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'


Monday 26 March 2018

The Anix signs with FiXT and announces new single

Electronic-rock project The Anix, from composer / producer Brandon Smith, has signed a multi-album deal with Detroit based independent record label FiXT. With 5 full-length albums under his belt over the last 14 years, The Anix begins a new journey in 2018, alongside FiXT’s multi-genre artist roster, which includes Celldweller, Blue Stahli, Circle of Dust, I Will Never Be The Same, The Qemists, Scandroid, Sunset Neon and Voicians.

Brandon Smith (The Anix) also joins FiXT's boutique management roster alongside fellow artist/composer/producers Klayton (Celldweller, Scandroid, Circle of Dust), Bret Autrey (Blue Stahli, Sunset Neon) and Daniel Voicians (Voicians).

Following The Anix’s 5th studio album Ephemeral (2017) on Cleopatra Records, the project is set to release new music each month throughout the rest of 2018. The Anix's debut single on FiXT, 'Fight The Future', will release on April 6th.

Crafted around pulsing synths and melancholic verses while contrasted with anthemic vocals over powerful rock choruses, 'Fight The Future' combines influences from all of The Anix's previous works and pushes far into the future.

Pre-Order The Anix's 'Fight The Future' t-shirt from the official Anix online store and get the single for free when it releases on all digital stores on April 6th.

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Canter release music video and soundtrack album for 'Through The Wide Gate'

Chicago post-punk group Canter have released the soundtrack album to the short horror film 'Through The Wide Gate'. The soundtrack features and original score by the band as well as two brand new songs in the forms of 'The Tangible' and 'Thoughts & Prayers'.

Track List:

2.The Entrance
3.God Is In Control
4.She Devours
5.Thoughts & Prayers
6.Let The Show Begin
7.The Good Book
8.Death Is Her Savior
9.Washed In Blood
10.The Tangible
11.Virial Mass
12.Thoughts & Prayers (extended mix)
13.The Good Reverend

The band have also produced a music video featuring an introduction from Svengoolie, a long running late night local TV figure in the midwest of the US, which can be viewed here:

For more information on the band, including upcoming releases and live dates, please visit their official website

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Cubanate and Adam Is A Girl announced for Infest 2018

2018's Infest festival this August is already shaping up to be a must see event. The annual festival is already a highlight of the industrial calendar, always boasting a mix of new and established acts as well as UK exclusives and debuts. This year's festival has already seen some major names announced and more keep coming.

Combining techno with lo-fi grungy rock, these guys became one of the UK’s leading industrial acts and we are thrilled to finally have them appear at Infest.
Let Your Body Burn!!!

A synthpop duo hailing from Berlin. They combine their different listening habits to create a very distinguished and unique world of sound that reveals them as children of the 80s and 90s!

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 lineup details and tickets will be available from the festival's official website:

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Merciful Nuns release 'The Pyramid' video single

Merciful Nuns have released a second video from their forthcoming final album 'Anomaly'. 'The Pyramid is inspired by the poem 'The Sadness Of The Moon' by Charles Baudelaire. The video can be viewed here:

The Merciful Nuns’ final album concludes a memorable journey through time, space and the unseen. Like its predecessors 'Anomaly' explores the hidden mysteries, encouraging the listener to engage with the subject matter on levels beyond the obvious. Impressive in its artistic execution; as we have come to expect from the Nuns’ mastermind Artaud Seth, the album’s lyrical content reveals insights gained from years of fastidious study and testament to Artaud’s meticulous approach to his creations.

The Nuns will also be performing at several European dates including Wave Gotik Treffen, Mera Luna, and the recently announced Solar Lodge Convention which will see them share the bill with label-mates Aeon Sable, Your Life On Hold, and La Scaltra.

