Blood Pack Vol. 6.66 released!

It's that time of the year once again! A new year and a new compilation album celebrating our 6th birthday as a webzine.

Review: Various Artists – 'We're In This Together: A Tribute To Nine Inch Nails'

VARIOUS ARTISTS 'We're In This Together: A Tribute To Nine Inch Nails' TRIBULATIONS

Review: Various Artists – 'We Reject: A Tribute To Bile'


Review: Ritual Aesthetic – 'Wound Garden'


Review: Axegrinder – 'Satori'


Wednesday 20 September 2017

Review: CTRLSHFT – 'Void Of Course'

'Void Of Course'

In a departure from it's usual releases, Matt Fanale's Undustrial Records have the privilege of releasing the first new record from Josev Ferraro, AKA CTRLSHFT in nearly a decade. Ferarro has in the time between albums behind the scenes mixing, producing, and mastering such albums as the Causticles debut 'Eric Gottesman' and Caustic's 'Industrial Music', which has made him a natural fit for the Undustrial label.

Ferraro's blend of industrial mixed with ebm and idm remains intact in it's frenetic and aggressive assault. However, the quality of the sounds and the level of construction has seen a massive leap forward compared to his older releases. Songs such as 'Big Bang', 'Echoing The End', 'Satellite', 'Enemy', 'Galaxywaste', and 'Ultraviolet' are prime examples of everything that made CTRLSHFT an exciting new project at the turn of the millennium, but channelled through a decade's worth of additional production skill for a powerful return to the fray.

As mentioned earlier the quality compared to his older recordings is much higher. However, there is still that gritty, low-fi edge that gives it an old school outer layer but doesn't interfere with the clean and crisp construction of the tracks underneath. It nicely balances dissonance and melody throughout and the end result is perhaps the best CTRLSHFT sound to date.

This is a great introduction to Ferraro's music if you missed his older albums, or a great reminder if you had previously heard his work. There are some very strong tracks here with a lot of dance appeal as well as classic industrial credibility that quite rightly deserve to be heard. This is a great comeback record from someone who has been honing his skills in the shadows. Hopefully we won't have to wait a decade for a follow-up.  

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Tuesday 19 September 2017

Review: Various Artists – 'Visions Of Darkness (In Iranian Contemporary Music)'

'Visions Of Darkness (In Iranian Contemporary Music)'

Any compilation from Cold Spring records is going to be esoteric in nature but even by their standards this new release is pushing at their own boundaries. As the title of the compilation states the contributors are all dark ambient artists working in Iran. This is quite interesting due to the country's youth culture has been heavily restricted for a long time and where international restrictions and black listing has meant that Iranian artists have a great difficulty getting
the resources to better develop their projects. Still, the talent and enthusiasm on display here hints at an untapped jewel of experimental music in the country.

The album encompasses genres such as dark ambient with noise, and drone also coming through. Artists such as Saint Abdullah, S.S.M.P, and Limen utilise rhythm to great effect creating gritty but infectious grooves. While the rest of the acts such as Xerxes The Dark, Reza Solatipour, Ronchus, DSM, Annunaki Signal, and Crows In The Rain favour ambient soundscapes occasionally punctuated with harsh noise elements or entrancing melodic embellishments.

Despite this being a compilation there is a very nice flow to the album. A high and consistent quality of the recordings, careful duration and attention to detail make this compilation feel more like a complete album. And despite clocking in at over two hours long across both discs the time seems to melt away.

Production-wise the tracks, even the harsher ones are individually well produced, but under the careful curation of tracks along with the excellent mastering job from Martin Bowes they form a dynamic whole. Which makes this and absolute pleasure to listen to from start to finish.

Each artist offers up something genuinely intriguing and for fans of dark ambient material, the prospect of so many new and unknown artists will definitely be a big selling point. But the most important thing that this compilation does is chip away at the pre-conceived notion that alternative and experimental music is a purely western phenomenon. That central Asia, the middle east and Africa are not black spots where the avant garde suddenly ceases to be. Yes, there may be many areas of cultural repression, but these pockets of expression exist, are producing great music, and are worth championing.  

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Monday 18 September 2017

Interview: Bornless Fire

Out of the ashes...

“Every move is a lesson in the music business, good and bad. However, all I can say is keep thick skin and always watch your back. There are too many leeches trying to drain your blood.”

