Interview: Marc Heal

“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.”

Live: Katatonia – Brudenell Social Club, Leeds 07/05/2017

KATATONIA (+ TheGreat Discord, Ghost Bath) Brudenell Social Club, Leeds 07/05/2017

Wave Gotik Treffen - The Preview June 2017

The gathering of 2017s Wave Gotik Treffen, is but a month away. Time to get the fascinators out and the boots polished!

Review: Mortiis – 'The Great Corrupter'

MORTIIS 'The Great Corrupter' OMNIPRESENCE PRODUCTIONS

Review: Freakangel – 'How The Ghost Became'

FREAKANGEL 'How The Ghost Became' DIGITAL WORLD AUDIO

Thursday, 19 February 2015

Review: G.L.O.W. – 'Emotions' / 'Myths And Legends'



G.L.O.W.
'Emotions' / 'Myths And Legends'
SELF-RELEASED


G.L.O.W. AKA General Language of Oscillating Wisdom is the solo musical vehicle of South African artist Richard Wheeler. With its feet firmly in the ebm genre, G.L.O.W. is crammed full of melodic synth leads and big dance friendly beats but maintains a darker electro-industrial edge throughout. With two albums under his belt so far in the forms of 'Emotions' and 'Myths And Legends', Wheeler is steadily building his presence not only in his native scene, but also further afield.

'Emotions' is Wheeler's first full length outing under the G.L.O.W. moniker. Recalling acts such as Icon Of Coil, Grendel and VNV Nation songs such as 'Anger', 'Find A Way Out', 'Levitate', 'Perpetuation' and 'Plastic' provide the album with a solid backbone of strong rhythmically pleasing ebm. There is always an experimental edge to the tracks as well with Wheeler throwing in industrial, trip-hop, synthpop and even dubstep elements into the tracks to keep things fresh.

It's a fairly solid album with some interesting musical directions followed. But it is let down by the production, which is flat and very rough. And that is a major shame as 'Emotions', as a first outing displays a lot of promise.

Fast-forward to 'Myths And Legends' and we see wheeler pushing a far more polished product in order to solidify his presence. Again the influences of Icon Of Coil, Grendel and VNV Nation are plain to here across songs like 'Aigamuchab', 'Flying Dutchman (Final Quest)', 'Impundulu', 'Mafeking Terrace' and 'Yisipoki'. There are even a few world music influences thrown in that really elevate the quality of the song writing.

Again the quality of the production is an issue. Although there is a noticeable improvement over 'Emotions', it is still not as strong as it could be. In particular the way the vocals are mixed doesn't sit right and sometimes the top end of the tracks just swamps the rest of the mix. However as a natural progression from the first album 'Myths And Legends' is a step in the right direction with its stronger song-writing and slicker execution.

G.L.O.W. may still be making its first steps as an act, but across both 'Emotions' and 'Myths And Legends' there is a strong sense of the individuality of Wheeler's sound and a noticeable progression in the quality of the songs. Held back only by the limited production, there is a lot of potential on display here that will hopefully be realised on a third outing.  

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Wednesday, 18 February 2015

Review: Kyle Michael Porter – 'NeoNoir'



KYLE MICHAEL PORTER
'NeoNoir'
UNSOUND AMERICA


Electronic artist and producer Kyle Michael Porter (The Walking Wounded) returns with a distinctly more experimental experience than fans of his main project will be used to. Taking his cues from the hey day of experimental electronica 'NeoNoir' is a burst of cyberpunk influenced atmospherics that recall the likes of The Geinoh Yamashiro Gumi, Dogon, Tsuyoshi Kon, Keishi Urata, and The Future Sounds of London.

With titles such as 'Dark Operator', 'Net Jack', 'Street Level', and 'Paradigm Shift' its easy to form a conceptual narrative throughout the tracks into a story arc that could have been penned by William Gibson or Bruce Sterling. The hissing noisy glitches, ambient strings and simple dramatic use of percussion build tension and add an overwhelmingly cinematic feel across the seven tracks. 'Street Level' in particular conjures up images of a dark decaying high tech cityscape straight out of Bladerunner'. While the likes of 'Net Jack', and 'Countless Wonders' evoke the physical and virtual components of cyberspace.

The album having been recorded in one day and played by hand, creates a unified statement that really needs to be experienced in one go. It's not the kind of album you pick a favourite track from or dip in and out of. Rather it is a complete work in seven movements.

The production is quite passable for something that was the product of a single day's worth of recording. But therein also lies its charm. It is the punk element of cyberpunk that is being emphasised and it works really well.

If you are a fan of ambient / experimental electronics then it's a pretty good bet you'll like this album. Even if you can only claim to having Trent Reznor and Atticuss Ross' film soundtracks, you'll appreciate the cinematic quality of 'NeoNoir'. It's another great release from the Unsound America label, and hopefully one Porter will follow up.  

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Tuesday, 17 February 2015

Review: Eisbrecher – 'Schock'



EISBRECHER
'Schock'
SONY MUSIC 

Eisbrecher – the post Megaherz vehicle of Alexx Wesselsky and Noel Pix – over the course of a decade developed a strong discography of their own, putting them firmly up there with Oomph!, Rammstein and their former bandmates at the head of the Neue Deutsche Härte movement. And while Rammstein maybe the international breakout stars, Eisbrecher have a strong world-wide fanbase thanks to albums such as 'Eisbrecher', 'Antikörper', 'Eiszeit' and 'Die Hölle Muss Warten'. 2015 sees the band's return with their sixth studio effort 'Schock' and an ever growing legacy to live up to.

The band have proved they have the tools to stand the test of time, and 'Schock' is an exclamation point to that effect. The band's electronically augmented heaviness is preserved and in top form as tracks such as 'Volle Kraft Voraus', '1000 Narben', 'Zwischen Uns ', 'Dreizehn ', 'Fehler Machen Leute ' and 'So Oder So' can attest to with their addictive mix of hard guitars, memorable synth melodies and always resonant vocal performances. While also mixing things up nicely with slower and more ballad influenced tracks such as 'Rot Wie Die Liebe', 'Schlachtbank ', and 'Der Flieger' breaking up the relentless pace with a bit more emotional depth.

The production is as you'd expect from a band such as Eisbrecher at this point in their career. Everything from the song-writing, to the performances and the final mix has been a labour-intensive process to make this album sound as strong as possible in order to stand shoulder to shoulder with the wealth of influential albums their countrymen, and themselves have released.

