IVM's Top 40 Releases of 2017

With 2017 a now a fading memory of political turmoil, social upheaval and high-profile perverts, we can at least look back at the year's musical output and say that it was a great one. As is the custom, we've put together a list of 40 notable releases from the previous twelve months that we think are worthy of praise.

Blood Pack Vol. 5 Released!

To download it all you have to do is go to our bandcamp page here: https://intravenousmagazine.bandcamp.com/album/blood-pack-vol-5

Interview: Angelspit

“I get the feeling we are moving through a period of despair. Perhaps this is due to the state of the environment, politics, or dealing with being "social" in the electronic age. We are so frustrated, so exhausted...we don't have the energy or money to plan for the future.I wanted to write lyrics that people can related to, and music that would energize that to forge ahead.”

Review: Psy'Aviah – 'Lightflare'


Review: Caustic – 'American Carrion';


Thursday, 16 August 2018

An Interview with Wave Gotik Treffen

Cornelius Bach I first met back in 2012, at my first Wave-Gotik-Treffen. I was picking up my press pass from him on a Friday afternoon. The spokesperson of WGT, we had short encounters and mutual greetings at the performances over the years. 

We all have our experiences of this spectacular event, and I have interviewed many artists, hearing their thoughts. However I have never asked the management questions . 

Hidden behind the mysterious realms of the AGRA, in a lightly spiced up baby bat café. Cornelius and I sat down to discuss the concept and perspectives of this special place.

Intravenous Magazine: How did you become part of WGT?

Cornelius Bach: I have been living in Leipzig for 20 years. I began as only a patron, but then I got to know one of the bosses for WGT in my private circle. I started helping with picking up program books from the printing house for example, it then happened that the former spokesman Peter Maska couldn't do the position anymore due to other work commitments. So, I was approached as I had studied journalism, also being fit with communication I was very happy to take the role. I have been the spokesperson now for 13 years.

IVM: When WGT began, as an operation, what was it like compared to now?

CB: The difference is not so big from today, the concept hasn't changed at all. The first years of course, it started out much smaller with one venue at the beginning, with a few hundred attendees. However, it grew fast in the first years which was an unattended result. The founders had not planned to make such a big event which it became; they only wanted to create something different from a normal festival; more of a gathering, hence the name Treffen. a gathering of like-minded people from different parts of Germany and maybe from neighbouring countries. Though it turned out to be a good concept. The stress not on the bands, but also on the communication between like-minded people who enjoyed the gothic theme.

When I attended my first WGT in 1998 it had almost the same size as now, and it really didn't change so much in atmosphere, though we have some more venues all over Leipzig. In addition, the cultural program which developed further. WGT got more accepted as a vehicle of enrichment for the culture of Leipzig. Obviously in the first years there were a lot of prejudices from the inhabitants, the city government didn't really know what to think of these strange people visiting. After a few years they realised we're all friendly & kind, and this is something special that no other city in the world has on such a scale, which they are now proud to have. Therefore over the years we had the ability to have new locations, such as churches, and start big collaborations with museums and the opera house of Leipzig.

The basic concept of WGT and how it is run has never changed. It seems around 20,000 people is the core of international gothic scene which attends, and for us is a comfortable number. As organisers, we are not always wanting to create something new and looking to make it larger. We want to preserve this special atmosphere, which so far it seems we have succeeded in doing.

IVM: How does the city of Leipzig help with WGT? You already mentioned they contribute venues, though are there other benefits to allow WGT to operate?

CB: Indirectly they help us, as you mentioned with the venues, additionally with the transportation for example. However, we don't receive any direct support, in the context of finance. This is funded all by us, they give us the permits to support the venues and cooperation with the opera for example and other institutions in the city. It's a good cooperation so far; however financially we are independent and are happy to stay that way.

IVM: Not to dive into the finance, though is WGT self-sustaining? Back in 2000, there was obviously difficulty, with the collapse of the millennium festival. From where it was then to now, is it eliminated from these problems?

CB: The reason why there were problems back in 2000, was that the people who started WGT, they were just two young guys in their 20s, that had no experience at all in handling big events. It was never their plan to create such a big festival which it turned into. Up to a certain size they were able to keep it under control. Finally, they just couldn't handle running it in such an unprofessional way and size, it was impossible to handle this without the expertise. The costs rocketed and not enough communication in organizing created the recipe.

When it started again in the following year, the main segment of the organizing staff changed and then we had no future problems, as a team was formed which had the skills required. Since then, there has been no problems.

IVM: When I began coming to WGT, you could see that particular genres were picked for each year. For example, 2018 sees Wave making a come back. 

Is it a situation that management considers what’s going on in the scene, and book the artists, or are the requests filtered through?

CB: It’s a combination of both. We get hundreds of requests each year for bands which want to play. The booking staff listen really to each request and they decide if it fits from the style. As you can see we give a lot of chances to unknown bands as this was always part of the concept, as well as booking the big bands which you see on every Festival. 