7.04.2018 SITTARD (NL) - Downhill XII
18.05.2018 LEIPZIG (D) -WGT
11/12.08.2018 HILDESHEIM (D) - Mera Luna
14.09.2018 HAGERBACH/FLUMS (CH) - Eine Nacht im Bergwerk
10.11.2018 BOCHUM (D) - Solar Lodge C O N V E N T I O N
(Merciful Nuns - Aeon Sable - Your Life On Hold - La Scaltra)

For more information on upcoming releases, live dates, and tickets visit the band's official website

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Friday 23 March 2018

Live: Gary Numan – Foundry, Sheffield 21/03/2018


Not only is electronic music innovator Gary Numan supporting one of his strongest albums to date in the form of 'Savage: Songs From A Broken World', but this tour of the UK also coincides with his 60th birthday. And as he proves at tonight's show at Sheffield Student Union's Foundry venue, is still creating and performing with the best of them.

First onto the stage though is LA's Nightmare Air. Local to Gary now that he has relocated to the city of angels, this three-piece mix new wave, shoegaze and alt rock into a fairly serviceable if overall bland end product. Meek female vocals and conviction-less emotive male screeches are set against a decent-enough combination of new wave bass, shoegaze guitar, and very modern dance-friendly electronics.

Given Numan's now 20-odd year embrace of heavier industrial rock these seem like an odd choice as a support group, perhaps more to ease-in the older members of the audience who are in attendance to hear a few cuts from 'Replicas'. Nevertheless their set is fairly well received even though the most memorable part will be trying to remember exactly what they did.

As Numan and his band take to the stage, it is hard to believe that a man with his much energy and stage presence is 60 years old now. His voice still sounds great and he moves around the stage with more conviction than performers half his age. It's a good job though as the set draws mainly from his three most recent, and heaviest albums 'Savage...', 'Splinter...', and 'Dead Son Rising'.

From the opening of 'Ghost Nation', through tracks such as 'The Fall', 'Bed Of Thorns', 'Here In The Black', 'Mercy', 'Love Hurt Bleed', 'My Name Is Ruin' and 'When The World Comes Apart' the band passionately power through while Numan gives each track his all. He's no stranger to retrospective tours as we've seen in recent years, but synthpop is in his past and tonight's performance shows that heavy industrial rock is very much his presence and future.

That isn't to say there isn't room for a bit of nostalgia as rockier re-workings of 'Metal', 'Down In The Park', 'Cars', and 'Are 'Friends' Electric?' are still undoubted highlights. And even after nearly 40 years, Numan still has the passion to sing those songs and integrate them into his newer material.
With 'Are 'Friends' Electric?' finishing up the main body of the set it's a puzzle to second guess what will make up the encore. For this Numan delves into the fairly recent past with 'A Prayer For the Unborn' from 'Pure' and 'My Last Day' from 'Splinter...'. Unexpected but very poignant and effective closers.

Numan shows once again he is still at the cutting edge of music and has the ability to bring that music to life in a dynamic and passionate live performance. For anyone that thinks he is an artefact of the early 80s a performance like tonight's would be a massive shock to the system. Numan can still create great music and perform with the best of them.

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Thursday 22 March 2018

Review: Sulpher – 'Take A Long Hard Look'

'Take A Long Hard Look' 

It's hard to believe it has been seventeen years since Sulpher burst onto the scene with their incendiary debut album 'Spray'. The album received a heap of critical acclaim upon its release and saw the band compared to Nine Inch Nails in the press. But soon after it all fell silent as founding members Rob and Monti found themselves in demand for live acts such as Marilyn Manson, Gary Numan, and The Prodigy. A great CV to have, but this meant Sulpher remained on the back burner.

Fast forward to 2012 and the band erupted into a flurry of activity with new song 'You Threw It All Away' appearing on Soundcloud and the band's first live show in nearly a decade that Spring. But it again went quiet... that is until this year.

With a new record label in the form of Oblivion, a new tour booked in, and a new single in the form of 'Take A Long Hard Look' it finally looks like Sulpher is back.

The single is a break-neck blend of hard and heavy rock and industrial. After a stuttering distorted intro the furious guitars takes centre stage for the most part, but the use of distorted beats and vocals keep the industrial element of their sound ever present. It's a big and bombastic statement of intent that evokes the heavier elements of their first album but still shows a significant amount of development in the band's direction.