'Schock' is another strong outing from Eisbrecher. It gives fans of the band, as well as the wider NDH genre exactly what they are craving. It's hard, heavy, and undeniably infectious. This album not only shows that the band have the ability to live up to past glories, but also that there is plenty more glory to come in the future.  

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Review: In Death It Ends – 'Protogrammaton'



IN DEATH IT ENDS
'Protogrammaton'
SELF-RELEASED


In Death It Ends has maintained an intensive release schedule over the past few years with multiple album, single, EP and free download releases each year. This has already built up into an impressive and enviable back catalogue that synthesizes elements of witch house, post punk, gothic rock, industrial and darkwave into something genuinely unique. 'Protogrammaton' marks the start of the 2015 release cycle in anticipation of the next full length LP 'Beneath Eden'. Even though it is a free to download mini-album, that doesn't take away from the quality of the music it contains.

The album begins in a familiar way with the opening track 'Phlegmatic' utilising a simple and prominent bass line over some distinctly witchy electronics for an up tempo spooky dance track. 'Opportunistic' on the other hand explores an take on the early electro-industrial sound of the 80s with its mechanical rhythms and ambient synth layers. 'Thematic' brings things back into witch house territory with its emphasis on modern, lo-fi dance synths taking the lead backed up by a sinister groove. 'Individuating' pulls things back to a more shoegaze tinged dark post punk vibe with its psychedelic bass and distorted synths cutting through.

'Awakening' then progresses into a proto-gothic cum darkwave creeping track that is perhaps the most atmospheric and cinematic on the album. The penultimate track 'Neophyte' brings the album back full circle once agin returning to the prominent simple bass, and witchy electronics, this time however adding a bit more the dar psychedelic atmosphere of the previous songs. The album is then wrapped up by the slow and atmospheric 'Adept' which displays the subtler side of the In Death It Ends style.

Once again the production walks that fine line between the lo-fi underground sounds it draws its inspirations from, and the polished modern standard it deserves. There is always that wonderfully underground feel to these albums but there is no denying that they are even more enjoyable due to the fact they are mixed and mastered with great attention to detail.

If this is your first introduction to IDIE then 'Protogrammaton' is a good place to start. It provides a good cross section of the band's styles and influences in one accessible package. It isn't the most defining of the back catalogue to date, but it still holds its own.

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Acts announced for Wave Gotik Treffen



The world famous Wave Gotik Treffen festival has announced the first acts that will be playing the event in Leipzig, Germany this year. Artists announced so far:

FIELDS OF THE NEPHILIM (GB), SAMSAS TRAUM (D), UNTO ASHES (USA), AUTOMELODI (CDN), SOROR DOLOROSA (F), SÓLSTAFIR (IS), POLAROID KISS (GB), ASH CODE (I), EMPATHY TEST (GB), DUPONT (S), ANTIMATTER (GB) – acoustic and electric performance, TROLLFEST (N), ACCESSORY (D), JO QUAIL (GB), BLOOD AND SUN (USA).

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

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Friday, 13 February 2015

The weekly compendium 13/02/2015




Oooooo it's Friday 13th of February and if you're not near any large bodies of water, you'll probably be safe and going about your business as usual... if you are, you may be due a visit from a guy in a hockey mask, holding a machete. In that case you may definitely want to check out what we've had in store for you this week... while you still can! MWAHAHAHAHAHAHAHAA!

*Ahem*... Sorry about that...

We kicked the week off with an interview with former Goteki mainman and electronic music wizard Ross Tregenza as we got the lowdown on his first full-length solo album. We had a live review of Savage Messiah in Stoke courtesy of Dokka. The reviews had an Italian flavour this week as we looked at the latest releases from XP8 and Dope Stars Inc. Before gorging on a HUGE compilation from D-Trash Records. We then rounded things off with an Editorial from me and a column from Joel Heyes where we get stuck into horror movies... again.

Over on Facebook we saw a new trailer for Amphi festival which is shaping up to be a great line-up. There are also new videos from King Pest, 1919, The Last Dance, and Laibach. The Resistanz festival is also looking pretty tight as well. And finally if you fancy taking on Orgy's new logo, check out our page.

Right that's it for this week. Next week will be a little light on posts and the following week we'll be taking a break as I'm off on holiday, so there won't be another compendium until March.


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Thursday, 12 February 2015

The Horror of Frankenstein and the Politics of Boredom



The story goes that Hammer stalwart Jimmy Sangster, having written the screenplays of previous episodes in their Frankenstein franchise, was offered the chance to write the next instalment. Bored with the whole idea Sangster turned them down, only to be offered the chance to produce it as well. He half-heartedly replied that he only would do so if he was also made director. Twenty minutes later Hammer rung him back and, to his incredulity, agreed.

And so was 'The Horror of Frankenstein' (1970) born, written-produced-directed by Sangster, and released at a time when the Hammer hit machine was starting to become decidedly shonky (and with a production process like the above is it any wonder?). Despite having had a key role in some of Hammer's finest moments Sangster was now bored by the Frankenstein assembly line and as a result set out to – deliberately or otherwise – shake up the formula.

This is evident right from the opening scenes; rather than drown the film in stodgy exposition, we see scene after scene of Victor Frankenstein's brusque ascent through school and to medical college and eventually his return to the family estate – murder, quips, expulsion, sex, all follow in quick succession. Neither is there a remote sense of portentous hamminess either, replaced instead by a mischievous tongue placed firmly in cheek (and in Victor's case everywhere else too).

Even the young Frankenstein himself, with his smirk & sideburns and portrayed with snide perfection by Ralph Bates, has a sense of counter-cultural rebellion about him. This Frankenstein was 'wild in the streets' (or, at least, the estate grounds), and when his first attempt to resurrect dead bodies leads to a dismembered hand giving the finger then it's clear that the whole film is, in some sense, an 'up yours' to Hammer tradition.

But this rebellious use of his boredom by Sangster to creatively destroy is mirrored in the characterisations in the film. Victor is a genius, and as such is not stretched or challenged by his surroundings – we see him better educated than his teacher, un-intimidated by the Dean, fearless with the father and undaunted by women – and, being bored as he is, he rebels against practically everything in a nihilistic and snotty way. There is something almost punk rock in the way that Victor romps through the empire leaving a trail of mayhem in his wake. The one challenge and obsession that he has – to resurrect the dead - actually gives him some focus away from being generally cruel and indifferent; although, surely if he can combine the two then that would be even more preferable (and, not so say, fun).