Bornless Fire is the new industrial project from Kristof Bathory, better know as the driving force behind industrial-black metal outfit Dawn Of Ashes. Featuring members of Dawn of Ashes, Bile, and Carved Souls the project is a return to Bathory's early industrial sounds that characterised the initial years of DOA. This time however, Bathory returns to that style a battle-hardened veteran of the scene with a renewed vision and fire within him.
The band's debut album is scheduled for release in early 2018 via Metropolis Records, so we caught up with Bathory to talk about his motivations in revisiting a purer industrial sound and his inspirations behind the new project.

Intravenous Magazine: First of all how did the idea to create Bornless Fire as a band come about?

Kristof Bathory: For many years, I have had high demands that I do Industrial music again. After, the last Dawn of Ashes tour, the idea just happened while randomly listening to Hocico in the van. I started to think about the fans asking me when I would or if ever I would do this style of music again. Then, I came to terms that I am going to bring back an era of Industrial that has been buried and modernize it with my current skills.

IVM: The band features yourself along with members of Bile and Carved Souls as well, how did you go about recruiting them and are their contributions purely in a live capacity or are they actively writing?

KB: Its actually myself and Angel from Dawn of Ashes and members from Bile and Carved Souls. The recruiting happened by a tight friendship from me and Krz from Carved Souls. During the last DOA tour Brendin from Bile actually approached me in NYC and we bounced back thoughts about this idea. It just came into place perfectly.

IVM: The band's moniker has a strong sense of the Luciferian about it with allusions to the Bornless Ritual and The Black Flame. How did you come to settle on that name and how do you evoke it sonically?

KB: I wouldn't strictly classify it under "Luciferian", even though the symbol does have the sigil of Lucifer in it as a symbol of light. However, I would say it would be classified under various sects of the Left Hand Path. The name itself is derived from the "Bornless Ritual" that is from Greaco/Egyptian origins which the term "Bornless" actually means without a beginning. I then tied it in with the "Black Flame" to represent the divine spark that is within the evolution of human beings.

IVM: The band's Facebook page describes the genre as industrial/dark electro. With Dawn of Ashes evolving into a primarily black metal based sound over the years, how important is it for you to keep writing electronic music and will there be any similarities between the two projects?

KB: I think I made the decision to separate the two in order for DOA to move forward in the direction that it has been going and to give the fans that miss that old era of DOA something familiar but new. So to answer the question, I will always make Industrial music.

IVM:You're currently working on your debut album under the new moniker, what can listeners expect to hear on the album?

KB: An era of Industrial that has been dead and now it's time to dig up it's bones.

IVM: Names such as Suicide Commando, Grendel, and Tactical Sekt have been mentioned as remixers for the album, how important is it for you to maintain this practice with other artists?

KB: I felt that if I am going to make a come back with this, might as well have my old EBM pals back me up on it *Grin*.

IVM: How has the songwriting and recording process differed for Bornless Fire?

KB: Well, I am DIY-ing everything myself so I am in a portal messing with various alchemy ingredients and honestly loving it. No more pain in the ass / arrogant / self-entitled band members to tap on my shoulder every second which is a goddamn blessing.

IVM: Musically and thematically what have been your primary influences when recording the new album?

KB: Musically: Late 80s to early 2000 Industrial music. Thematically: My wisdom from the Left Hand Path and the crisis within the downfall of humanity.  

IVM: When can we expect the debut album to be released?

KB: The debut album will be released 1st quarter of 2018. Unfortunately, I can not reveal any further details until closer to that date.

IVM: Is there a title for the album (working or otherwise) that you can share with us yet?

KB: This info won't be revealed until sometime towards the end of this year.

IVM: The album is scheduled to be released through Metropolis records who also released the last few DOA albums. Did you entertain any other labels for Bornless Fire or was the plan always to stick with Metropolis?

KB: Metropolis Records immediately jumped on this once I told them about it. They are one of the largest Industrial labels so I felt that the album would be handled properly. Also, since there has been a high demand that I do Industrial again, I think the label knew it was something to invest into.

IVM: Can we expect to see Bornless Fire on the road anytime soon, and if so have you made any plans as far as the live presentation of the band?

KB: Probably looking around the same time when the album gets released. Bornless Fire features members of Dawn of Ashes, Bile, and Carved Souls so we have an amazing live lineup.

IVM: You've been involved in the music scene for a while now, what have been the hardest lessons you've had to learn and what advice would you give to new artists?