Production-wise the sound is gritty, and nasty. The heavy guitars and distorted elements are reminiscent of 'Spray' and in particular the heyday of the Nothing Records sound. But this doesn't retread old ground and the song sounds fresh and more than able to hold its own.

This is a tantalising first glimpse that shows significant development not just from 'Spray', but also their last teaser 'You Threw It All Away'. It's heavy, unrelenting but still recognisably Sulpher. Hopefully that long-awaited second album is finally about ready to drop.

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Review: Daddybear – 'Brown Acid'

'Brown Acid'

The mind of Matt Fanale must be a terrifyingly confusing place to live. A man of many projects already, how he finds the time and focus for another is mind-boggling. But he has, and so Daddybear has unleashed it's debut single into an unsuspecting world.

Combining techno, old-school ebm and a dose of My Life With The Thrill Kill Kult style psychedelic sampling, 'Brown Acid' is a relentless blend of steady dance beats and a simple but infectious lead that is punctuated by the trippy sample throughout. It might put you in mind of the Caustic single 'The Coital Staircase' to a degree, but this is a far more linear in its construction and is less atmospheric and more groovy.

With a fairly minimal sound the production is clean and tidy balancing the old-school flavours with a nice modern presentation that increases its dance appeal.

This is a short and sweet introduction to Daddybear but it is an effective one nonetheless. It will be interesting to see if there are any more singles or longer releases in the work, and how Fanale will balance them with his other projects, but this is still an enjoyable detour.

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Review: Ritualz – 'Doom'


Formerly communicated as †‡†, Mexican producer Juan Garcia, AKA Ritualz, returns with 'Doom' and album that is hell bent on dragging witch house back towards gothic-industrial territory... whether it wants to or not. It has been a while since Garcia released a full album that wasn't a collection or rarities, so while this is a little unexpected it certainly feels overdue to a degree. But it isn't a case of too little too late, instead we're presented with the most well-rounded and mature Ritualz release too date.

Tracks such as 'To Black', 'Journey', 'Rats', 'Echoes', 'Lust Eternal', and 'The Last Of Us' combine the experimental end of witch house with the classic elements of electro, industrial, darkwave, and goth that evokes the likes of Skinny Puppy, Sisters Of Mercy, era II Mortiis, and even Blutengel. The end result is a balanced and unifying sound. While the likes of 'Trash Mental' and 'Pig' bring things into a heavier, near aggrotech territory. And there is even room for a little out and out experimentation with 'Spazz', 'Agony', and 'Doom' providing the most overt links back to his earlier witch house sounds.

In terms of production the album deals heavily in dark gothic atmospheres which effectively unites each track no matter which direction they go in. It's a far more polished and mature sound the reflects the darkwave and sometimes ambient elements that crop up. It is evident that a lot of experimentation and refining has gone into this album and it has definitely paid off.

This is hands down the best Ritualz album so far. It is engrossing and engaging from start to finish and reaffirms the links between goth and the darker end of the witch house spectrum. Ambitious and mature, it is an album crafted with care and attention that connects the dots between the two worlds and presents a beautifully evolved hybrid at the end of it.

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Review: V▲LH▲LL – 'Grimoire'


It has been four years since Sweden's V▲LH▲LL released their debut album 'Leaning On Shadows', and in that time they've kept busy releasing a remix companion and two further EPs that have continued to diversify and experiment with their sound. 2018 sees the release of their sophomoric effort 'Grimoire'; a fitting title given their penchant for incorporating witch house and neofolk influences into their music.

It's easy to hear the band's influences in their music, but the way in which they combine them more than surpasses the sum of it's parts. Witch house, neofolk, darkwave, electro, and even a few electro-pop elements all combine into a heady witches brew that balances the modern and the arcane. Tracks such as 'Bonetrees', 'Dead Waves', 'Lilies For Belial', 'Ormen's Offer', and 'Aeons Unveiled' continue to develop those familiar aspects of the band's sound with the distorted male vocals countered by the melodic feminine tones, and the left-field use of rhythms and analogue electronics.