So although the tale of the rebellious young Frankenstein may not be a classic (and bearing in mind it's origins who can they they're surprised?) it is still a robust example of snotty rebellion against stuffy orthodoxy, and is full of appropriate disrespect. Isn't this how any revolution begins? Bored young people rebelling, creating through destruction (or in Victor's case creating through destruction through creation)? Even the hammy world of Hammer is not immune from the Nietzschean twitching of the bored, restless coming race. The lesson we can draw from the film is that a little revolution is a good thing – and for God's sake give evil genius a project to work on (and preferably one that doesn't involve cadavers).

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Editorial: February 2015



There's nowt so queer as folk... or so the saying goes.

Well there's nowt so queer as folk horror. Throughout the history of horror cinema, one of the constant characters has been the British landscape and the strange people who inhabit the rural areas. Paganism, devil worship, murderous villains and all manner of monsters have inhabited bleak and foreboding landscape.

Films such as 'Quatermass 2' (1957), 'Village of the Damned' (1960), 'The Witches' (1966), 'Whistle and I’ll Come to You' (1968), The Beast Must Die (1974), 'Witchfinder General' (1968), 'Blood on Satan’s Claw' (1971), 'Dog Soldiers' (2001), 'Hound of the Baskervilles' (1959), and 'The Plague of the Zombies' (1966) all provide high points for this particular brand of horror film. Each one taps into the wealth of British folklore, whether it is the changeling-like children of Midwich or the demonic hound on Dartmoor, and links that ancient collective memory to a modern audience via the cinema. But for me it has to be 'The Wicker Man' (1973) and 'A Field in England' (2013) that top the list.

'The Wicker Man' is quite simply the quintessential horror film wrapped up in a mystery. The film has some serious acting power behind it with Edward Woodward, Christopher Lee, Diane Cilento, Ingrid Pitt, and Britt Ekland turning out great performances. The soundtrack may seem rather dated, but it nonetheless works incredibly well against the visual backdrop of an isolated community engaging in ancient rites. But best of all is its plausibility. 99% of the film is set out as a “who-dun-it?” mystery as Edward Woodward's character Sargent Howie attempts to track down a missing girl while the locals try to evade his investigations. It isn't until the final moments of the film that the true horror of the situation is fully realised and the shocking image of the burning wicker man seers itself anew into the collective psyche of the nation.

Ben Wheatley's 'A Field In England' on the other hand may be a fairly new film, but it perfectly distils everything great about folk horror into one gloriously psychedelic nightmare. The monochromatic cinematography, the dark ambient soundtrack, rich use of period dialogue, and the excellent acting courtesy of the small but tight cast of Julian Barratt, Peter Ferdinando, Richard Glover, Ryan Pope, Reece Shearsmith, Michael Smiley makes this a simple but effective film. The fact that it is set in open rolling countryside seemingly in the middle of nowhere and it conveys an unrelenting sense of claustrophobia as the protagonists navigate each bizarre twist in the tale. Again this isn't a straight horror tale instead it's part historical drama, part arthouse, and liberally experimental utilising subtle horror elements to underscore the occult themes of the story.

Perhaps they're not everyone's cup of tea, but these films and folk horror in general hold a special place in my estimation for their often simple but brilliant stories and resonant atmospheres.

Finally, in case you haven't seen it yet, we launched our second free digital compilation on 1st January 2015 to coincide with our second birthday as a website.

You can download all fifteen tracks for free at out bandcamp page.

Once again, make sure you have these links in your favourites:


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Wednesday, 11 February 2015

Review: Various Artists – 'Trash The World'


VARIOUS ARTISTS
'Trash The World'
D-TRASH RECORDS


There are compilation albums... and then there are compilation albums. 'Trash The World' courtesy of Canadian label D-Trash Records is one of those that comes along every so often with just a brilliant selection of artists within its ranks that you can't help but take notice. Celebrating fifteen years and 200 releases, the album contains a massive 45 tracks by a variety of international artists that cover genres such as Ambient, Digital Hardcore, Speedcore, Rhythmic Noise, Breakcore, Doomcore, Industrial, Broken Beat, Experimental, Grindcore, Alternative Rock, and Noise.

With a list of artists as long as your arm, you'll be spoiled for choice as to what to listen to first. And of course we can't list everyone for individual analysis. However, names such as 64Revolt, Babylon Disco, Bossfyte, CPUWAR, Disbreakz, Drugzilla, Evestus, No Brigade, Oxygenfad, Phallus Über Alles, Sangre, Schizoid and The Phoeron provide some undeniably strong tracks to the proceedings.

Clocking in at nearly three hours in length you'd be forgiven for thinking its a lot to take in all at once. But that's not the case. Even though it is an A-Z list of the bands, there is still so much variety on display that you're never quite sure what the next track is going to unleash. One minute you've got a quiet ambient track with a drum 'n' bass beat breaking it up, the next you've got full on noise. It's a long roller-coaster of an album, but one that celebrates the diversity of hardcore electronic music.

The compilation is mastered really nicely and has a unified sound that often lacks on a lot of label samplers. The production varies track by track depending on the artist and genre, but as the album progresses there a few noticeable drops or jumps in the levels between them, which makes for a much smother listening experience.

This is a great compilation that shows of not only the diversity of the label but also the strength of each individual track as they hold their own against each other. It doesn't matter what price you put on this album, its a bargain for the sheer volume of talent on display. 'Trash The World' is a defiant exclamation mark on fifteen years of supplying the underground electronic scene with a platform for exposure, and here's to another fifteen years of doing the same.  

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Tuesday, 10 February 2015

Review: Dope Stars Inc. – 'TeraPunk'



DOPE STARS INC.
'TeraPunk'
SUBSOUND RECORDS


Italian electro-rockers Dope Stars Inc. return with their fifth full-length studio album 'TeraPunk'. The band's core formula of hard punk vocals, scathing guitars and dance-friendly electronics is firmly front and centre. The band's first outing for four years hasn't dulled their edge in the least. 'TeraPunk' presents a reinvigorated Dope Stars Inc. recalling the passion and drive of their '://Neuromance' and 'Gigahearts' days.

The album is pretty relentless as tracks such as 'It's Going To Rain On You', 'Many Thanks', 'Take It', 'You Have No Chance', 'Dressed Inside Your Fear' and 'The Believer' syphon the best of the bands past work and repackage them ready for the 2015 audience. It could be argued that it is more of the same, but Dope Stars Inc. are a band who make brash and punky electro-rock, and that's what they do best. So why change? The big choruses are there, as are the memorable riffs and the club-friendly electronics, all of which will transfer to the live circuit very nicely. What more do you need?