On the other side, there is also research done by our booking staff on certain genres which would be interesting. So then we try to invite them. We always try to achieve a good mixture up to the edges such as Neofolk, which you hardly find on other festivals, if at all. Sometimes there is a post-punk and wave revival. We obviously take this into the consideration, as there are currently a lot of great new bands in these genres. We always try to have a good mixture.

IVM: What does WGT management think of Gothic Pogo, did they think of it as a breakaway from WGT due to dissatisfaction? Or do they see it as a complimentary event?

CB: The latter is more the case; it's seen as a complimentary event. It's a small festival with a limited number of bands, and a more limited range of styles. We see no danger that people are not going to WGT, instead to Gothic Pogo. It is more the situation, they are either going to both, or some prefer this one style and wouldn't be in Leipzig anyway for WGT.

IVM: What are your favourite aspects of WGT?

CB: My favourite aspect for every year, is that you meet a lot of interesting people from all over the world. For example we are sitting here, it is very nice to meet people from the UK, Japan to Mexico City! A lot of the time you can only meet these people again next year. The world is coming to Leipzig and this is something special for me.

The second would be the wide variety of events. Which other festival do we know of can offer such a range? Where you can attend a classical concert, opera, theatre; to then a music stage or a night club. This combination of bringing people who may only know about the music, the ability to go on a guided museum tour that walks through gothic culture is an amazing offering. So, it is much more than music. 

Thirdly discovering new bands. I must admit I don't know every band which is booked by my colleagues. There are always new names for me. Thus it is enjoyable to sit down before the festival; listen to some amazing tracks, and then have the ability to see them live. It's obviously great to see your hero bands maybe for the umpteenth time; however for me, it is great to have such an opportunity to be exposed to new discoveries every year.

IVM: Is there anything this year you are very interested to see?

CB: Yes! Wardruna, which is a Norwegian band many people have told me about. I've never seen them so far, though they have a very impressive live show. RosaCrux, a French artist which are performing in the Schauspielhaus. Again, they are known for having an impressive show, with a big drum works and self-made construction for a large bell. It's also a rare opportunity to see them, as they do not perform often. 

Finally Blixa, from Einstürzende Neubauten. Before, for some reason it never worked to have him perform, so it will be a great first appearance and Monday finale this year in the beautiful Volkspalast

IVM: Would you like to say anything or do you have any questions?

CB: I want to point out, it is really a pleasure for me as a spokesman in this function for so many years that they're people like you still coming, still euphoric. You sometimes see people lose this after the second attendance, and by the fourth do not come anymore. I am very happy to see that there are people coming from all over the world every year that are so happy to be here again. it also confirms that we at WGT are still creating something special. 

It's obviously a pleasure to see Intravenous Magazine reach out, and see the press take interest in us, as well as the artists performing here.

IVM: Thankyou & Finally, Is there any venue you hold close to your heart?

CB: It's definitely Volkspalast. I like this venue, as it is so different to other venues we have at WGT. Because it is quite big and is built after the pantheon, with the stone columns and I was very impressed when we made our first concerts here.

One memory from the early years when we had booked the venue, was from the Monday. After we had all finished our work, I saw Lady Genesis P-Orridge playing Psychic TV. It was something new and special to me. It was a very crazy show, with a very attentive crowd. I will never forget this special atmosphere.

Interviewed by: Dominic Lynch aka DJ LX-E

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Wednesday, 15 August 2018

Review: Axegrinder – 'Satori'


With a hiatus between albums that even Tool would find excessive, crustpunks Axegrinder mark 29 years since their debut album 'The Rise Of The Serpent Men', with their sophomoric effort, 'Satori'. It is a familiar story these days with many bands from the 80s and 90s being resurrected and the results are often mixed. However Axegrinder have definitely comeback strong.

A more methodical and mature sound distinguishes the new album from it's predecessor. Elements of Prong, Conflict, Amebix and even Killing Joke rear up from the depths. The album closely mirrors it's predecessor structurally but the cleaner production and modern recording is offset by dirtier guitars and more vitriolic vocals to set it apart from their debut.

The album's opener '61803398875' is a curveball with it's poetic spoken feminine vocals and ambient drones giving way to dirty guitars, and ultimately the chugging chant-a-long 'Halo (Snakes For the Breeding)', which sets the true tone of the album. 'Rain' evokes 'Cleansing' era Prong with it's steady industrial guitars and Paul Raven style groove. While 'The Unthinkable' strays into Killing Joke territory with Trev's maniacal vocal delivery combined with some nice melodies cutting through. It's a formula that serves them well and provides a strong and accessible backbone for the entire album.

Production-wise the album is fresh and modern, with the guitars and vocals giving it the brunt of it's crustiness. But the more methodical approach and the grooves and industrial tones give it more depth beyond it's metallic-crust roots. And ultimately a broader appeal.