The band still throw a few curve balls as well with the dark but pop-flavoured title track, the hypnotic swing of 'Ruins Of Vanaland', the trip-hop influenced 'The Hunt', and the instrumental closer 'Niðingrdans' with it's most overtly witch house vibes on the album. But it's the addition of the violin in particular on 'Ormen's Offer', courtesy of Jessica Pimentel, that gives the album it's most magically-infused moment.

The band's production has always been very good on every release and even at the band's most experimental on 'Grimoire' there is an accessibility that counterbalances everything nicely. There is always something tangible underneath every song that holds it together and keeps the focus.

This is another strong release from V▲LH▲LL that shows off their finest songwriting so far. Hypnotic and magical their blending of genres and incorporating of occult and mythological themes creates a winning combination. With 'Grimoire' they have summoned something very special .

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Wednesday 21 March 2018

Review: Bornless Fire – 'Arcanum'


Marking his return to electro-industrial, Dawn Of Ashes mastermind Kristof Bathory unleashes Bornless Fire with a hellish debut, 'Arcanum'. With his main project having moved into more pronounced black metal territory in recent years, long-time fans have been yearning for a return to the electronic nightmares of his early sound. And now it seems those prayers have been answered.

Yet Bathory isn't simply retreading old ground. Bornless Fire is its own beast and 'Arcanum' makes that very clear. With a broader sonic palette, cinematic elements and better production values, 'Arcanum' may be a nod to DOA's origins, but it is far more accomplished than those early records.

Despite the slightly long instrumental opener 'Genesis' that kind of provides a false start, songs such as 'Emerging From The Void', 'Feel The Rage', 'RUNA', 'Sex Magick', 'Leech', 'The Miserable Image Of Abrahamic Slavery', and 'Becoming The Divine' are a strong and dynamic manifesto of crunching industrial beats, scathing synth leads, dark ambient pads, cinematic atmospheres and unsettling melodies underpinned by Bathory's demonic vocals.

The songwriting and lyrics show a far more mature and refined mindset that comes through as pretty progressive. There are dance-friendly tracks but this isn't your standard aggrotech club-fodder. Instead the songs evolve and meander through atmospheric refrains and draw the listener in deeper. But just to keep that traditional club appeal the remix contributions from Tactical Sekt and Suicide Commando more than adequately cover those bases.

In terms of production this is a strong and ambitious effort. Cinematic drums sit alongside distorted industrial elements and dark ambient atmospheres permeate the heaviest passages. The end result is a fine balance of atmosphere and aggression.

If this is a one-shot deal to pacify older DOA fans and satisfy an urge that doesn't fit with his main project's current direction, then what a shot it is. 'Arcanum' is a very strong album that intelligently mixes its subject matter with engaging and progressively tinged heavy electronic music. It resists typical stylistic directions that colour much of the modern scene and crafts it's own unique presence. It would be great to hear more from Bornless Fire in the future, and it will be interesting to see how, if it does continue, Bathory balances the two project. But for now this is a damn strong first step.

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Review: Aesthetic Perfection – 'Ebb And Flow'

'Ebb And Flow' 

Having fully settled into his industrial pop style, Daniel Graves, continues to perfect his direction across a series of singles that mix pop vocals, steady dance appeal and infectious electro. The latest of which 'Ebb And Flow' proves to be the strongest so far.

There is an air dark and sleazy malicious intent bubbling just below the surface with it's ebm bass line. But Graves pulls things back into pop territory with one of his strongest vocal performances to date with his melodic vocals providing a strong backbone that is embellished nicely with rougher punctuations. The track is incredibly focussed right from the off and you can't help but want to move your feet to it.

Miggiddo, the side project of Anaal Nathrakh's Mick Kenney, then takes the song and turns it into a radio-friendly summer hit. It's a complete curveball from Kenney but it feels as though he has taken the song to it's logical pop conclusion.

The final track is a melancholy cover of NSYNC's 'Bye Bye Bye' and enlists New Years Day guitarist Nikki Misery and manages to get some feeling and depth out of the disposable 90s hit. The end result is a dark and emotional lament that works really well.

Production-wise Graves continues to push for the kind of high-quality modern sound that pop ambitions necessitate and hits his mark with ease. Even the darker strains of the NSYNC cover are refined, near cinematic in fact.

