemy's live début was at Resisatnz 2012 in Sheffield. How was that experience and how do you feel Be My Enemy has developed as a live band since?

PB: Resistanz is a great festival, they really look after the bands really well there. I have to say I wasn’t comfortable in myself in Sheffield. I’ve addressed what was wrong and have sorted it out and I’m raring to get back on stage. We played in London a few months back and I loved it. I am looking forward to getting back on stage again.

IVM: Cubanate's style has been taken on and evolved under Be My Enemy. But its safe to say that back in the 90's Cubanate planted the seeds for a lot of bands to follow. How do you feel about this and how do you think the scene has developed since?

PB: I’m not sure if I think any bands have followed Cubanate’s lead I would like to hear what bands you think have. It’s no secret that I haven’t been into what has been termed ‘Industrial’ for ages, it’s just hasn’t been my thing. Luckily for me there seems to be a new wave of bands coming through which are adopting the old sound and doing something interesting with it. It’s not just the sound though; there is a definite shift towards music with political and social themes which was very much prevalent in the earlier Industrial bands. I’m more excited about new bands in general now than what I have been for years.

IVM: Which bands, if any, get the Phil Barry seal of approval in 2014?

PB: There is so much good music coming out at the moment from new young artists. Tonnes of great stuff coming out of the US, 3Teeth, Author and Punisher and loads of others Over in the UK, I really like Randolph and Mortimer . I do like Petrol Bastard as well; they are the most mental live band going, if you haven’t seen Petrol Bastard live then you should.

IVM: For a while it looked like you and Marc Heal were going to get Cubanate back together with the release of 'We Are Crowd'. What's the current status of Cubanate?

PB: Nothing to report. Sorry.

IVM: In addition to your own projects you've been features on many other recordings by a range of different artists. Who have been your favourites to work with and are there any other guest appearances coming up on the horizon?

PB: The best remix I did was for Caustic, ‘666 on the crucifix’ I’m really pleased with how that turned out and it took about five hours to do in total which is a bonus but often the way it is when you are on a roll. The remix I did for Alter Der Ruine ‘Relax and Ride It’ I really like as well. I like working with Mangadrive, ‘Kill Your Television’ the track we worked on together on the new album really worked out well.
No other guest appearances for me or anyone else at the moment.

IVM: Finally, what else do you have in store for the rest of 2014?

PB: We have two gigs lined up, 23rd of August at Infest in Bradford and the 6th September at Electrowerks in London with Flesh Eating Foundation, Ventenner and Unstoppable Achievers.

Be My Enemy's latest album, 'The Enemy Within', is available to buy now via the band's bandcamp page. For more information on the band, including future releases and live dates, please visit their official website.

Monday, 21 July 2014

Interview: Alter Der Ruine

State of ruin...

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

Alter Der Ruine quickly established themselves as a diverse and engaging act with a quick succession of releases including 'The Ruine Process' (2006), 'Sate Of Ruin' (2007), and 'Giants From Far Away' (2008). The band, founded by Michael Trevloni and Michael Jenney, quickly evolved from dirty power-noise into a full-on dance floor assault with each album bringing new ideas and influences to the fore. Then in 2012 after a trilogy of albums 'Son Of A Bitch', 'There's Always One More Son Of A Bitch' and 'I Told You Not To Listen Tonight Didn't I?' the band announced Alter Der Ruine was no more.
Luckily the hiatus was short lived and the band announced they were working on a new album last year. Fast forward to 2014 and the band made a triumphant return with 'I Will Remember It All Differently'. We caught up with the band before embarking on their tour with Mr Kitty to talk about the hiatus, the reformation and where the band will go from here.

Intravenous Magazine: Your new album 'I Will Remember It All Differently' is out now. What has the response to it been like so far?

Alter Der Ruine:

It has been received really, really well so far. Both by fans and fellow artists. Apparently we did something right on this one ha-ha.

IVM: You went on hiatus in back in 2012. Where there any particular events that led to the decision and what had changed in the band?

ADR: The 'Son of a Bitch trilogy' (we know how dumb it all sounds) took more than three years to write. The writing sessions for that started off fun but as time drew on tension and stress settled in. That was just on the production side of things. Outside, our lives were all drastically being reshaped and formed due to personal events. Some happy, some tragic. It was just a weird vacuum to be writing music in. Everyone needed space. We took it. We honestly thought we buried Alter der Ruine the day we signed off with that stupid video. Then we sorted out our issues and reanimated this thing and put out 'I Will Remember it All Differently'. While it is our most polished album to date, it is also our rawest. We exorcised some weird, dark stuff while writing it.