It may have been a near thirty year wait between albums, but this is one of those cases where it was worth the wait. The sound has picked up from where it left off certainly, but it progresses nicely as well. It is relevant, pissed-off and catchy throughout, and hopefully signals the start of a lot more activity from the band as 'Satori' is a strong (re)starting point.

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Saturday, 11 August 2018


Once again, Chris Connelly's howling bark meets Jason Novak's bone crushing rhythmic bite as Cocksure, bridging the gap between Waxtrax! era industrial and futuristic sounds of mass corruption. 'Be Rich' is Cocksure's best - an amorous, amoral nod to the duos pasts in Revolting Cocks and Acumen Nation, irreverently, vehemently crotch-punched into the cutting edge of today's underground industrial. 'Be Rich' will be released on September 7, 2018 by Metropolis Records.

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Mayhem, the Norwegian pioneers responsible for invigorating a global scene alongside originators such as Venom, Celtic Frost & Bathory, formed in 1984, and with a long history of tragedy, intrigue and infamy have become truly revered legends of black metal, with a large part of their legacy established in the late 80’s & early 90’s, when guitarist Euronymous & bassist Necrobutcher welcomed Hellhammer on drums and Dead on vocals, to help shape a new era of darkness and Armageddon.
Marking 30 years since this particularly iconic & subsequently ill-fated union, the deluxe ‘Cursed in eternity’ set contains a full and expansive collection of work by the band during that period. This includes Mayhem’s legendary 1990 live dates in Norway and short German tour, plus the additions of the ‘Out from the Dark’ and ‘Henhouse’ rehearsal sessions. These six titles are all presented on a special limited picture disc format for this release, with the set also including a 7” single vinyl containing two studio tracks (‘Freezing Moon’ & ‘Carnage’); recorded initially for the CBR compilation, ‘Projections of a Stained Mind’ and here featuring sleeve artwork made at the time by former vocalist, Maniac.
Along with a full 92-page book recalling tales of their legendary shows & inspirational music from both band members and others from the scene & including letters and previously unseen photographs sourced from personal archives, all in collaboration with the True Mayhem Collection, ‘Cursed in Eternity’ also presents, for the first time, a DVD containing never-seen-before footage from the entire Jessheim concert, plus front of stage video from the Sarpsborg show. The DVD is completed by full footage of the Henhouse rehearsals, and overall gives a priceless insight into how these iconic shows were witnessed at the time.
As a final bonus inclusion, ‘Cursed in Eternity’ features posters from the original designs & Zeitz photo from those iconic live shows. 

Cursed In Eternity contents:
Picture disc LPs
1:  Henhouse Rehearsal
2: Out From the Dark Rehearsal
3: Live in Jessheim
4: Live in Sarpsborg
5: Live in Zeitz
6: Live in Leipzig
 DVD  - featuring exclusive footage from the Jessheim & Sarpsborg shows & Henhouse Rehearsals
Exclusive 7” single  – Freezing Moon / Carnage
4 replica gig posters using original artwork
92 page book
Presented in a heavyweight box 

This immense set, an absolute must-have for all Mayhem fans, is available to pre-order from the Peaceville store HERE

Follow Mayhem

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Amphi Festival 2019 Announced

Two hot days and an even hotter Friday are behind us, with 12.500 attendants at the sold out Tanzbrunnen Cologne. 42 bands on three stages created an abundance of unforgettable moments, like the headliners AND ONE, ASP and the old masters MIDGE URE and OMD. The latter turned the Tanzbrunnen into an 80s madhouse packed with blissful nostalgia and pure emotion!

Next year we all meet again for the 15th anniversary on 20./21. July at Tanzbrunnen Cologne with NITZER EBB and many other bands to be announced in the near future.

Pre-selling for next time has already begun! The 1000 early-bird-tickets were instantly sold-out to the very last piece in just 7 hours. We thank everyone for this record-breaking start.

Now Amphi Festival tickets are available at www.amphi-shop.de for the regular price of 87,00 € including pre-selling charges excluding delivery charges. Additionally the popular combo-tickets "Amphi 2019 / E-tropolis 2019" went on sale with attractive savings for all who would like to visit both festivals.

20. & 21.07.2019 - COLOGNE | TANZBRUNNEN
NITZER EBB & many other artists!
Tickets: www.amphi-shop.de

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Trash Deity is a new project combining the classic vocals and lyrics of Groovie Mann aka Franke N. Nardiello (My Life With The Thrill Kill Kult) with accomplished producer & Industrial artist John D. Norten (Blue Eyed Christ). The debut album 'Cross & Divide' creates the chaos and energy of the classic Wax Trax! sound updated with a heavy electronic/guitar groove & modern production. This debut album by Trash Deity will be released on September 7, 2018 by Metropolis Records.