Graves' continues to diversify and refine what Aesthetic Perfection is as a band. And the results continue to impress. As interesting as this run of singles has been though, hopefully a full-length release is just round the corner.

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Tuesday 20 March 2018


If - as they say - in order to gain inspiration you need to return to the source, then your humble scribe has been on a twilight mission to meet his muse. Yes, I'm pleased to report I have just returned from a brief stay in Transylvania – that region of modern-day Romania that has been a cornerstone of the modern gothic imagination since Jonathan Harker first arrived in Klausenburg (latterday Cluj-Napoca) on his way to Castle Dracula. So, what can you perceive about Goth from a high vantage point under Carpathian skies?
Obviously, the first thing to bear in mind is that it is nothing as you might expect – or at least it isn't if you're expecting a twee Hallmark card of dark romance. The industrial devastation, with miles of factories, warehouses and scrapyards, the suburbs of single-floor detached huts and the grinding post-communist poverty of much of the countryside clearly demonstrated that this was not an expedition to be taken lightly. A cheap holiday in other people's misery this was not, and Transylvania does not exist for the amusement of the casual (OK, not-so-casual) goth tourist from West Yorkshire.
So, the context was real enough. But there were still moments of real magic that hinted at the depths of the delights the land beyond the forest could offer; the long, slow descent of the plane over the Carpathians, the flock of ravens sat on the runway when the plane touched down at Cluj (I almost expected them to start speaking to each other, like some vampiric '80s children's cartoon), the magical night falling over the gothic architecture of the Piața Unirii and it's magnificent statue of King Corvinus, and the no-platform station in the tiny Carpathian town of Reghin as the IR1646 locomotive trod its way through the Transylvania countryside towards Bucharest. It may not have been what you might have expected, but then it just as often very much was.
But what was explicitly Goth in the realm of the vampire? Actually, rather a lot. Cluj was relatively laid back about the Dracula connection, but even they sold Dracula merchandise next to their Hungarian fridge magnets in the shadow of King Corvinus, Transylvania branding everywhere, with a knowing wink. Hotel Castle Dracula, with it's passport stamps, branded carpets, pseudo-masonry and authentic courtyard is a simply fantastic venue, yet it's merchandise game was somewhat subdued. Bran Castle (forget the tenuous nature of the Dracula connection) is a perfect attraction, a home to a professional installation of goth culture and modern accessories but also surrounded by a chaotic morass of amateur vamp-merch that sustains an entire town. There's Bucharest, which goes for Vlad in a big way, and where every souvenir store pushes the link between Romania and the gothic, and there's Bucharest airport with the biggest and most innovative collection of Dracula merch and booze I have ever seen. Transylvania certainly gives Whitby, Camden and Leeds a run for their money in the goth industry stakes (no pun intended). 

Yet probably the most inspiring aspect of the region was that which was authentic, and fresh: that of the chaos, the palinka, the conflicted vampire pride, the indifference and the darkness swirling together in mutual anarchy. Under Transylvanian skies you can feel far away yet still beneath the soil, and there is still the authentically gothic too – in the deep cravasses of the countryside, the lightless valleys of the Borgo Pass, and the timeless streets of Cluj and Brasov. It was the beat of a darker kind of drum.
It is easy to get sucked into vaguebooking, scene drama and bad festivals as our sole access to the gothic, but it is always worth going off the beaten track – like a Harker adventuring on a journey into goth itself – to keep your perspective fresh. There is always much to be said for the classic, if you can view it through clear, Carpathian eyes.