IVM: Thankfully you reformed Alter Der Ruine in 2013. What led to that decision so soon after breaking up?

ADR: Even though we proclaimed ADR dead we kept working together on music. We were going to start a new band but hated the idea of breaking in something new. Rather than start over we just wrote the music with no aim for where it would land. Then we had the opportunity to play Resistanz as ADR (thanks to Surgyn, Leighton and Phyll. Without those names our band would probably not exist anymore). We wrote a new song for the festival compilation, had a great time playing the fest and by the time we landed back in the US, Alter der Ruine was back in action.

IVM: The band has a new member in the form of Tamara Jenney. What impact has this had on the band dynamic?

ADR: Well, it has been low impact and high impact. The low impact side comes from her being involved with the band since before we even put out the first album. She's been almost like a silent producer/critic behind the scenes, offering suggestions and improvements. We were consulting with her on everything. All songs, albums, even live setups. So In that aspect she wasn't a new face or personality to work into the fold. The big impact she's had is she brings a new energy and skill set to our group. She sings, plays keys, writes music. It's great. Our group thrives on creativity and spontaneity and she's right there throwing down with everyone. Also she tears it up live. Yup, Tamara is awesome. 

How did you approach writing this album and how has the process changed?

Alter der Ruine has never been a defined project or experience to us. It's always something new. When we started working on this album, it was almost like we had all just walked through a wall of flames. Everyone was kind of readjusting to their new lives. We talked about things with each other. For a group of friends we had let a lot of that stuff slip away over the years. We reconnected with each other. Then we wrote.

The process was a lot less stressful this time. We also didn't care what direction we wrote as long as we liked the results. That was the biggest change. Before we would pigeon hole things to fit a certain style, or we would go bonkers and put twenty song ideas into a three and a half minute song. This time we let everything relax and took our time to explore what we were after. This is the first album we've put out where we think you get a bigger picture of who we are.

What were your primary influences in terms of music and themes going into this album?

ADR: Lots of stuff at play here. The music is influenced a lot by folk and 60's doo-wop. It doesn't sound that way but it is. We took a lot of that inspiration and funneled it through a retro-electro vibe then stacked more influences on top of that. If you want us to name names, done: Trust, Nick Cave & Warren Ellis, Hank III, Timber Timbre, The Shirelles, The Notwist, Big Black Delta, Russian Cirlces, Sky Ferreria, The New Division, Julian Casablancas, Ladytron…you get it.
Thematically we won't bog things down as for us that's part of the enjoyment of dissecting a piece of art. Suffice it to say there are multiple story lines woven through this album (some all the way back to SoB) and while there are broad themes, they are more like sign posts than album descriptions. If you need a jumping off point though there is an underlying rumble that wonders: is love the genesis or the burial of us all?

IVM: One constant of Alter Der Ruine's sound is that it is always evolving. Is this something that's ever planned or is it a more organic process?

ADR: It's not planned, we're just different people every time we sit down to write. We used to try and steer things one direction. We were pretty horrible at it too. Also our influences change pretty regularly.

IVM: You chose to stick with Negative Gain Productions for the release of 'I Will Remember It All Differently'. Were there any other offers on the table and/or did you consider self-releasing?

ADR: We thought about self releasing it. When NGP heard what we were up to though they made sure we went with them. It's worked out great so far. We had other offers too but it came down to us doing all the work, or us working with our friends to put it out. We went with our friends. 

IVM: At one point you had been releasing an album per year. Is this a schedule that you will try or are deadlines not a concern?

ADR: We threw deadlines out. We used to have a calendar in the past. The SoB album was supposed to come out in 2009. it came out in 2011. If you adhere to deadlines and fall that far behind you can see why stress brought us to the breaking point. Deadlines are great though, just make them realistic. Luckily we write faster and better than ever these days, but still we're not rushing things anymore. 

IVM: Despite the break-up there was a lot of Alter Der Ruine material being released. Was this a case of tying up loose ends and what was it like to work together during that period? 

What you're talking about sounds like the glut of the SoB trilogy. Man, wish we could rename those. So anyway, it took nearly four years to write what was supposed to be one album. We wrote three ('Son of a Bitch', 'There's Always One More Son of a bitch' and 'I Told You Not to Listen Tonight Didn't I?') and when boiled down we had too much material and didn't want to shelve it. So we had three albums come out, all drastically different. You can hear all our frustration a creativity spiking on those. We redlined it for three years straight, boozing and writing and screaming and quietly being frustrated to tears with each other. Those are probably the most volatile things we've put out, even with our power-noise days. We just wanted everyone to hear it all, get an even bigger picture of what we had done to that point.
We're doing similar things currently with the new album. We're remixing it as we speak and uploading the remixes for free on our bandcamp. It's a further exploration into our sound and influences. It's like a bridge or another rung in a ladder headed someplace weird. 