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Attrition release 'Invocation'

To celebrate the imminent ATTRITION show in Transylvania, performing their horror film score "Invocation",and are giving away the soundtrack as a free download(the CD version will be half price) for the month of August only: https://attritionuk.bandcamp.com/album/invocation

A soundtrack for your dreams and nightmares... 30 years since their groundbreaking dark ambient album "This Death House" ATTRITION's Martin Bowes has combined forces with his wife Kerri on their full length movie score, written for the film G.H.O.S.T from cult U.S. horror film company Mutantville. From uneasy, shifting atmospheres to main themes on piano, vocals and strings, the album was remodelled and mixed at the Cage for this audio only version...

An invocation in nine parts.
With artwork by Holger Karas.

August 18th - Bala, Transylvania, Romania
November 3rd - Electrowerks, London, UK
November 10th - Mulberry Tavern, Sheffield, UK


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Saturday, 28 July 2018


HELIX is the long awaited collaboration between Tom Shear (Assemblage 23) and vocalist Mari Kattman (Day Twelve, Mari & The Ghost) and offers a genre-defying sonic tapestry of electronics, organic elements and haunting vocal harmonies. Trip-hop, dub, dream pop, synth-pop, and lo-fi collide with a blend of seductive beats, found sounds, eerie textures and distant melodies. Entitled 'Twin,' this debut album by HELIX will be released on August 24, 2018 by Metropolis Records.

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Yazoo announce 'Four Pieces'

YAZOO (Alison Moyet and Vince Clarke) have announced details of ‘Four Pieces’, a remastered, four-piece box set, out on 26 October 2018. ‘Four Pieces’ will see four vinyl discs, packaged in a premium hardback-book format, alongside four art prints, six pocket-sized photos and a reproduction double-sided poster.

The new box set features both of the band’s remarkable album releases – 1982’s Upstairs at Eric’s and 1983’s You and Me Both – alongside a disc of remixes and a fourth disc featuring both of the band’s highly sought-after BBC Sessions in their entirety. Both recorded in 1982, courtesy of John Peel and David Jensen, these two outstanding sessions are collected here for the first time on vinyl.

Remixes featured on the 38-track box set include an unreleased remix of ‘Winter Kills’ by Minute Taker and rare reworkings of tracks from Richard X and Todd Terry, alongside extended versions and the orchestral mix of ‘Only You’ which featured on a recent Boots television advert. 

Yazoo formed in 1982 and, over an intense 18-month period, released two albums, four iconic hit singles and toured only once before they stopped creating music together. In that time, Vince Clarke and Alison Moyet created a sonic legacy and style which sent shock waves through the charts that still resonates. Their boundary-breaking music merged cutting-edge electronica with heartfelt, impassioned vocals. Yazoo are often name-checked by artists worldwide, including LCD Soundsystem and Antony and the Johnsons, as musical inspirations.

Disbanding 35 years ago, on the eve of the release of You and Me Both, which reached Number 1 in the UK chart, Vince Clarke and Alison Moyet continued to have successful careers in their own right, Vince with Erasure and Alison as a solo performer. Both artists have recently released Top 20 albums, Moyet with her 2017 album, Other, and Clarke with 2017’s World Be Gone.

36 years after they first presented Mute’s Daniel Miller with their first track, the heart-stopping electronic ballad, 'Only You', the impact of Vince Clarke and Alison Moyet’s unique songwriting is as it was in 1982 and, in the words of Record Mirror at the time, “Whoever said synthesiser music has no feeling can start eating their hearts out now”.

LP1 – Upstairs At Eric’s
Side A
1. Don't Go
2. Too Pieces
3. Bad Connection
4. I Before E Except After C
5. Midnight
6. In My Room

Side B
1. Only You
2. Goodbye 70's
3. Tuesday
4. Winter Kills
5. Bring Your Love Down (Didn't I)

LP2 - You And Me Both
Side A
1. Nobody's Diary
2. Softly Over
3. Sweet Thing
4. Mr Blue
5. Good Times

Side B
1. Walk Away from Love
2. Ode to Boy
3. Unmarked
4. Anyone
5. Happy People
6. And On

LP3 - Eight Remixes
Side A
1. Nobody's Diary - Extended Version
2. Situation - Richard X Remix
3. Don't Go - Remix
4. Only You - Orchestral Mix

Side B
1. Situation - The Aggressive Attitude Mix
2. Don't Go - Tee's TNT Radio Mix
3. State Farm - Madhouse Mix Edit
4. Winter Kills - Minute Taker Remix*

LP4 - Two BBC Sessions
Side A – John Peel, June 1982
1. Don't Go*
2. Midnight*
3. In My Room*
4. Winter Kills*

Side B – David Jensen, September 1982
1. Bring Your Love Down (Didn't I)
2. In My Room
3. Situation*
4. Too Pieces*

* Previously unreleased.