KB: Every move is a lesson in the music business, good and bad. However, all I can say is keep thick skin and always watch your back. There are too many leeches trying to drain your blood.

IVM: Finally is there anything you'd like to add?

KB: I'm very excited to jump into this again and I am looking forward to seeing all of the reactions.

Bornless Fire's as yet untitled album is slated for release via Metropolis Records in early 2018. To keep up-to-date with the band, including release dates and tour news, follow their official Facebook Page.  

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Thursday 14 September 2017


So farewell, Black Sabbath. After their latest 'no really this is really the last tour' tour, and the soon to be released 'The End of the End' tour film, it really does appear that Satan laughing has spread his wings one last time. So what did Black Sabbath represent?

They were, of course, one of those three gigantic British acts that essentially set the tone for the whole of hard rock and heavy metal. But like Deep Purple, and very much unlike Led Zeppelin, Sabbath's history was a morass of U-turns, reformations, splits, sackings and fiascos. Zeppelin may have had one line-up throughout their proper existence that made all 8 albums of their studio output, but their fellow rockers were not so lucky. It is indisputably the case however that the original manifestation of the Drab Four made 8 albums in an 8-year period that were blow-by-blow comparable to anything Zeppelin did in the same period, and were at their best a superb example of rock musicianship.

Like all myths, there is a core of reality to the Sabbath legacy. When they transcended their jolly, blues-boom roots just as the flower power dream was turning sour (and Geezer Butler memorably put it, “The revolution had failed, and we all thought....what do we do now?”) and embraced the dark side in all it's emphatically monolithic glory, they became the first to create the link between the blues, doom metal, and Satanism. Black Sabbath were essentially the delivery system by which the sulphur blues of Robert Johnson and it's diabolic legacy was injected into the rock mainstream. Everything else that sprung from that, veering from innovation to cliché and back again, was simply the logical result of the Sabs' own Original Sin. Those first few notes on their debut album set the template that the rest of heavy metal inevitably followed.

The first two albums – their eponymous debut and 'Paranoid' – are simply flawless performances that could not possibly be improved. By their economic, unfussy arrangements, broody atmosphere and bleak worldview they smashed the bullseye twice in twelve months. This was followed by 3 more albums of equally immense impact. So it was in those years of 1970-75 that the band's reputation was really made.

Yet it was the unique element of their particular lyricism that gave the band their signature feel – that of the nihilism, the pessimism, the doom, of their approach and message. In the words of 'Wheels of Confusion', 'Sabbath Bloody Sabbath' and 'Under The Sun' were an almost profound dissatisfaction and bleak apathy that by current standards appears quite postmodern; Sabbath were without any moral framework, noble ideals, or well-defined ideas – they were instead expressing an endless and liberating nothingness. The void.

Well, there was that Sabbath...then there was that Sabbath. As the original four-piece capsized due to Olympic levels of drugs, alcohol, lethargy and organisational incompetence the band went on what is best described as a 20-year psychotropic hellride of fiascos, triumphs, disasters, lawsuits, reunions, splits, sackings, cancellations and betrayal. They were the daytime soap opera of metal. And their morose severity gave way to the schlocky hammy gothy silliness we all love so much – the bats, the Stonehenge sets, skulls, inverted crosses, latex pants, Glenn Hughes, Ian Gillan, and all the tropes you can shake a stick at. There is so much joy to be found in even their naffest moments – and if you don't like the ham in 'Headless Cross' then you must be a pig – but the contrast was nonetheless marked.

And it is strange that the last 20 years failed to add anything to the Sabbath brand, a band that became creatively defunct when the original line-up (kinda) reformed. Perhaps now is a good a time as any to call it quits. After all, the world will still be turning when they're gone.

From the nihilistically sublime to the joyously ridiculous. Black Sabbath.

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Wednesday 13 September 2017

Review: With The Dead – 'Love From With The Dead'

'Love From With The Dead'

With The Dead – the new(ish) doom supergroup featuring members of Cathedral, Electric Wizard and Bolt Thrower – released an incredible debut in the form of their self-titled album in 2015 that lived up to the band members individual past credits and still managed to sound unique. The band's sophomoric effort 'Love From With The Dead' therefore understandably has some high expectations surrounding it, that it thankfully not only lives up to, but surpasses.