Just to play devil's advocate. Yes, the synth sounds are very familiar, as are the guitar and vocal effects. There's also not been that much progression in terms of production from the band's last album 'Ultrawired', and those truly experimental flourishes that endeared the band to so many on their first few releases are in short supply. Instead you get the best of the band's full on attacks. But that's kind of the point. The band give their fans what they want and 'TeraPunk' provides that in droves.

The album shows Dope Stars Inc. doing what they do best. Their riotous blend of industrial rock feels streamlined and direct in its focus, and the end result is a crop of songs that can easily stand beside the stronger cuts in their back catalogue. The band might not be reinventing the wheel on 'TeraPunk' but they've certainly set it on fire and rolled it down a hill.  

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Review: XP8 – 'Three Of Three: Rubedo'



XP8
'Three Of Three: Rubedo'
2393RECORDS


The third and final instalment of XP8's alchemy EP trilogy signals not only the closing of this chapter in the bands EP cycle representing the final step in the alchemical process, but it is also the final ever release from the duo. Over a decade since they first emerged from their native Italy, XP8 have gone on to become a regular fixture of the alternative dancefloor with their original blend of ebm, edm, dubstep and trance. But if you're going to go out, it may as well be on a high.

The previous EPs in this trilogy have all been strong releases that keep the band's dance credentials at the fore, but also brought up the deeper and darker side of the band's sound with slower tracks such as 'Primitive' and 'Heatwave'.

The band follow a similar structure on 'Three Of Three: Rubedo', with the opening track 'Dancing, Dying, Dreaming' leading the charge with its big room-filling dance presence. The heavy bass of 'XP8 Is Dead' follows on with an addictive groove and the band's tongue-in-cheek humour making a welcome return.

'Egotism' brings in a more electro-industrial vibe with hints of dubstep recalling the cyberpunk atmosphere of the bands excellent 'Adrenochrome' album. 'Rust' continues this atmosphere through another slow and groovy dark electro piece. The band then forgo the remix that has rounded off the previous albums in favour of another big club-friendly anthem in the form of 'Your Love' to sign off in the best way possible.

The EP continues the exemplary run of well produced music that the band have continued to put out in recent years. Each track, no matter its approach, sounds big and confident in its execution.

'Three Of Three: Rubedo' is a fitting send off for a band such as XP8. The band have an enviable back catalogue of intelligent electronic music and have let their work have the final word. It's been a great run and it's sad to see them go. But XP8 have made their mark and this EP trilogy is the full stop on a great career.  

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Live Review: Savage Messiah, The Sugarmill, Stoke-On-Trent 14/01/2015



SAVAGE MESSIAH (supporting Huntress & Amon Amarth)
The Sugarmill, Stoke-On-Trent
14/01/2015


It's been a busy last twelve months for Savage Messiah. On top of their third album (second release by Earache Records) they have also been blessed with a solid fan-base and even back from the government for all their hard work. The band got off to an early start this year by doing a 28 date tour alongside Viking Metallers Amon Amarth and US boneshakers Huntress armed only with Noodles and Trooper beer to keep them going. Aided with money given to them by the British Phonographic Society (and being the first metal band to have been offered this) they have been making their way across the British coast and also around Europe.
Silver plays with madness going without guitar.
"We couldn't believe it" said guitarist Joff Bailey "We just got a call from the label, next thing you know we're trending on twitter and on C4 news about how 'Metal is taking over'."
The set itself was a little short. Given the opening slot will always be difficult for a band this established, but the boys managed to keep the energy going from the start with 'Iconocaust' and kept with tracks from the latest album 'The Fateful Dark'. By 'Hellblazer' singer Dave Silvers' guitar had started to cause problems which led to the set being one track short, but the crowd did not care a jot, as it lead to him taking on the guise of his metal idol Bruce Dickenson. Plowing through 'Scavengers of Mercy' with all the brovado and confidence to floor a walrus Silver was then offer a now fixed axe for the final number 'The Fateful Dark' to which he responded "fuck it, I don't need it. I'm having too much fun."
Joff Baily cranks it to 11.
The band made for a great start up, getting the room ready for the hailstorm that were Huntress and Amon Amarth. This band surely are a work of art and if they can pack that much punch into 5 songs then a headline gig would clearly knock your rock sox off!

-------------------------------------------------------

Later in the evening there was the news that guitarist of Huntress Eli Santana was attacked and then arrested outside of the Sugarmill and released the next day without charge. It seems a group of passing drunks had decided to pick a fight and although Santana was not one to throw the first punch was carted away while police decided on what happened. For more information on the matter head to The Huntress tour blog. Lets just hope it doesn't stop either them from coming back to the UK.

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Monday, 9 February 2015

Interview: Tregenza

Born into fire...


“To be honest, the final Goteki album ‘Santa Muerte’ was a transition into Tregenza – I’ll perform some of those Santa Muerte tracks when we take the Tregenza show out live.”

Since putting Goteki on ice, composer, vocalist and sound designer Ross Tregenza has been forging ahead with his musical vision under the banner of his solo project Tregenza. After five EPs that encompassed everything from classical to modern dance influences Ross unveiled an impressive full-length début album in the form of 'Into The Void'.
We caught up with Ross to talk about leaving the Goteki name behind, his process and a certain other band he spent time in.


Intravenous Magazine: You've just released your first full-length studio album under the Tregenza name, 'Into The Void'. What has the reaction been like so far?



Ross Tregenza: It’s been hard to let it go! I’ve been working on it for over three years, and letting it out into the world is like ejecting it into space. It’s probably my least immediately accessible album – it’s dark, complex and emotional, so I’m please to be getting so many messages about people enjoying it. I’m incredibly proud of it, but you never know what other people are gonna make of it.


IVM: Prior to the release of the album you opted to release a slew of EPs. What led to that decision and how has that helped in the creation of the album?

RT: It was essential really. The album developed very slowly, which is never a bad thing. Each of the EPs I released shaped the sound, aesthetic and overall vibe of the project in a new way. It was like before the EPs the album was a lump of rock, and each EP was a barrage of chisel hits, shaping it into the final sculpture. It’s an exciting process watching it take form.



IVM: You'd had a very productive run with Goteki after reactivating the band. What led to the decision to finally put it to rest and continue on as a solo artist?

RT: Yeah the last days of Goteki were prolific! I think the change was primarily because the new project is so different. Anybody that knows my Goteki work will hear similarities, but in terms of instrumentation and tone, it’s darker, slower and more cinematic. To be honest, the final Goteki album ‘Santa Muerte’ was a transition into Tregenza – I’ll perform some of those Santa Muerte tracks when we take the Tregenza show out live.