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Wave Gotik Treffan 2018 – More acts added

The world famous Wave Gotik Treffen festival has announced the first acts that will be playing the event in Leipzig, Germany this year. The 111 acts announced so far are:

A Projection (S) - 
Actors (CDN) - 
Aeon Rings (USA) - 
Aeverium (D) - 
All Gone Dead (USA) exclusive European reunion show in 2018 - 
Arcana (S) - 
Ash Code (I) - 
Ataraxia (I) - 
Autobahn (GB) - 
Beinhaus (D) - 
Black Line (GB/USA) - 
Bootblacks (USA) - 
Boy Harsher (USA) - 
Buzz Kull (AUS) - 
Centhron (D) - 
Cesair (NL) - 
Confrontational (GB) - 
Crisis (GB) - 
Crying Vessel (CH) - 
Dageist (F) - 
De/Vision (D) - 
Dead Leaf Echo (USA) - 
Detachments (GB) - 
Die Kammer (D) - 
Dive (B) - 
Drifter (S) - 
Eden Weint Im Grab (D) - 
Einar Selvik (N) - 
Elegant Machinery (S) - 
Ext!ze (D) - 
Fabrik C (D) - 
Fairytale (D) - 
Formalin (D) - 
Frank The Baptist (USA) - 
Front Line Assembly (CDN) - 
God Module (USA) - 
Grave Pleasures (FIN) - 
Grendel (NL) - 
Greyhound (D) - 
Guerre Froide (F) - 
Hekate (D) - 
Heldmaschine (D) - 
Hexheart (USA) - 
Illuminate (D) - 
Imminent & Synapscape (B/D) - 
Imperium Dekadenz (D) - 
Ingrimm (D) - 
Japan Suicide (I) - 
Jo Quail (GB) - 
Joy/Disaster (F) - 
Kaizer (D) - 
Kiew (D) - 
Les Discrets (F) - 
Merciful Nuns (D) - 
Model Kaos (D) - 
Mono No Aware (D) - 
Monolith (B) - 
Mr. Kitty (USA) - 
Nachtsucher (D) - 
Oberer Totpunkt (D) - 
Ost+Front (D) - 
Paddy And The Rats (H) - 
Palast (D) - 
Phil Shoenfelt & Southern Cross (GB/CZ) - 
Phosgore (D) - 
Principe Valiente (S) - 
Pyogenesis (D) - 
Raison D'être (S) - 
Randolph's Grin (USA/A) - 
Rapalje (NL) - 
Readership Hostile (USA) - 
Rome (L) - 
Sardh (D) - 
Sarin (IR) - 
Scarlet And The Spooky Spiders (I) - 
Schandmaul (D) - 
Scheuber (D) - 
Second Still (USA) - 
Seelennacht (D) - 
Seigmen (N) - 
Silent Runners (NL) - 
Siva Six (GR) - 
Solitary Experiments (D) - 
Spark! (S) - 
Stahlr (NL) - 
Still Patient? (D) 30th anniversary show - 
Sturm Café (S) - 
Suir (D) - 
Svartsinn (N) - 
The Beauty Of Gemina (CH) - 
The Crimson Ghosts (D) - 
The Fright (D) - 
The Jesus And Mary Chain (GB) - 
The KVB (GB) - 
The Last Cry (GB) - 
The Other (D) - 
Then Comes Silence (S) - 
Tiamat (S) perform songs from the albums „Wildhoney“ and „Clouds“ - 
Totus Gaudeo (D) - 
Traitrs (CDN) - 
Traumtaenzer (D) - 
Trepaneringsritualen (S) - 
Trisomie 21 (F) - 
Undertheskin (PL) - 
Unterschicht (D) - 
Vogon Poetry (S) - 
Vomito Negro (B) - 
Xenturion Prime (N) - 
Zanias (AUS) - 
Zeromancer (N) - 
[:SITD:] (D) -

The festival will take place this year from 18th May until 21st May. For more information please visit the officialWave Gotik Treffen website.

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Florian Grey announce 'Ritus'

Following the debut album 'Gone' from 2015 and three single releases, Florian Grey is going to release his new album 'RITUS'. What started as a solo project has grown together into a band, not least due to numerous live shows. Aside from Florian's three fellow musicians, producer Hilton Theissen (Dark Millenium, Akanoid, Seadrake) as well as Hell Boulevard Frontmann Matteo Vdiva Fabiani support the project with their competence and experience and form a strong unit that has made 'RITUS' possible in the first place.