Tim Bagshaw's monolithic fuzz-drenched machinations paired with Lee Dorian's unmistakable vocal style is once again the cornerstone of the album. The core of the band's sound remains relatively intact from it's predecessor with them opting to solidify rather than diversifying. This time round though it feels tighter and more focused than their eponymous debut, a notable example of which is in new drummer Alex Jones' more precise and methodical performance than his predecessor.

Songs such as 'Isolation', 'Egyptian Tomb', 'Reincarnation Of Yesterday', 'Cocaine Phantoms', and 'Anemia' provide the crushing doom backbone of the album. Slow methodical pacing, drenched in fuzz and pierced by Dorian's angriest vocal performance in years the album is an unrepentant revelation of hate and misery.

The album's crowning glories though have to be the ten-minute 'Watching the Ward Go By' with it's slow atmospheric drones building into a dark and melancholic lament in low-fi before erupting into unfettered despair. As well as the malevolent and experimental eighteen-minute finale 'CV1', which sounds simply nightmarish, especially with the noise-industrial synths chewing up the last few minutes.

The production is nicely balanced, as with the previous album, which is surprising considering the amount of fuzz, low-fi elements and in some cases drone and noise used. But at it's heart the doom and stoner core of the songwriting makes this incredibly catchy and groovy which never gets lost in the mix.

This is in many ways a tighter and more effective album that the band's previous offering. Focusing on the elements that caught a lot of people's attention and extrapolating the more esoteric parts of their sound into epic pieces. The album builds effectively on that core sound and cements their presence as an exciting act that has forged a bold identity of its own.  

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Review: Paradise Lost – 'Medusa'


Paradise Lost's 2015 album 'The Plague Within' was a spectacular return to the death doom sound that put them on the map, albeit with a palpable 25 years worth of extra musical experience under their collective belt. The result was simply stunning, especially for a band that has flirted with multiple styles and genres throughout their impressive discography. A new label and a new album in the form of 'Medusa' inevitably raises expectations considering their final album on Century Media two years ago.

Album number fifteen picks up where 'The Plague Within' left off. Where its predecessor embraced and reclaimed their early death doom sound, 'Medusa' sees the band dive headlong into their slowest, sludgiest doom output yet. The opening gothic organ of 'Fearless Sky' sets the tone for the album, sinister, grand and dark, the song proper that follows is a behemoth of death vocals bludgeoning drums, and slow but epic guitar riffs that demands devil horns be raised and heads bang.

Songs such as 'Gods Of Ancient', 'The Longest Winter', 'Medusa', 'No Passage For The Dead', and 'Until The Grave' carry one the form set out in the opening track to great effect. 'From The Gallows' and 'Blood And Chaos' up the pace a little but don't loose any of the heaviness.

There are some nice nods to bands such as Type O Negative and A Pale Horse Named Death in the albums more melodic and cleanly sung vocals which works really nicely against the bands thoroughly British death doom core that they pioneered.

The production is nice and gritty in places where it needs to emphasise the heaviest aspects of the tracks but remains as polished and high quality as you'd expect a veteran act such as Paradise Lost to go for. This means the album moves with ease between the harshest tones to the more melodic ones, maintaining it's crushing atmosphere but allowing the music room to breathe and evolve throughout the tracks.

Fans of their more commercial electronic/industrial rock and pre-2015 melodic doom releases will probably find this harder to get in to than 'The Plague Within' perhaps. But for long-time fans that have followed the band's evolution from their death doom beginnings and through their commercial height and back again will continue to find vindication and solace in the unabashed heavy doom of 'Medusa'.  

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Tuesday 12 September 2017

Review: Chelsea Wolfe – 'Hiss Spun'

'Hiss Spun'

There is no doubt that Chelsea Wolfe is one of the coolest artists around at the moment. Her blend of gothic rock, folk and hints of doom metal, black metal and industrial channels everything great about those genres and gives her quite a wide appeal. Ever since her 2011 breakthrough album 'Apokalypsis', Wolfe has been riding a fine wave of momentum with both cult following and critical acclaim in her wake.

2017 sees a new outing in the form of 'Hiss Spun' and album that maintains a heavier stance than 2015's diverse and exploratory 'Abyss'. While Wolfe doesn't abandon the mastery of the forms she visited on 'Abyss', the new album revels in noisy-fuzzed out guitars, doomy bass and stoner rock pacing for her most monolithic and heavy outing yet.