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Toronto-based Artoffact Records has announced the signing of Vancouver synth-punk act Freak Dream. The band's debut full-length, Into the Sun, will be released worldwide on September 21st.

The first track leak from the album, the title track "Into the Sun," is now streaming on Bandcamp.
Founded in Vancouver by musician Elliot Langford (SSRIs, The Rebel Spell, Sprïng, Big EviL, Togetherness), Freak Dream is a new project with one EP under its belt and a relentless, energetic live show. Inspired by the work of solo producer artists such as Nine Inch Nails, Prince, and Grimes, Freak Dream takes the cathartic energy of punk (Converge, Blood Brothers), and the textures of noise-rock (HEALTH, Melt Banana), combined with post-hardcore influenced vocals.

The project’s first full-length album, Into the Sun, will be released on Toronto-based Artoffact Records on September 21st

Described by Overblown as "an unrelenting blast of swirling feedback, tense synths, saturated vocals, and tightly wound songwriting," Freak Dream is bending genres and creating a wild, techno-punk admixture of sonic assaults guaranteed to get the dopamine flowing.

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Metropolis presents the long-awaited new album by PSYCLON NINE called 'Icon of the Adversary.' Blending concussive, machine-precise drums, hammering guitars, scathing vocals and evil electronics, PSYCLON NINE is truly the epitome of dark metal industrial. The band's creative force, Nero Bellum, says he had to travel to a very dark place to make this album and it shows. Stunning and unrelentingly evil, this is Psyclon Nine's finest album to date and will be released on August 24, 2018 by Metropolis Records.

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Wednesday, 25 July 2018


Anyway, enough ersatz commentary. Let's have some more ersatz commentary!

It's easy, amongst the blood feuds and boycotts and the wall-to-wall saturation of 'alt.chixxxx', to forget where the pulse of the gothic movement is. Often it seems we are trapped in a perpetual cycle of self-deprecation, flatulence and failure. For every great record or triumphant piece of art there are many more slices of casual sexism, cheap sensationalism, and an Alt-Fest. But surely, beneath the velvet coat of the gothic facade, there is something else going on?

Beginning with the roots of the gothic revival with 'The Castle of Otranto' and the explosion of gothic literature it inspired, the gothic has always wrestled with the legacy of the enlightenment and its position in a confusing, newly industrialised world. Its origins were confused, combining a contrived classicism with an extravagantly aristocratic bearing. But what was it trying to get at?

First, what was at the heart of gothic culture was an opposition to the tyranny of irrationality and unaccountable power. From the hooded torturers of the inquisition to the living death of the nunnery, to the despots of remote castles or even the uncontrollable forces of science itself, the gothic pitches the forces of reason against the 'old' forces of dictatorial, patriarchal power. The protagonists in gothic fiction find themselves as the force of a liberal, modern mentality in a world that is archaic, barbaric and medieval in its mentality. Crucially, it is the democratic rights of women, children, and the poor which the gothic advances as they struggle against these (literal) 'dark forces'.

Second, what is evident from the application of gothic principles into reality is the extent to which these principles were put in practice. From Bryon's speech in the Lords in favour of the Luddites and his activism in Greece, to de Sade's role as a section head in the French Republic who refuse to sign a single death warrant, to the socialism of the Shellys, these principles of social radicalism and political progress were the leitmotif of a movement which described a terrible monstrosity in theory, but expounded a principled enlightenment in practice. The horrors of the gothic were not the expression of a morbid, nihilistic irrationality, but quite the reverse.

And the third, lastly, was the breaking of social taboos in areas around liberties in sexual behaviour and political rights. The libertines of gothic fiction, whether exotic princes or villainous Byronic nobles or even undead Transylvanian aristocrats, practice a philosophical and liberating nihilism which rises above (or at least rails against) the established social behaviours of bourgeois society. However, and crucially, the gothic doesn't use this to propose the kind of irrational horrors that we subsequently witnessed in the twentieth century but is instead an expression of the sexual rights and political ideas that we fought to win, and are still fighting to defend, today.

So this is the ideological framework that the gothic movement works within: modern, liberal, progressive, but invoking the irrational as an expression of our personal and political horrors. It is this which we need to move to maintain, and to build upon. It won't do to fall down the same trap door of conspiracy theories, intolerance, prejudice and oppression which were the very conditions which the gothic rebelled against. It won't suffice to allow our own feelings of elitism to separate us from the impulses which the gothic movement represents.

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Sunday, 22 July 2018

Review: Guillotine Dream – 'A War On The Passage Of Time'

'A War On The Passage Of Time'

Out of a dense fog of dry ice emerges the mysterious trio known as Guillotine Dream dragging with them a monolithic slab of old school gothic rock in the form of their full-length debut album 'A War On The Passage Of Time'. Taking their cues from early Fields Of The Nephilim, 13 Candles and the heyday of 80s gothic rock in general there is a familiarity to their haunting style, yet the band are accomplished and unique in their execution.