They all created an album which immediately gets down to business with the rocking and melancholy opener 'Bluecifer and which drills into everybody's ears and mind song by song with great melodies, a powerful sound and epic lyrics. Florian Grey brings forth a dark rock pop epos taking the listener on a strong-voiced and emotional, but at the same time empathetic and charming trip. From alternative rock with metal influences and hard guitar riffs to pop with 80s synths, all styles are represented.

With this album, Florian Grey shows a totally new side with more rough edges. Compared to 'Gone', 'RITUS' is more uptempo, more straight forward, harder, louder and not one bit less cryptic and lyrical than the previous album. Cross-genre and far from any stereotypes, Florian Grey addresses topics and emotions affecting everyone – love, vengeance, hope, pain, devotion.

On 'RITUS', nothing is as it seems. Imploring lyrics meet heavy guitars and gentle sounds settle a score with the world. Hence, the songs send the listener to the brink of mankind's abyss, let them have a good look into it and bring them back shortly before they would fall with a glimmer of hope.

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More announced for Infest 2018

2018's Infest festival this August is already shaping up to be a must see event. The annual festival is already a highlight of the industrial calendar, always boasting a mix of new and established acts as well as UK exclusives and debuts. This year's festival has already seen some major names announced and more keep coming.

Electro horrorist boogie merchants who couldn’t give a crap if you like them or not…
Not really electro or metal but certainly a bit punk!
Pretentious artwank horrorpop?

From the electronic virtuoso Daniel Myers, Liebknecht is hypnotic techno. Expect dance-floor friendly dark textures, cryptic messages, eclectic experimental sounds and straight forward, heavy beats. Myer is always on the edge between oldschool electro and club culture.

The dominatrix from cyberspace has descended upon earth, creating a collective hysteria on the dance floor! …driven by fast and flamboyant electro pop, a cheeky punk attitude and massive girl power, MASSENHYSTERIE are gonna kick your butt!

Frenetic percussion and pulsating synth lines…
Dark and morbid…
Let your eyes become used to the dark…
Look to the North…

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 lineup details and tickets will be available from the festival's official website:

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Chris Carter unveils ‘MOON TWO’

CHRIS CARTER shares a new track, ‘Moon Two’, the latest be taken from his new album, 'Chris Carter’s Chemistry Lessons Volume One'- the first solo release in 17 years - out on 30 March 2018.

Watch the video, created by Carter, for ‘Moon Two’ here:

'Chris Carter’s Chemistry Lessons Volume One' is populated with insistent melodic patterns and a distinct sense of wonderment at the limitless possibilities of science. “If there’s an influence on the album, it’s definitely ‘60s radiophonic,” Carter says. “And over the last few years I’ve also been listening to old English folk music, almost like a guilty pleasure, and so some of tracks on the album hark back to an almost ingrained DNA we have for those kinds of melodies.”

As a founding member of Throbbing Gristle alongside Cosey Fanni Tutti, Peter ‘Sleazy’ Christopherson and Genesis Breyer P-Orridge, Chris Carter has had a significant role in the development of electronic music - a journey which has continued through his releases as one half of Chris & Cosey and Carter Tutti and a third of Carter Tutti Void - as well as with his own solo and collaborative releases.

He is also credited with the invention and production of groundbreaking electronics - from the legendary Gristleizer home-soldered effects unit through to the Dirty Carter Experimental Sound Generating Instrument and the sold-out TG One Eurorack module (designed with Tiptop Audio, these modules can be heard during Carter’s set at a recent Rough Trade event) and the Future Sound Systems Gristleizer modules - Carter has created the means to make sounds as well as making the sounds themselves.

The 25-track album was recorded in Carter’s own Norfolk studio and the artwork and accompanying videos were self-created, taking cues in part from battered old experimental BBC broadcast LPs.

Despite having been worked on over an extended period between various artistic projects in a variety of different moods, situations and circumstances, CCCL Volume One’s experiments never feel like Carter noodling around aimlessly in his studio-laboratory. Instead there is an inner coherence and a distinctively Chris Carter approach to sound and execution that showcases the sonic scientist’s restless, questing creative spirit forever scouting for new ideas. 