IVM: You're about to embark on a tour with Mr Kitty. How did that come about?

ADR: It was amazingly simple. We liked his music and asked if he wanted to go on tour with us. He said yup. This is Mr. Kitty's first tour! We don't know if the stars aligned or no one asked him up to that point but whatever happened we're thrilled. We hung out with him a ton at Terminus and finally saw him live. Needless to say, this tour is going to be intense. We're both similar in how we approach our live sets. We both try to be the best in room and we acknowledged this to each other. This tour is going to be two acts doing their best to own the night. It's a super win for fans as well as us. If everyone is bringing their best to the table everyone stands to gain, from the crowd to bands. 

IVM: How important is playing live and how does it work for you as a band?

ADR: We like playing as live as possible. We're not 100% live obviously, we still have a few sequences and backing stuff, but for the most part Mike J plays drums, Tamara is on keys and backing vocals and Mike T sings and makes noise on whatever is around. If we mess up, you hear it. We've played some terrible shows. We've played some great ones too. For our money, the live show is the best place to catch us. It's us working out whatever we bring to the stage that night. Emotionally and technically. If we relied on faking it or anything like that we'd probably have stopped long ago. That is part of the enjoyment for us. It's the connection to each other and the crowd for that 40+ minutes.
Conversely we recently saw a band play that left a lot of what they were doing live up for speculation (obviously not the first band to do so, definitely not the last). It was pretty sad as the album they released is awesome. We wanted to see a live set, not a theatrical send up, so the sourness is our own fault because we went in looking for something other than what they intended to provide. The rest of the crowd however really dug it. So there's that. It all depends on what you're looking for these days and what you're willing to entertain. Our shows are live if that's your bag. 

IVM: You played the UK at Resistanz festival last year. How was that for you guys?

ADR: It was an amazing experience. We hit the ground running. Didn't sleep much, played a crazy set and were welcomed back by a ton of fans and a ton of our peers. It was overwhelming in the best possible sense. There were also a lot of bare asses on stage with us thanks to Scott from iVardensphere.

IVM: Are there any European dates on the horizon?

ADR: Yes! That's about all we can say for now though.

IVM: Finally, what are your plans for rest of the year?

ADR: After the tour with Mr. Kitty we'll be doing some one offs and most likely hitting the rest of the US. Europe has to wait until 2015, sorry. We're also hashing out a game plan for an EP. If all goes accordingly it will be the most ambitious, concentrated and unexpected thing we'll have done to date.

Alter Der Ruine's latest album 'I Will Remember It All Differently' is available now via Negative Gain Productions. For more information on the band, including tour dates and new releases, please visit their official website.

Friday, 18 July 2014

The weekly compendium 17/07/2014

Last week ended on a bit of a downer due to the announcement that influential avant garde composer Ryuchi Sakamoto has been diagnosed with throat cancer. But this week things are looking up. It's now less than a month until Alt-Fest. Amphi, Infest and Mera Luna are all on the horizons as well. And, I don't know there just seems to be a good vibe at the moment. Good vibrations from industrial ocilations perhaps? Or I've been in the sun too long...

Anyway, here's what we had for you this week.

We kicked things off with a great interview from Society 1 main-man Matt 'The Lord' Zane and catch up with what the industrial rockers are up to after a long period away. We had new reviews for Everything Goes Cold, Kevorkian Death Cycle, Janvs, Quasimodo, and Beauty Queen Autopsy. We had a new column from Joel Heyes. And the sad news that XP8 won't be playing live after alt-Fest for the foreseeable future.

While over on Facebook there has been lots of new music previews and downloads to keep you going from the likes of Mr Kitty, Komor Kommando, Bella Morte, The People's Republic Of Europe, and Vince Ripper And The Rodent Show. Uncle Al gave us a video message. There's a new album trailer from Zola Jesus. Album news from Hocico, and live news from Fields Of The Nephilim.

Phew! That's your lot. It will be slim pickings next week as yours truly is getting some much needed time away for a few days. However we'll have a new album and maybe a review or two to go while I'm gone.

Normal service will be resumed the following week.

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