“It’s funny, having worked so hard to make a living out of music I found once I’d got there that I’d broken myself in the process. I needed a break to do some, uh, emotional housekeeping.”
“The newer material is very personal in nature as it directly relates to the experiences and emotions I had been going through and feeling. Those experiences set the direction for the album title and cover art.”
CEASE2XIST 'Zero Future' ARMALYTE INDUSTRIES
DAVID BOWIE 'No Plan' COLUMBIA / SONY es' SELF-RELEASED
Check out our 30 favourite albums of 2016
Friday, 29 November 2013
Thursday, 28 November 2013
Wednesday, 27 November 2013
The band's last outing on 'Activate Your Anger', showed them at their tightest. Having now swelled into a fuller line-up, the production got a serious upgrade, and once niggling issues from previous releases seemed to be rectified. Confidence is often key, and with 'Activate Your Anger', they definitely had that. But will it translate over to a full-length release?
There are still one or two bits that need to be kept in mind, such as the guitars fading too far into the background and the distorted vocals sounded too muffled in a few places. But overall, as with the previous EP, everything in terms of the song-writing as well as the performance seem to come together with much more ease.
Tracks like 'Not Your Slave', 'Who Am I', 'Nice Corruption' and 'Voices' are definitely the choicest cuts on the album with their undeniable dance floor credibility and undoubted live power. But most importantly, 'Shout' gives Machine Rox a solid platform from which to launch their attack.
'Looking For Europe: The History Of Neofolk'
As the pathetic, deplorable habit by ego-manic, power-tripping fractions of the revolutionary armchair/keyboard left to persecute and slander individuals and bands more libertarian than they are, belonging or associated with neofolk, based on a poor, sad mix of a total inability of distinguishing artistic language from political one, the impotency of marking and attacking scapegoats instead of those with real shady intentions and the power to determine policies I.E. the real enemy, and outright lies, the translation to English of the 'Looking For Europe' book, now published alongside the release of the compilation bearing the same title on vinyl (five of them to be precise!) is a welcome and crucial source of information, serving as a long-needed case for the wrongly or maliciously accused, and an indictment of who (behind dated ideological veils) are the true authoritarians in this ongoing quarrel. The sexual harassment scandal within the ranks of the Trotskyite SWP, and the appalling way it handled it internally is but one example of just how unsavoury the left's backyard can be (FYI, I despise the political right and consider myself a boring social-democrat politically, and a nihilist philosophically).
Tuesday, 26 November 2013
The new album, 'Analog Witch' continues the unrelenting pace of King's output under the In Death It Ends moniker, and shows an increasing tightness and definition of the projects identity. It is still, first and foremost, atmospheric in it's intention. Tracks such as 'Acheron Drift', 'Conducting The Shades', 'With Tears And Pain', and the sumptuous finale of 'Reach The Beginning' provide an essence of cinematic gravitas that most bands aim for but often fall short of.
The album retains a post-punk charm in the up-tempo and rather danceable numbers like 'Time Underground', 'The Nature Of All Things', 'Taken Across' and 'House Of the Wild Gates' which give the album and easily accessible entrance point for those new to the band. It's a nice mix that in one part entices the audience to move before inviting them to simply sit and listen.
There's a lo-fi sensibility to the approach, but none of the misplaced sense of underground credibility of bad production that often hampers artists. Instead the production continues to sharpen with every release and the mix nicely balances the multiple layers of dark ambient atmospheres, psychedelic electronics and driving grooves. The sparse use of vocals is particularly effective as they slither through the rest of the instrumentation when deployed.
In Death It Ends has come a long way in only a few short years. The song-writing is fresh and interesting, and it's execution is hard to fault. With albums like 'Analog Witch' as well as previous offerings like 'Occvlt Machine' and 'Forgotten Knowledge', In Death It Ends may very well eclipse King's previous projects.
16th November 2013
The change is visible even before he walks onstage, as the lights go down and what looked like metal scaffolding seconds beforehand turns out to be a massive electronic led display, simultaneously connecting to Numan's tradition of futuristic, sci-fi stage settings throughout the years, and placing it in the here and now. Then he appears. Looking fit, invigorated, hungry, assuming full command of stage and crowd immediately. This has always been his natural habitat, but there is truly a sense of resurrection. The songs from 'Splinter' are perfectly balanced between Numan's industrial guitar sound of the recent decade and a half and the searing, beaming, trademark synth sound. The result is scintillating, almost shocking.