Wolfe's instantly identifiable voice cuts through the tracks like a razor whether the form is melodic, whispering or roaring it is always a perfect centrepiece to the fuzzy guitars and reverberating bass that otherwise dominate the track list.

Songs such as 'Spun', '16 Psyche', 'Vex', 'The Culling', 'Twin Fawn', 'Static Hum', and 'Scrape' show off the true scope of the album. Yes the presence is always rooted in heaviness, but the gothic and folk elements come shining through in the atmosphere and vocalisation projected in each track. The end result is a steadfast merging of Wolfe's core sound with a self-assured heaviness while tracks such as 'Strain' and 'Welt' see her more avant-garde machinations take the album's heavy doom slant and completely re-route them through a noise/industrial filter.

In terms of production the album perfectly balances the gothic/folk form of Wolfe's voice and more melodic inclinations with the harder guitars and rhythms, keeping things focussed and interesting throughout. The album remains dark and atmospheric, even when the fuzz and noise is at it's most dominant, keeping the overall sound accessible for those who have followed Wolfe since her earlier albums.

This is another great outing from Chelsea Wolfe. She has more than proved over the last few albums she has what it takes to be a major artist. Her experimentation with styles and genres always yields strong results and 'Hiss Spun' is no different. Dark, heavy, but hauntingly beautiful, this is the sound of an artist at the top of their game.  

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Tuesday 5 September 2017

Review: Adoration Destroyed – 'Ritual Deconstruction'

'Ritual Deconstruction'

Adoration Destroyed return with the new companion EP to their stunning debut 'Ritual Damage', in the form of 'Ritual Deconstruction'. A blend of new tracks and remixes courtesy of The Rain Within, Ego Likeness, and Interface, the EP picks up nicely where the LP left off with their blend of dark and sensual synthpop, darkwave, industrial, and classic ebm intact but this time with more pronounced guitars adding a little more grit to their sound.

The three original tracks 'Timelapse', sounds great as it slithers out of the speakers with the electronic bass and guitars adding a lot of power and ferocity to their sound. While 'Fingerbleed', and 'Never Mine Redux' keep up the bass and rhythm-heavy combination that was the cornerstone of the debut albums to great effect.

The three remixes all add very different spins to the originals with The Rain Within's take on 'Torn Apart' reimagined through their own retro-flavoured sound. The reworking of 'Voices Carry' carries on this retro theme with a dark synthpop meets old school ebm vibe coming together for a great dance tune. The final remix sees the band's lead single 'Carnal Dirge' radically deconstructed into a techno club banger by interface.

As with the previous two releases this EP has a crisp but slightly retro-tinged sound running throughout, though the remixes and guitar-heavy opener add a big shot of variety into what is on offer. But in terms of production the EP holds it together despite the sometimes radical shifts in sound and style and still presents a relatively unified whole.

This is a nice release from the band that begins to build on the foundation of the previous album. It may be a short and sweet follow-up but it does enough to hint at where the sound of the next full-length release could go, as well as provide some dynamic remixes for DJs to get their teeth into.  

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Monday 4 September 2017

Review: Fires – 'Red Goes Grey'

'Red Goes Grey'

Fires, the brand new from Eric Sochocki of Cryogen Second and Becoming The Devourer fame, sees a welcome return to his dance roots. Dropping the thematic trappings of his previous projects, Fires instead is an expression of melody and emotion. Introspective lyrics passionately sung are framed by elements of synthpop, electronic rock, hints of synthwave. The end result is a devastatingly catchy all out assault on the dancefloor that effortlessly blends melody, rhythm and emotion.

Songs such as 'Believe Me', 'Counting Walls', 'Red Flags', 'Tide', and 'To Be All Alone' give the album a solid backbone of infectious melodies, solid dance beats, soaring near sing-a-long choruses, and genuinely brilliant musicianship. Whereas tracks such as 'Red Goes Grey', 'Tell No One', and 'Follower' have a little more of a sythpop meets electronic rock feel that gives them a heavier presence without sacrificing any dance potential.

The crowning glory though is the cavernous ballad 'Some Kind Of Progress', which closes the album in impressive style. These are the kind of songs that despite their dance appeal, can still be enjoyed on any level whether you're on the dance floor or listening in your car.