IVM: How does your writing process typically work? 

Outside of your musical work you've had a long career in sound design. How has this affected the way you create music?

RT: I know a lot of musicians who jam or create loops to kickstart a new song. I find it impossible to write anything until I know what a song’s gonna be called and what it’s about – that defines the first steps of writing the song.

These days I write primarily on piano to start, then expand out to my ‘new song toolset’ after that – normally violin, two-three synth lines, two-three drum sets and then go from there. Even though I get a little experimental here and there, I like to try and write songs that could easily be played purely on guitar or piano – it makes them more durable.

My career in sound design has had a massive impact on my music. For the first few years, my music and sound design were different avenues and god knows why, but it never occurred to me to mix them. Now I see almost no difference – my sound design informs my music and vice versa. Crazy to think it took so long. You’ll hear in the new album a lot of cinematic design, dramatic scoring, big impacts sounds etc. – all stuff I’ve learnt from my crazy, awesome day job making video games.


IVM: There are a lot of influences at work across the album and EPs. Musically where do you draw your inspirations?

RT: I’ve always had two sets of influences – a classic core set and a more current set. My classic core set has been the same for most of my life – Bowie, Johnny Cash, Leonard Cohen, Cat Stevens, The Beach Boys, Simon & Garfunkle, The Beatles, Willie Nelson, Kris Kristopherson. Mostly Bowie though. Good god to I love a bit of Bowie!

My current set of influences are kinda diverse, but you can hear influences on ‘Into The Void’ – it’s all in there. The list would include Crystal Castles, Kavinsky, The Supremes, Creedence Clearwater Revival, Japan, Justice, M83, Hot Chip, Hurts, IAMX.

On top of that I’ve been heavily influenced by film scores over the last few years. Primarily the work of Nick Cave and Warren Ellis (although obviously the phenomenal ‘Push the Sky Away’ had a big influence too). Also, Clint Mansel, M83 & Joseph Trapanese.


IVM: One of the most interesting tracks featured on the initial Tregenza EPs is the '86 Stadium Remix of 'Snowdrift', where did that idea come from and how did you execute it?

RT: Ha-ha yeah that was ridiculous. Kinda worked though! I always think it’s nice to let my sound design skill set bleed into my music stuff. I figured it was such an introverted, gentle song that it’d be funny to re-imagine it as a massive cheesy stadium rock song. Dumb fun, but I love it! It was just a case of building a reverb that had that massive stadium feel and then redesigning all the elements to make them feel like they’re coming from a huge stage. Hey ho, keeps me busy!


IVM: This time last year you released a cover EP, 'Stolen Thunder'. Is this going to be a regular series, and if so what songs are considering covering?



RT: Yep! Yep yep yep! I love Stolen Thunder, and I plan on doing a zillion others. I start cover version ALL the time – 80% of them will never see the light of day – they just don’t work (you don’t want to hear my cover of 'Ride On Time' – spoiler alert – it’s SHIT. ) So when I get five covers that get to a certain point – when I can sit back and think – fuck yeah, this is actually pretty solid – then I complete them and bundle them as a release. I hope to do 10, 20 collections as many as I can do before I get hit by a car or a meteor hits the planet.


IVM: As a solo artist, will you be more studio based from now on or will there be a chance of live performances in the near future?

RT: Yeah this is primarily a studio project now – studio music, video performances, music videos, etc. BUT I am starting to plan a tour. I need to figure out what how we’ll take it out live – what instruments, how to present the material. I’ll sing obviously, but I need to decide if I also want to play guitar, synth, or anything else. Difficult but exciting questions! On top of that, I want the shows to have a more organic, unpredictable edge – a little chaos. It’s make each show more unique, and more fun the crowd and us.


IVM: You've continued to give your releases away for free. What led to this decision and would you entertain working with a label again?

RT: Yeah it’s a tricky one. I’m lucky enough to have a day job that’s a creative outlet that I get paid for. With that in mind, I’d figured I’d launch each release for free, to try and get people to grab it. I would be happy to work with a label, not really for the money but more for the support. It’s hard work and time consuming promoting my stuff, and more people helping me would always be a good thing.


IVM: In addition to your own past projects you've previously been a member of synthpop pioneers Visage. How do you look back on your time with the band and how is your relationship with them today?

RT: It’s like a weird dream now. A really weird dream. For example – the first band practice I ever had with Steve Strange involved him going off for lunch, and not coming back for several hours. Eventually he re-emerged, and with no sense of irony said ‘Sorry guys just had lunch with Terry Wogan. He left me with the bill, the bugger!”. It was a great time, and I had the opportunity to play stadiums of 20 or 30 thousand people, and chill backstage with all manner of legendary bands from The Human League to The Exploited. Really great experience. As I’m sure you know, Steve passed away very recently, and it’s been harder to deal with than I’d have anticipated. I think that while we’d kind of drifted as friends, the idea of him not being out there somewhere, doing his crazy Steve things makes me very sad. He was a mischievous and chaotic character, a pain in the ass at times, but a powerful force of creativity, a happy and unforgettable character and he’s left an astonishing musical legacy. I’ll miss him.


IVM: Finally, what are your plans for the rest of 2015?

RT: I’m starting to get a few ideas together for the first songs of the next album, but I’d love to release some more covers and EPs before that. My next big project is definitely the live shows though, and I’m already talking to people around the UK about shows. I also want to release my first instrumental collection of more film score inspired work. After that, there’s some plans for music videos – kinda long format ones with cinematic elements. I also want to make two concept albums – one sci-fi and one zombie themed, with accompanying short stories. And another animated music video. Jesus. If I had the ability to freeze time, I still wouldn’t get everything done. I’ll do what I can, stay tuned!



Tregenza's full-length début album 'Into The Void' is available to purchase now through his bandcamp page. For more information on Tregenza including upcoming releases and live performances, please visit the official website.  

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Friday, 6 February 2015

The weekly compendium 06/02/2015



That's it for this week. Thankfully there's no need to do and RIP for anyone this week, so here's what we had for you.

We kicked the week off with End: The DJ choosing his favourite music of 2014. And we courted controversy with one final interview with XP8 who are bowing out with their last EP. We had reviews of the new releases from Broken Links, Josef Nadek and Celluloide. As well as news from En Esh and Apoptygma Berzerk.

While over on Facebook we had new videos from In Death It Ends, 3Teeth, Code, and Garek. There was more news from Infest and Alien Sex Fiend. New music from Cathedra. Emigrate, and Aphex Twin.