Atmospheric and bass-driven the band counterpoint the gravelly McCoy-esque vocal delivery with violins in the style of The Eden House to add a haunting melodramatic tone above they jangling guitars. Songs such as 'Primitive', 'Succubus Sigh', 'A War On The Passage Of Time', 'Darkling Rooms', and 'Number Sixteen' Give the album it's most classic anthemic gothic rock cuts 'Lemuria'. Whereas the likes of 'Signs' and 'Lemuria' add a more metallic edge that recalls early Anathema to an extent, whereas the sumptuous 'Dead Genius' features a slow doomy pace that heightens the album's melancholic atmosphere to its zenith.

In terms of production, as with their debut EP, 'A War On The Passage Of Time' has a very unashamed retro feel that owes a lot to 'The Nephilim' era FOTN. But that doesn't harm it in anyway. Instead this doesn't fell like an album trying to replicate a certain sound, but instead a band that are of that sound to start with.

This is a charming and addictive debut album overflowing with old school goth appeal. The strong bass lines and Nephilim-esque vocals would be enough to please most casual fans of gothic rock. But the atmospheres and drama from the violin at work make this a compelling listen.

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Review: Berlyn Trilogy – 'Flowers Fall'

'Flowers Fall'

Wakefield's Berlyn Trilogy return with a new EP of dark synthpop meets gritty post-punk. Evoking the likes of Ultravox, Editors, Ladytron and Wolfsheim the band's dark dance sensibilities create compelling and stylish tunes that combine icy cold synths and steady dance beats.

Their new EP features three new tracks and three remixes, and considering the strength of talent that was on display on their debut it's a bit of a puzzle as to why this isn't on a label, when it should be. But such peculiarities aside, the three new tracks 'Domus Aurea', 'Rain', and 'Simone (Nicole) are heavy with 'Vienna' era Ultravox atmosphere, dark and romantic but permeated with Depeche Mode style dance beats and basslines recalling Editors.

The remixes add a little more dance appeal to the tracks but the dark cinematic atmospheres of the originals always remain quite prominent. That being said the tracks from Natures Of Wires, Destination, and Parralox are particularly strong in their reworking of the source tracks.

In terms of production the band balance the dark romance of the songs with an accessible and dance-friendly core. As with their debut, it is richly layered, and methodical in letting every synth line and the bass have as much room as possible in the mix to give it a cinematic quality.

This is another strong release from Berlyn Trilogy that blend beats, melodies and atmospheres with great effect. Hopefully another full-length outing is not too far away, and hopefully they'll be picked up by a suitable label in the meantime.

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Review: Hanzel Und Gretyl – 'Satanik Germanik'

'Satanik Germanik'

Four years after the darkest and heaviest album in the band's back catalogue, pseudo-teutonic metal duo Hanzel Und Gretyl return with another black and death metal-tinged release in the form of 'Satanik Germanik'. With 2014's 'Black Forest Metal' the band's trademark tongue-in-cheek themes and industrial elements take a back seat to relentless riffs and a more Satanic theme. And this is where their latest offering picks up.

Opening with the Wagnerian pomp of 'Golden Dämmerung' as a nice nod to their long-running Germanic obsession, the band soon drop a heavy riff and half-growled vocal with the head-banging 'We Rise As Demons' to open up a ferocious track list. Hard riffs, symphonic elements, snarling vocals and bludgeoning drums recall the likes of 'Puritanical Euphoric Misanthropia' by Dimmu Borgir and 'Volcano' by Satyricon with a hint of their previous NDH style occasionally sticking it's head above the parapet.

Tracks such as 'We Rise As Demons', 'Black Six Order', 'Weisseswald', 'Hellfire Und Grimmstone', 'Sonnenkreuz', 'Unter Alles, '13 Moons', and 'Kinamreg Kinatas' give the album it's solid back-bone of symphonic/industrial edged black metal tracks. Characterised by slow sludgy riffs, and thunderous drums it's as focussed and serious as the band have ever sounded.

There are a couple of respites from the grim and gritty nature of the album with 'I Am Bad Luck' providing a slow, bass-heavy relief that strips the album's sound back a little. There's also 'Trinken Mit Der Kaizer (Die Bierz From Hell)', the most overtly tongue-in-cheek title of the album and the one track where they most cut loose and get a little crazy.

In terms of production the album feels sharp and focussed. The symphonic and industrial embellishments are still there but there is a more guitar-centred approach which gives the album a much heavier sound than before.

'Satanik Germanik' is a solid statement from Hanzel Und Gretyl. Heavy, strong and captivating from start to finish the album is a standout in their back catalogue, while long-time fans may lament the silliness of older material and the minimising of the electronic elements, this album still has enough to appeal to them. And while black metal may be a predominant influence the band's Germanic obsession still means that a good pun is still never too far away.