Numan is cavorting all over the place like a 20-year-old, giving it his all, light years away from his past aloof distance or pouting superstar persona. This is a real and as tangible as it gets. The old songs integrate seamlessly, classics like 'Metal', 'Down in the Park' and 'I Die You Die' all getting massively aggressive treatments. Without any theatrics bar the aforementioned light show, the forcefulness of delivery often equals that of Rammstein or NIN, Numan serving as Godfather asserting his hegemony. The aforementioned current single, which in its studio version sounds as if Numan momentarily fronted Curve (yes that's a good thing indeed), contends with the classics with its rousing dance chorus.
However, tonight is not just about muscle-flexing, but about a full emotional spectrum, as evident with the rendition of 'Lost', probably Numan's purest, most naked ballad ever, during which he wells up and breaks into tears. When an artist gives everything, he gets everything back. The Roundhouse is in absolute rapture. Coming back for encore with 'Cars' and 'Are 'Friends' Electric?', Numan seems to be enjoying delivering these two eternal crowd-pleasers more than ever. This becomes all the more poignant as he changes the lyrics of one spoken line in 'Electric', gesturing towards us and saying “you see this means everything to me”. Spine-chilling. And if that wasn't enough, Numan concludes by reminding us he is a contemporary musician and not a nostalgia act by choosing to cap tonight's set with 'My Last Day', 'Splinter's magnificently melancholy closer. Unforgettable.
The compilation was mostly mastered and engineered by Sander Kapper - aka "Black Selket", and Christopher Gurney, aka IIOIOIOII master this entire release.
1.Tactical Module ft. IIOIOIOII - Finding An Angel
2. Machinista - Take Comfort In Being Sad
3. Citizen 16 - Dismantle Me
4. System:FX - Inappropriate Touching
5. Tapewyrm – Careless
6. Black Selket - Saya Tidur (Extended 2007 Version)
7. Eisdrive – Reeperbahn
8. Kangarot - Programmed To Attack
9. Citizen 16 – Deception
10. Deadliner - Animal Sentinel
11. Kill The Sleeper - Watching The Snow Fall Again
12. RIOTLEGION – Providence
13. Electric Breathing - Emergency Exit
14. Machinista - Pushing The Angels Astray (IIOIOIOII Remix)
15. IIOIOIOII - Weapon (RIOTLEGION Remix)
16. Pittersplatter - Frozen (IIOIOIOII Remix)
17. Garten der Asche - Nemesis (Ruinizer Remix)
18. Stahlnebel & Black Selket - Memories (Cryogen Second Dubbed To Death Remix)
'Fuck You - Enjoy!' is available to download now from the Juggernaut Music Group bandcamp page for free or for a small donation. Please visit the official website for more details on the label and bands involved.
"Having played some 200 gigs with The Light now, I've found that the fans all have their own particular favourite tracks which they want to hear live. It's a great idea to throw some of the set list over to the people at Alt-Fest to see what they most want to hear us play. It will be interesting to see what they come back with".
Dominic Void, Alt-Fest Festival Director said:
“This is perfect for us! Inviting the people that have paid to come to the festival to have their input in what songs they want to hear is exactly what we’re all about and we’re very grateful to Peter Hook for agreeing to this. We want everyone to have their say on Facebook and urge as many people as possible to get involved!”.
Super early-bird tickets start from £70 for an adult weekend ticket and can be purchased from alt-fest.com.
Monday, 25 November 2013
“ I watched a lot of rumours fly around for a few years and simply chose to let them fly. It was interesting. I had even read that I had died at one point.”
Cryptically though, Bellum has already hinted that '[Order Of The Shadow: Act I]' signals the beginning of the end for the band he has just resurrected.
Intravenous Magazine delved into the shadows to speak to Bellum about the road to the new album as well as the future of the band.
Nero Bellum: The first pressing from the record label sold out in less than a week so, I believe that the response has been fairly good. I've read quite a few great reviews which, is a little bizarre as critics have never been too keen on Psyclon Nine since its inception.
IVM: The album was produced by Chris Vrenna along with yourself. How did that partnership come about and what do you believe Vrenna brought to the album?
NB: Chris and I met through a mutual acquaintance and became very close friends very fast. I have a lot of respect for Chris and his career as, most of what he had done was what had inspired me to become a musician years and years ago. I wanted to go back to my influential roots with 'Order Of The Shadow' so, bringing Chris into the picture couldn't have made more sense. He was really able to push me in ways that other producers never have and that's always what I look for when selecting a producer.