Right that's your lot for this week. Enjoy your weekends and dig this...


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Thursday, 5 February 2015

Review: Celluloide – 'Art Plastique'



CELLULOIDE
'Art Plastique'
BOREDOM PRODUCT


French electronic trio Celluloide have been kicking around for over a decade now honing their particular take on synthpop across albums such as 'Naïve Heart' (2002), 'Words Once Said' (2004), 'Passion and Excitements' (2007), and 'Hexagonal' (2010). But as their fifth album 'Art Plastique' proves, they can still bring in new and unexpected elements into their established formula.

'Art Plastique' favours a more minimalist synthpop style that recalls the likes of Kraftwerk in particular. It's sound is as angular and modern as the album's artwork. But that doesn't stop the band from throwing in a little ebm and light ambient elements too.

It's a short album but it is one that makes a mark. Especially with songs such as 'Le Baiser Géométrique ', 'Gris ', 'Le Salon Noir ', 'La Guerre De Cent Ans ' and 'L'Amour Est Clair ' which provide the album with its strongest moments. Each track utilises clean, crisp melodies in order to frame the soft vocals of Darkleti and drive the forward with a strong pop-orientated undertone.

The production is excellent with every layer of every track executed with precision and intelligence. The album gets the kind of high quality finish that it deserves and brings out the best of its pop flavours.

'Art Plastique' is a strong and intelligent pop album that harks back to the more artistically inclined efforts of 80s synthpop but explored in a very modern style. It might not fill the dance floors due to its lack or overt bass lines and hard beats, but this album is a definite for synthpop fans who appreciate a pure melody and strong hook.  

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Review: Joseph Nadek – 'Bluatig Hårt'



JOSEPH NADEK
'Bluatig Hårt'
FALL INTO VOID RECORDS


Joseph Nadek's 'Bluatig Hårt' (Bloody Hard) is a grim album. An ambient tinged-blend of industrial dissonance and outright noise, its four tracks explore the Tyrolean folklore of central Europe (which was a heavy influence on the work of the Brothers Grimm). That might instantly conjure up thoughts of albums such as 'Dauði Baldrs' by Burzum, but this is an entirely different beast.

Aside from the opening track, 'Wåldgeischta', and it's samples of birds and woodland noises and the almost wild boar guttural noise of 'D' Bluatig'n' the album could be just as science fiction as folklore inspired. But what is easy to hear is a strong conception for dark, noisy ambience with plenty of atonal experimental flourishes thrown in for good measure. It's not easy listening and it certainly won't be for mass consumption. However it is nicely structured and definitely draws the listener in.

In terms of production it is pretty raw and abrasive, as you'd tend to expect from these kinds of releases. But that isn't anything that works against it though. It makes good use of melodic sounds throughout the tracks in order to counterpoint the noise which works nicely and gives it a more rounded finish.

'Bluatig Hårt' is a nice experimental release that makes good use of noise and ambience in equal terms. For a conceptual piece the narrative of the soundscapes is somewhat lacking, but it is a nicely executed album that fans of dark ambient noise will appreciate.

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Apoptygma Berzerk to release two vinyl LPs



Norwegian synth-rockers Apoptygma Berzerk have announced the release of two LPs through Artoffact Records.

The band will release their third live album, 'Imagine There's No Lennon', as a deluxe 2LP vinyl set. The album was originally released as a CD+DVD European-only issue in 2010 and includes a vinyl-sized booklet, complete with band and live photos from 2009's Rocket Science Tour. The LP will also be available in two different colours.

The band will also be releaseing a 2LP vinyl version of the 'Unicorn EP'. The collection contains eight remixes of Unicorn, by the likes of Hocico, T.O.Y., Freezepop, No Comment, and Airlight Children.


Track Lists:

'Imagine There's No Lennon'

A1 Weight Of The World
A2 Eclipse
A3 Mercy Kill
B1 Asleep Or Awake?
B2 Lost In Translation
B3 In This Together
C1 Shadow
C2 You Keep Me From Breaking Apart
C3 Until The End Of The World
D1 Shine On
D2 Starsign
D3 Non-Stop Violence


'Unicorn'

SIDE A
1 Unicorn (Video Version)
2 Unicorn (Fairlight Children Remix)
3 Unicorn (T.O.Y. RMX)
4 Unicorn (Killin' RMX By Freezepop)

SIDE B
5 Unicorn (Hocico Remix)
6 Unicorn (Alon Cohen Remix)
7 Unicorn (Drugwar Remix)
8 Pikachu™ (No Comment Remix)

SIDE C
9 114 BPM
10 A Strange Day
11 Non Stop Violence (Live In Tel Aviv)

SIDE D
12 Suffer In Silence (Icon Of Coil Remix)
13 Suffer In Silence (Electro Version)
14 Until The End Of The World (Dark Club Remix)
15 Kathy's Song (Green Court Remix)

Both 'Imagine There's No Lennon' and 'Unicorn' are available to pre-order via the Artoffact Records shop. For more information on the band, please visit their official website.  

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Wednesday, 4 February 2015

En Esh releases 'Spänk!'



En Esh (KMFDM, Slick Idiot, Pigface) has announced the release of his second solo album titled, 'Spänk!'

The album, which will be released on 10th February 2015 through Distortion Productions is the long awaited follow up to his previous solo record, Cheesy (1993). The album will feature guest appearances by Tim Skold (KMFDM, Marilyn Manson, Skold), Guenter Schulz (KMFDM, Slick Idiot), Jim Marcus (Die Warzau,Go Fight), More Machine Than Man, Trixy Reiss (Crystal Method) and many more.

'Spänk!' is available to pre-order now through Distortion Productions. For more information on En Esh, please visit his official website.  

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Review: Broken Links – 'Divide/Restore'



BROKEN LINKS
'Divide/Restore'
DEVIL THORY RECORDS

Broken Links have been making a stir in the indie scene for a few years now. After a series of self-released demo EPs they unveiled their full length début on Devil Theory Records to strong reviews. Fast-forward and the band's sophomore offering and their biggest challenge is now upon us. The second album is always a challenge for any band, but Broken Links meet expectations head on with 'Divide/Restore'.

The trio keep close to the sound they perfected on their début and continue to refine their song writing. The result is pretty impressive. There are the now familiar nods to Nine Inch Nails, Killing Joke, Joy Division, Manic Street Preachers and even a little Depeche Mode throughout the album as they blend electronics, raw-post punk and an ever present melodic undertone into every song.