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Panic Lift has carved quite a niche in the dark electronic music scene by blending elements of hard industrial with synth-pop, dance friendly beats and touches of rock. Panic Lift's latest album entitled 'End Process,' will be released  on August 24, 2018 by Metropolis Records  Panic Lift will be touring the U.S. in late summer with labelmates FIRES in support.

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On August 24, 2018, Metropolis Records is releasing 'Songs From A Dead City,' a 2 CD collection of the earliest works of Ego Likeness that date from 1999. These previously unreleased demo recordings (that predate their debut album 'Dragonfly' in the year 2000) were remastered for this special collection. These early colorful recordings are indeed diverse, running the gamut from trip-hop flavored songs to some that offer a raw, sensual side of this beloved band. Full of the fearless experimentation of youth, these songs, in the words of Ego Likeness themselves, "were written in the magical land of Once Upon A Time...before we were monsters." Ego Likeness will be touring all of North America from October through November with Abbey Death in support - west coast dates will also include a special acoustic set by Caroline Blind (of Sunshine Blind).

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The Ink Bats, part of the exploding Post-Punk scene in Oakland, CA, have just posted a video for the song "Caves," which was originally released on the East Bay-based quintet’s highly original, dark-yet-punchy 2017 debut album entitled Loss. It’s hard to put your finger on their sound, but their impeccable quality and dark energy has cultivated quite a fast-growing fan base. In support of their new video, The Ink Bats will be doing some road dates highlighted by a stop in Arcata, CA at The Alibi on Friday, July 27th and in Portland, OR where they will be performing at Lovecraft on Saturday, July 28th.

'The Loss' album can be heard here: https://theinkbats.bandcamp.com/album/loss-2

The "Caves" video can be seen here:

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More DJs announced for Infest 2018

This year's Infest is already shaping up to be the must see UK festival of the year with a knock-out line-up of bands already announced. Joining the band's are some of the scene's top DJ talents with these latest announcements.

A long history of keeping dancefloors moving from indie student nights to breaks parties in disused warehouses to a Slimelight residency in the early noughties. Now guests across the London progressive scene, including regular appearances at the amazing Dance:Love:Hub, he’s played Infest a few times too… Welcome back Mr Matt C!

Now based in Sweden and working both as DJ and promoter, including
ElectriXmas in Malmö, he has played the world metropolises of New York, Los Angeles, Athens, Zurich, Rotterdam and Berlin. A resident DJ at London’s legendary Slimelight for 6 years, he’s back at Infest! This time with a partner in crime…

After 15 years The Underworld duo came back for one night at Infest 2016. Some people seemed to enjoy it, so bowing to pressure and against all better judgement they are back for another night. Mixing the old and new, the guitar and the electro, the obvious and the obscure… Welcome back to the Underworld DJs!

The A&R man for the seminal OFFBEAT records (Front Line Assembly, haujobb, Project Pitchfork…) Founder of DEPENDENT (breaking Covenant, VNV Nation, Suicide Commando, Seabound, Mind.In.A.Box). If you don’t know the name now you soon will! Stefan is coming to Infest to spin cool electronic music you’re going to LOVE!

This man is so prolific and significant in our music genres that it beggars belief. Haujobb, Architect, Destroid, a regular appearance with the Elektro All Stars. Oh and he happens to get up on stage with a band called Covenant, and this year his latest techno project Liebknecht. Now Daniel is also taking on the Infest dance floor as a DJ!

This years festival will take place from Thursday 23rd until Sunday 26th August at University of Bradford's Student Union and marks its 20th Anniversary. More line-up details and tickets will be available from the festival's official website: https://infestuk.com

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Editorial, July 2018

It has been a while since that last editorial update and for that I apologise I could do the classic British thing and blame the weather, but with no end to this heatwave in sight it would feel like a bit of a cop-out to be honest. Outside of IVM life has got pretty busy so we've been falling behind with things a bit. But we're endeavouring to get caught up and get all of the reviews on the site as soon as possible.

Once again I'd like to start by thanking everyone who has so far downloaded our latest compilation album, 'Blood Pack Vol. 5' – the tail end of last year saw me frantically putting this together and getting it ready for new years day. It features som exclusive and unreleased tracks from international gothic, industrial and electronic bands. It also comes with an A4 PDF booklet containing bios and links for all the bands who have kindly donated a track.

To download it all you have to do is go to our bandcamp page here:

What I'd like to do now though is announce that we will soon be opening the submissions for the next 'Blood Pack' compilation album 'Vol. 6.66' which I regret to inform you all will also be our final release. Putting the compilation's together has been the highlight of my year since I came up with the idea – the artwork, the layout and most importantly the receptive and giving nature of the artists and bands in the scene who donate their tracks. But it has been becoming harder and harder to get it sorted in good time as other projects and a day job begin to fill up my spare time. As such a big project like this has become too difficult to keep up with. Every year I blink and it's December. So unfortunately this next one will be the last.