IVM: Thematically and conceptually what has influenced the direction of the new album?
NB: The themes of my albums have always come from the same place. Attempting to make sense of visions and dreams from when I was very young. I had reoccurring dreams of the apocalypse from the time I was thirteen well into my 20's and each of these dreams would lay out a different scenario in which the world would come to an end. Each dream was narrated by a disembodied voice which would tell me that I would continue to have these dreams until the true end would be revealed to me in a final dream. I did end up having that dream and most of the songs that I've been writing since 'Crwn Thy Frnicatr' have been laying the groundwork for that story.
IVM: You've also used a lot more of your “real” voice on this album. What led to that decision and how do you feel it has complimented the sound overall?
NB: I chose to lose the pitch shifter effect that I had been using for a long time as, it became a staple sound within the industrial scene and although it does sound good when creating dark music that is predominantly electronic, it really didn't have a place in the more organic direction that I took when I wrote 'Order...'.
IVM: You've previously mentioned that this will be the final Psyclon Nine album, what has led to this decision and how many more “Acts” can we expect to be released?
NB: You can expect a trilogy to finalize the trilogy.
IVM: The band went on hiatus for a while after 'We The Fallen'. How are you these days and was there ever a danger of Psyclon Nine not returning?
NB: There was never any sort of official breakup or hiatus. I watched a lot of rumours fly around for a few years and simply chose to let them fly. It was interesting. I had even read that I had died at one point. I just needed some time to regroup and to focus on what was next for Psyclon Nine.
IVM: Did you have any doubts as to whether the audience was still there?
NB: Our culture does seem to have a bit of ADD and the more you can stay in the light, the better. I felt that it was nest to let fate sort it out when we decided to step out of the shadows.
IVM: How do you feel the band dynamics and creative processes of Psyclon Nine have changed since 'We The Fallen'?
NB: Again, I took Psyclon Nine into a much more organic direction. I don't program music as much as I play it these days. Everything on this new album was played by hand, including drums and dialogue samples which were all played on a midi controller. Most of the electronic noise samples were actually me, playing guitar through multiple effects as opposed to synths ran through samplers. Again, very organic.
IVM: The album was funded successfully with a Kickstarter campaign. What led to the decision to go down the crowd funding route?
NB: We needed much more time in the studio than our original budget allotted and I felt that our fans would be more than happy to become a part of the process. Our fans are very, very important to me and although a lot of acts would hesitate to have them become involved, I welcome all of the love that we receive from our fan base. This would all be pointless without it.
IVM: Is it a tool that you'd be happy to continue using on future releases?
NB: Absolutely. As an independent band on an independent label, if we want to do anything above and beyond simply releasing an album, it's a must to involve your fan base these days.
IVM: You'll be releasing a music video for the album's lead single 'Use Once And Destroy'. What can you tell us about that?
NB: It has been a very long and hard road. A lot of pain and suffering went into the creation of this video and I'm sure you will recognize that as soon as it's released. Any day now.
IVM: You've already finished 'Hellions Of Hollywood' tour with Dawn Of Ashes. How was that for you all?
NB: It was great to be able to connect with our fans again and to perform tracks from Order as well as some of our previous material. I love bringing these albums to life on stage and I truly feed on the energy of the crowd. It makes me feel a bit vampiric.
IVM: Are there any further live plans, possibly in Europe?
NB: Europe should be seeing a full tour in April. It has been far too long since we have had a chance to make it overseas and we will make sure to leave an impression this time around… I'm not sure if our European fan base is quite accustomed to the level of violence that we usual receive at our stateside shows but, we will have to put that to the test.
IVM: Finally, what are your plans for the rest of the year?
NB: We are currently attempting to wrap up the companion disc for Order of the Shadow : Act I and will be continuing to play shows and make appearances until that is released. I don't plan on stopping writing at any point in the near future.
One of the UK's biggest alternative club nights, Club Antichrist is saying hello to 2014 in characteristically decadent style. At Club Colleseum, on January 3rd 2014 the evening will be hosted by Alix Fox and will feature music from the likes of demented cabaret king Joe Black, Method Cell and The Men Men That Will No Be Blamed For Nothing. There will also be acts such as Club AC favourite Missa Blue, Pariah Circus, Pyromaniacs Fire Arts, and as always the ever popular Satan's Strip Show. The club will feature it's very own Dungeon Mistress, Mistress Rebekka Raynor in the Devil’s Playroom for all of those who want even more kink to usher in the new year.