Tracks such as 'Submission', 'Dead Embers', 'Blood On The Motorway', 'Asphalt', 'Transient/Fourth Planet' and 'What You Want' provide the album with a solid backbone that keeps not only the energy up, but also the interest as they keep trying different things from one song to another, causing you to second guess everything you're anticipating. While 'Unnatural' closes the album in exemplary fashion as the band pull out all of the stops for a a big emotional swansong.

The production is spot on and has come on dramatically from the first album. Broken Links are a complex and intelligent band with a lot of influences at play, and this is reflected in the mix with every track feeling open and large enough to accommodate everything that's going on.

'Divide/Restore' is another excellent outing from the band who really have all the tools to make it big. The album contains some of their strongest song writing yet and the performances are without fault. If you missed them first time around then this is an album you shouldn't be ignoring.  

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Tuesday, 3 February 2015

Interview: XP8

Masters of alchemy... 


“[...] no one wants to be the old guy in a room full of kids looking at you like a dinosaur: I remember vividly making fun of those old goths that simply didn’t want to get the fuck out of MY clubs a decade ago, and the last thing I wanted to become was one of them.”

XP8 have been a staple of the alternative electro scene for well over a decade now. But with the release of the final part of their Alchemy EP series in the form of 'Three Of Three: Rubedo', the band will come to an end, leaving an impressive body of work and the odd bit of controversy in their wake.
Intravenous Magazine caught up with Marco Visconti for one last interview about alchemy, the band's career and why the time was right to pull the plug on XP8.


Intravenous Magazine: 
You released two new EPs last year, 'One Of Three: Nigredo' and 'Two Of Three: Albedo'. What has the reception to them been like so far?

Marco Visconti: It has been very good, as it seems both fans and critics liked them a lot, often mentioning the fact that we are seemingly releasing our best music ever. I am definitely quite happy with it, since both me and Marko wanted to leave on a high note and it seems like we are being successful at that. In retrospect, I don’t think the EP-vs-Album idea did work the way I wanted though, since despite the way music is actually consumed these days (streaming, streaming and more streaming) it seems like the average music fan still want to get an album loaded with tracks every one or two years as opposed of a constant stream of new material: I thought to try that model, taken from the dance scene, but clearly did not work the way I wanted it to work. The industrial fan’s attention is extremely fickle.


IVM: The EPs follow the theme of the alchemical process of turning base metals into gold. How do the EPs reflect the stages of this process and how does this tie into the XP8 philosophy?

MV: The idea of giving these EP an alchemical backdrop was entirely mine, as Marko is not interested in these subjects at all: he didn’t object about playing along with it, and so here’s the Alchemical Series. The idea behind is simple: as we approach a huge change in our lives, leaving behind a project that so defined us for fifteen years (a long period of time, I tell you), I felt the need to ritualise it, to give it a certain gravitas you seldom find in music these days – especially in dance music, however “alternative” you want it to be. In doing so, we are effectively going back to the true roots of industrial, with Psychick TV and Throbbing Gristle and Coil constantly bombarding their listeners with esoteric sigils, glyphs and hidden meanings. It’s up for our listeners to decode the actual message there: I dropped plenty of hints in the music and Marko did the same with his lyrics. Possibly knowing gematria might help.

By all means, this trio of EPs are a true, living hyper-sigil, the same way the whole run of 'The Invisibles' was one for Grant Morrison back in the 90s: and I should have known better than embarking into this trip because, like him, I had a very rough nine months due to it. But the birth pangs are almost over.


 


IVM: Last year you ceased playing live. What led to that decision?

MV: Playing live was what I loved the most about being a musicians, so that decision did not come easy, and yet it was one we just had to make because, simply put, there’s no space for a band like XP8 in the touring circle anymore. Not sure if there IS a touring circle anymore at all, due to the fact most people save up to go to festivals and avoid local shows. But we are at the point where the usual big names can somehow still tour (to an ever-dwindling crowd), supported by no-names who play for free, always the same three or four “bands” becoming nothing else than “that band that always open for tours”, before disappearing into nothingness while another take the same spot.
On top of that, two events last year further cemented the decision: the first, a tour with Surgyn and The .invalid which never saw the light of day due to the impossibility of making it work after crunching some numbers – despite all bands involved having either a solid fancies or a promising future, promoters quite simply weren’t sure they could recoup the budget requested (and we are not talking thousands…). Incidentally, The .invalid now is on hiatus and looks like Surgyn are going the same route, with one of them moving abroad to follow a different career. Second, the whole Alt-Fest debacle, which I discussed a lot on our website and not going back to it now, but really made me open my eyes on the true state of things for this scene.




IVM: After the announcement that XP8 would no longer be a live entity, you then declared the last three EPs to be the final releases from the band. Why have you decided it was time to bow out?

MV: I guess the reasons can be already glimpses from the reply I gave above, but there’s more to that… music genres have life cycles, and I simply realised the time for “industrial dance”, that weird mix of dancefloor beats with a more gritty approach, was simply over. I said it elsewhere and I repeat it here, we had it good for fifteen years, that’s a long period of time: I went from being in my early 20s to the gates of my 40s, that’s a huge chuck of everybody’s life right there. Nothing stays forever, surely not a super niche genre like ours. And it is always wiser to understand when it is time to move on, because no one wants to be the old guy in a room full of kids looking at you like a dinosaur: I remember vividly making fun of those old goths that simply didn’t want to get the fuck out of MY clubs a decade ago, and the last thing I wanted to become was one of them.
I strongly suggest all the people of my generation to consider doing the same, because this scene was supposed to be young and vibrant, while nowadays anytime you walk into a goth/industrial club or festival, everywhere in the world, the average age is 35 and that’s simply wrong.




IVM: You've been a presence in the alternative electro scene for over a decade now, how has it changed for bands like yourself?

MV: In more ways I can possibly tell here. The most important one is that a decade ago we all still believed we could make it to the next stage, in a way or another. But between the worldwide recession and the end of the life cycle of the scene (see above) pretty much no one did it: bands like Aesthetic Perfection or Faderhead – and I obviously talk from direct experience here – are more or less the only two of the mid 00s generation who somehow made it, and still both aren’t headliner material at the big festivals. That kinda speaks volumes on itself to me.




IVM: What advice would you give to young musicians cutting their teeth today?

MV: The usual – don’t do it. There is really no space left to make music your career nowadays, unless you have a huge budget to invest in it, all the right connections, and the will to eat so much shit you’ll drown in it. You could argue it was always the case, but I noticed how it just got more and more difficult each year for a decade now. So don’t quit your day job, and in fact just make a true career out of it. The days of rock and roll are over, the new rockstars are the programmers of the Silicon Valley.