This is an album that ticks all the right boxes for what a good dance record should be. There's plenty of melody and rhythm within but with the added bonus of a lot of emotional resonance expressed through the performances that make this the kind of album you can enjoyed intimately. The production is absolutely spot-on with each song sounding like a hit in its own right. There's no sense of filler or throwaway writing, it's precise, methodical and passionate and that really comes through.

'Red Goes Grey' is a great debut for a project with a lot of potential. Sochocki is an experienced hand as it is and it is great to see him to be able to unshackle himself from expectation and create something new. There is a lot going on within this record and that highlights lots of directions the project could go in the future, which is always exciting. But for now this is a great album and one that should generate a lot of interest.  

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Delivering finest EBM, electropop and industrial, the E-tropolis Festival appears as a mandatory gathering of the dark-electro scene. The upcoming 8th edition calls to Turbinenhalle Oberhausen again on 17. March 2018 - now with even more spectacular guests, we're happy to announce today!

"If you bring a unicorn to the show, we make it part of it", with this spot-on address to a fan, VNV NATION mastermind Ronan Harris recently summed up all you need to know about the Irish-British hit factory's concerts: total entertainment at full blast! Armed with an immense repertoire of irresistible blockbuster tunes you can always rely on VNV, as the entire audience, from the front row till the very back of the field, follows them on their gripping journey.

Whenever PROJECT PITCHFORK get to play at Turbinenhalle, the E-tropolis reaches its prime moments. For sure, a circle-pit in the hall or, more commonly spoken, a full grown stampede, would be an extra incentive to join, but one rule never fails: wherever the Hamburg-based scene-pioneers around Peter Spilles hit the floor, they kick hard with a heart! 27 years in service and the best is yet to come! We are looking forward to it!

ROTERSAND - a lighthouse surrounded by waves of dancing bodies...! For 15 years now the ingenious team of front man Rasc and producer Krischan Wesenberg defies the surges of the raging black sea around them, continuously setting their very own unique musical accents. Intriguingly catchy at times, rough and edgy at others, their most recent work 'Capitalism TM' again provides the perfect fuel for steaming dancefloors.

Basically at E-tropolis Festival we follow the rule of accepting no imitations. For FORCED TO MODE however it was only a question of time until we simply had to hit the override button. Master and servant are equally excited as soon as the guys step into the ring with their ultra-cool Depeche Mode tribute-set. Big hits in an excellent live-outfit - come forth to enjoy the silence!

So this is the full line-up as it has been revealed so far:

 [20 Jahre XOTOX]

Plus more artists to b e announced soon! Further the official pre-party at Turbinenhalle 2 will be continued on Friday 16. March.

Original E-tropolis tickets are exclusively available at (or, including 5+1 group tickets.Further E-tropolis tickets are available at all nationwide CTS/EVENTIM box offices, online at www.eventim.dewww.oeticket.atwww.ticketcorner.chand as PRINT@HOME edition. Further info | 

17. March 2017 GER – Oberhausen | Turbinenhalle
[20 years of XOTOX] + many more+ after-show party
+ merchant gallery + chill-out areas
+ official pre-party @ 16. March | Turbinenhalle 2
  (admission free with festival ticket, standalone tickets available at the doors)
Info: & Original tickets / (worldwide shipping): 
Further E-tropolis tickets are available at all nationwide CTS/EVENTIM box offices, online at www.eventim.dewww.oeticket.atwww.ticketcorner.chand as  

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Lacrimosa reveals the first single from 'Testimonium'

Lacrimosa, the legendary German duo, finally released the music video for 'Nach dem Sturm', the first single of their upcoming album, 'Testimonium', to be released this Friday on August 25th, after two years since their last disc, Hoffnung.
The band, that has not given many details about the record, used a very simple concept to work with: elegance and finesse, with members Tilo Wolff and Anne Nurmi in a flamboyant, Victorian room and several scenes with Gothic girls in different environments.
However, the magic resides in the photography and edition, along with the special effects, that are featured in the video. Despite the lack of darkness, the many metaphors with the element of water presented in its seven minutes do a real magic, perfectly dressing the track.
The response of the fans was immediate, praising both the song and the video, and so it became a fan favourite among the German and Latin followers of Lacrimosa, who have made an impact in the duo at the point of inspiring them to sing in Spanish. 
'Testimonium' will be the band's thirteenth album, inspired and dedicated to the lost stars that died in 2016 that inspired Lacrimosa's frontman Tilo Wolff.

Follow the band:

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