“As another year draws to a close, Club AC will not be celebrating on New Year’s Eve! We don't like NYE with its inflated prices and overcrowded travel and fully booked hotels... So we do it a few days later! That keeps our advance ticket prices the same as always, and it means our wonderful staff, performers and DJs can either take a more lucrative booking on Dec 31st, or go out and party themselves without missing an AC! We'll still do a countdown to midnight with balloons and confetti, so you won't miss out on the fun bits if you choose to stay in on the real NYE! There's no theme for this one, so come dressed in your Sunday best, if your Sundays are usually spent worshiping at the alter of sin and debauchery and celebrate the dawn of a new year.”
Side A: Liebeslied
"I chose Svein Tråserud to illustrate my short stories because he is the best of all to express the hallucinated realism I write”.
Friday, 22 November 2013
Right, this week we've had a few nice treats for you. First of all is the news that Nine Inch Nails are returning to the UK next year. There is also some more immediate gratification to be had thanks to the new music video from Skinny Puppy. We've also had reviews of the latest releases from The Mekano Set, Iioioioii, XP8 / Hope Esthiem, and Merciful Nuns.
Thursday, 21 November 2013
Wednesday, 20 November 2013
The album is wonderfully constructed and well mixed, showing off not only the range and scope of Gurney's song writing ability, but also the attention to detail that has gone into each song. The only real sticking point is in the vocal delivery, which is pretty much uniform across the album aside from some slight effect changes in places. Gurney has got a great voice yet he does come off as a little shy in places when he should be belting out a big chorus. But when he goes for it he proves he can nail it.
'Sun' is an impressive album that incorporates both old and new elements of synthpop and industrial and combines them into something that still sounds original and relevant. Gurney is capable of making you dance, or taking you on a dreamlike inward journey on alternate tracks. There is a talent here that will no doubt continue to develop and deliver as he goes on.
Tuesday, 19 November 2013
Skinny Puppy: illisiT [OFFICIAL VIDEO] from Jason Alacrity on Vimeo.
Nine Inch Nails have announced their return to the UK for a selection of dates in 2014. The band will kick off their run of shows on 18th May in Birmingham and will finish in Manchester on the 25th.
The band will be supported by fellow US act, Cold Cave.
May 18 Birmingham LG Arena
May 20 Glasgow Hydro
May 21 Cardiff Motorpoint Arena
May 23 London O2 Arena
May 24 Nottingham Capital FM Arena
May 25 Manchester Phones 4U Arena
Presale and general ticketing info can be found at http://tour.nin.com/. Nine Inch Nails' latest album, 'Hesitation Marks' is available to buy now. For more information in the band, please visit their official website.
Monday, 18 November 2013
All you have to do to be in with a chance of winning is... Like our Facebook page... That's it!.
Everyone who likes our Facebook page before Midnight on Sunday 15th December will be entered into a random prize draw in which three lucky people will get a *bundle of CDs posted to them in time for Christmas!
That's all it takes so make sure you like the Intravenous Magazine Facebookpage and be in with a chance to receive some free CDs!
Friday, 15 November 2013
In more upbeat news we've had lots for you loyal readers to get absorbed in over the week. We kicked off most importantly with the launch of out 2013 reader'schoice awards. Please make sure you vote and share! Oz gave us a cracking interview with Sirus as well as a nice review of Placebo'srecent show in Leeds. We've had reviews of the new albums from Bruderschaft, Kosheen, Die Krupps and Live Not On Evil. There was also news from Lovelorn Dolls and Client, and as always Joel Heyes gave us another great column this month.
Thursday, 14 November 2013
A1 You Can Dance
A3 You Can Dance (CHROM Remix)
B2 You Can Dance (Dear Strange Remix)
Wednesday, 13 November 2013
KOSHEEN / MEMBRAN RECORDS
Tuesday, 12 November 2013
This year marks the 80th anniversary of the first known photograph of the Loch Ness Monster, or 'Nessie' as she is known to her friends. The picture, taken by Hugh Gray on a post-church saunter in 1933, was the first evidence of the existence of a giant cryptid (and probably prehistoric) beast living at the bottom of a Scottish loch – and with it a whole school of creature-fandom was born.