Photo: Imago Mortis Photography


IVM: 

Are there any acts around today that get the XP8 seal of approval?

MV: 3TEETH, due to their clever use of aesthetics and symbology, along with providing a solid album. Mr. Kitty, Trust, and Alter Der Ruine in their new electro incarnation. Rave The Reqviem seems interesting, despite all the trite “evil blood gore” clichés. For the rest, I’ve been listening to music from other sources, and what’s actually heavy on rotation here are acts like Chelsea Wolfe, King Dude, Ben Howard, Damh The Bard.


IVM: You were originally based in your native Italy before moving to the UK. How did that effect the band?

MV: We moved here mostly because Italy is a sinking ship and no one really has a future there. We thought being London-based would help the band with getting more gigs, but as we already discussed, that wasn’t the case. No hard feelings, we should have done it ten years earlier to really reap some benefits.




IVM: Do you have any individual plans for future projects in the pipeline?

MV: Nothing music related at the moment. 




IVM: There is just one more EP to go in your release schedule. When can we expect it and how do you feel it compliments the previous two?

MV: You will have to listen and then tell me. To me, the three EPs are a single story and flow perfectly one into another, but it’s not up to me to judge if we were successful in it or not.




IVM: Your recent albums and EPs have been released through your own label, 2393 Records. What led to this decision and how successful has it been?

MV: The decision was made back in 2010 when we ended our five year contract with Infacted Recordings and I generally got fed up with having to deal with poor communication, lack of commitment, absence of sales statements and all the horror stories you always hear from every band who had to deal with labels at every level. There are exceptions, but they are very few and far between. Up to this day I have no clues how many actual units of those albums we actually sold. 2393 Records gave me the chance to actually monitor it closely and in that regards it has been absolutely successful. I never really developed it though, and so I can admit we did lack the extra media push, especially in Germany, where you either you buy your way into magazines or you are just not on the radar: but since the German market was never particular warm to our music, I don’t think in the end we lost that much.






IVM: As you've ceased live performances as XP8 and have announced your final releases, are there any special plans to mark the end of this chapter?

MV: We played a very successful gig here in London last August, at Slimelight, to a sold out venue. That was our swan song, and I have some very nice memories of it I will forever treasure.


IVM: 

Looking back over the course of XP8's existence, what do you feel are your biggest achievements and is there anything you would have done differently?

MV: I keep thinking that if I sucked up to Ronan Harris’ monstrous ego during my days of playing for VNV Nation, back in 2007, possibly I could have had some help from him or his contacts in further progressing my band. But as I will forever remember those months are an absolute nightmare, having to deal with this fascist idiot every day, I also realise it was simply not meant to be. This scene is also already so full of hypocrites and sycophants that I would have just gone and join their ranks.
XP8’s history is my biggest achievement already: we started with nothing, from Rome, where there was simply no infrastructure of any kind to support this musical endeavour, and we went on to leave a mark on this scene’s history, playing all over the world, hitting every major festival, magazine, and leaving as a legacy a string of hit songs people still listen to every day.
And that’s more than most ever achieve.




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


MV: I will play one last DJ set at Resistanz 2015 and then I will be done with DJ sets too. I will make sure to make it count!




The alchemy EPs, including 'Three Of Three: Rubedo', are available to buy from the 2393 Records bandcamp page. For more information on XP8, please visit the band's official website

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Monday, 2 February 2015

END: the DJ's Top Music Picks of 2014


It’s still January of this writing! It was so very difficult to select top picks from the previous year yet it was finally narrowed down to these chosen few. Read on to see how these music picks highlighted the previous year, and maybe what to look forward for 2015. Track down these amazing albums & songs to give your music library that extra boost:



Noisuf-X  'Invasion'
Any Noisuf-X album guarantees all feet to the club floor, but with 'Invasion' Jan (producer) just seemed to REALLY cut loose. Knowing what you really want to hear from this project, he takes Noisuf-X’s strengths and amplifies them in every single track of this album.




Chainreactor  'Mass Driver'
'Mass Driver' sees an evolution of Chainreactor; while retaining that irreplaceable & distinctive sound that’s keep you stomping in the 2000’s, Jens Minor added vocalist Kay Schäfer and now presents some anthems that will grab you. Check out every single track on this release!




HarmJoy 'Silver Lining of the Mushroom Cloud' 

This artistic project hit me unexpectedly at a time when distinctive melodic and textured synthpop was starting to become a bit too common, too bland – this album puts light on music with depth. I put this album right up there with the best Synthpop staples.




The People’s Republic of Europe  'Course Oblivion' 

TRPOE’s output is always prolific and this release is a MONSTER. Cranking up the hard & noisy to the limits, all tracks on this album will destroy your sound system!




Hearhere  'Shadows of the Ones We Love' 

It’s been awhile since hearing such a great fusion of styles in electronic music- electro, synth, trip-hop, there is fantastic work in Hearhere’s album. It’s one of the most loveliest albums I’ve had on repeat play in recent years.

Top Songs/Tracks:




E-Craft  'Book of Anger V1.0'
Damn, when I first this track, my instant reaction: “WTF. Hello E-Craft!” This is an anthem track of your year.




Noisuf-X  'The Typical “Fuck You” Song'
Stompy, aggressive, straightforward club track. This has made the rounds around North America & beyond during my last tour and radio mixes.




Iris  'Phenom (Club Version)'
I’ve enjoyed Iris’ early works so much, perhaps among the best in indie electronic/Synthpop productions & remixes (who hasn’t danced to 'Annie, Would I Lie to You?'). Not hearing much from them for a few years, I had started thinking the worst. And then THIS track hit us. Mind blown! This is my personal best track of the past year and among the best Iris has ever created. Love the lyrics, love the club version’s melody!




Neuroticfish  'Silence'
Welcome back Neuroticfish, we missed you very much! From the 'Silence EP', this track is but a taste of what we’ll have from the project in 2015. Check out the EP with some awesome remixes!




HarmJoy  'Pain Decay (Ashbury Heights Remix)'
A wonderful remix of one of Harmjoy’s many well-done tracks from the latest album. Hunt down any version of this track.





END: the DJ is a U.S. based DJ and artist with releases on Infacted Recordings, Nilaihah Records and CircuitHeads Digital. END tours internationally, supporting many dark electronic artists and labels plus has live mixes on radio, Industrial Club Sessions. Look for the latest mix album Infactious Vol. 4 available now on Infacted Recordings.




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