I am immensely proud of these releases especially with the feedback from readers and artists alike having always been so overwhelmingly positive. And while I hope that these will continue to raise a modest amount of money for our chosen charity DKMS UK to help fight blood cancer, the time it takes to put them together is too much to have them continue further.

However I'd like this final one to be our biggest yet! So if you'd like your band/project featured on our LAST compilation album to be released on our 6th Birthday, email intravenousmagazine@gmail.com and we'll send you details of what we require. If you or your band have previously been featured, that's great too, we love to see acts we've previously featured make a return so feel free to send us another one.

If you're sitting on the fence thinking “why should I?” check out our previous five instalments that include artists such as Aeon Sable, Attrition, Be My Enemy, Ultraviolence, Machinista, Noir, Grypt, Devil-M, Human Traffic, Double Eyelid, Apollyon's Visage, Cathedra, Bestial Mouths, Near Earth Orbit, Cease2Xist, Ego Likeness, Veil Of Thorns, Angelspit, The Gothsicles, Deadfilmstar, Cynical Existence and many many more.

Hopefully the artwork will be shot and done before the end of August and I will be able to unveil it then.

In the meantime,
make sure you have these links in your favourites:

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Monday, 9 July 2018

Throbbing Gristle announce more reissues

Throbbing Gristle announce the second phase of their ongoing reissues with Mute. 14 September 2018 will see remastered editions of Journey Through a Body (on silver vinyl and CD) and Mission of Dead Souls (on white vinyl and CD) available, while Heathen Earth will be re-released on blue vinyl and as a 2CD set.

The releases follow the 40th anniversary release of The Second Annual Report, as well as new editions of 20 Jazz Funk Greats and The Taste Of TG: A Beginner’s Guide to Throbbing Gristle – all out now http://smarturl.it/THROBBING-GRISTLE

JOURNEY THROUGH A BODY (1982, Industrial Records), widely referred to as Throbbing Gristle’s most haunting work, was recorded as a piece of radio art for Italian National Radio RAI, Rome in March 1981. Following Robert Wyatt’s recommendation, RAI originally commissioned Cosey Fanni Tutti to create a sound work based on the theme of ‘A Journey Through the Body’. This went on to become a Throbbing Gristle project – first broadcast by the RAI, Journey Through a Body was the band’s final studio recording prior to 2004’s reactivation of the band. 

Recorded in five days, a day per body section, the tracks were not pre-planned and nothing was re-recorded or added to after the track’s initial recording, instead each track was mixed immediately. “What’s most noticeable about the album, as a sonic experience is the openness to acoustic instrumentation on display.” (The Vinyl Factory) and Journey Through a Body stands as a perfect testament to Throbbing Gristle’s artistic ethos. Unavailable on vinyl since 1983, Journey Through a Body will be released on silver vinyl with a foil-blocked cover featuring photos from the session. The album is also available on all digital platforms for the first time, and on CD after being long out of print.

MISSION OF DEAD SOULS (1981, Industrial Records) documents the final performance, before Throbbing Gristle’s original disbanding (the band reactivated in 2004 before their final performance in 2010). Recorded at the Kezar Pavillion, San Francisco on 29 May 1981, the album “proves that TG’s assault never lacked talent or skill.”  - AllMusic. The album has been unavailable on vinyl since the early 1990s, and is here presented on limited edition white vinyl, recreating the original sleeve with the addition of silver ink, with a new inner sleeve including photographs and a passage by Jon Savage. 

A public statement by Throbbing Gristle stating ‘This Mission Is Terminated’ was released following Mission of Dead Souls, and the legacy of the band began to solidify with its influence on generations of artists to come. The album is also available on all digital platforms for the first time, and on CD after being long out of print.

HEATHEN EARTH, originally released in 1980 (Industrial Records), is a live document of a performance by Throbbing Gristle to a small and invited audience on 16 February 1980.
Described by The Quietus as “more cohesive and marshaled” than any of their other live recordings, the album is a testament to a band at the height of their creative powers, recorded just over a year before Throbbing Gristle disbanded and terminated the mission. 

Heathen Earth will be released on 2CD and as a limited edition blue vinyl in a gatefold sleeve, echoing, for the first time since its original release, the first pressing of the album (the initial blue pressing was an edition of only 750 copies, before the album was repressed on black vinyl). The vinyl also contains an eight-page 12” booklet entitled ‘Industrial News’ dedicated to the Heathen Earth and includes an unseen photographic print from the performance. The album comes with a digital copy of 11 bonus tracks, including live recordings from 1980 and 7” versions of ‘Subhuman’ and ‘Adrenalin’.

Throbbing Gristle are Chris Carter, Peter 'Sleazy' Christopherson (who sadly passed away on 25 November 2010), Cosey Fanni Tutti and Genesis Breyer P-Orridge, their impact on music, culture and the arts is immeasurable and still felt today.

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