Chris Carter will perform a rare modular set on Monday 19 March at the Faber Social Art Sex Music event, which also features Cosey Fanni Tutti in conversation with Laura Snapes, a reading from Luke Turner’s forthcoming book and a talk from Lilith Whittles.

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Friday 16 March 2018

Review: Unwoman – 'War Stories'

'War Stories'

Under the moniker of Unwoman, Erica Mulkey has crafted a fine selection of albums. With her cello as her primary instrument accompanied by her stunning voice her compositions often draw from chamber pop, dream pop and steampunk where modern synthesis and classical warmth create a heady mixture. Mulkey's seventh full-length album, 'War Stories' combines Mulkey's unique style and frames perhaps her most politically biting album yet.

Thematically, the album draws on the likes of Jane Eyre, The Princess Bride, and Jane Austen's Persuasion, and tackles issues such as toxic masculinity and the social gender constructions that it perpetuates. Fiercely feminine and powerfully feminist the lyrics cut through the hauntingly beautiful music.

Songs such as 'War Stories', 'Saviours', 'Bad Man', 'The Same Stream', 'Flies', 'Waxing Gibbous', and 'Breath Out' provide the album with a strong backbone of cello-led arrangements, augmented with subtle electronics and mechanical rhythms that are both, dreamy, whimsical, and yet when combined with the beautiful yet direct projection of the lyrics by Mulkey's voice, become powerful statements. The album has it's sentimental moments as well, with the likes of 'The Surrender' and 'We Love Longest' counterbalancing the rage of many of the other songs.

In terms of the album's production there is a minimalistic air of construction which adds a prevailing intimacy to each track. The cello with it's deep drones roots every track, while Mulkey's voice breaths life into them. The subtle electronics and rhythms add depth, and additional power when needed but are not overly relied on, instead the atmosphere generated by her primary tools.

'War Stories' is one of the strongest albums in the Unwoman catalogue so far. Musically beautiful and lyrically powerful it is a dynamic statement that provides a refreshing counterpoint to the male voice in alternative music. This isn't an exclusively feminist album, it is also a reflection of where society is in the 21st century, and issues that affect everyone.

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Monday 12 March 2018

Review: The Rain Within – 'Atomic Eyes'

'Atomic Eyes'

Andy Deane's synthpop-meets-synthwave side-project to Bella Morte had a pretty strong start with their first full-length outing 'Dark Drive' which followed on from two well-received EPs. The direction of the band has definitely been moving in the right direction since the release of the first EP back in 2014, and it is evident that Deane has carefully developed the sound at every stage.

The band's second full-length outing sees a continuation of the mission to meld synthpop and synthwave into a cohesive whole. The end result is a more focused display of the concept that still enjoys the variety displayed on the first album. The sound swings between dark and light, with nods to the likes of John Carpenter and Vangelis as well as Depeche Mode and Duran Duran. There's an undeniable nostalgic quality to it but it is at heart a modern reinterpretation of what made all kinds of 80s synth music so compelling.

Tracks such as 'Like The Devil', 'Realign', 'Fears, Lies, and Love', 'Home', 'While I Am Here', 'Midnight', and 'Violet Glow' provide a strong backbone of melodic yet melancholy tracks that have a definite dance appeal but also a quiet introspective quality. Retro synth leads, combine with steady dance pacing and Deane's emotive and strong vocals for an utterly compelling combination that should please both fans of synthpop as well as those familiar with the earlier Bella Morte works.

In terms of production the album has an impeccable modern quality that brings out the best in the tracks. It's always tempting to try and replicate the 80s analogue sound to emulate the great albums of the era, but 'Atomic Eyes' is under no illusions that it is a modern album and is as crisp and dynamic as it should be.

'Atomic Eyes' is certainly a more refined and focused album despite featuring a few more tracks than its predecessor. And that is a sure sign Deane has focused on the quality of the songwriting and the final execution. It sticks to it's stylistic guns and revels in the variety of the era that has inspired it. The end result is a very strong outing.

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Editorial, March 2018

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 some amazing bands including: Angelspit, The Gothsicles, Deadfilmstar, Sounds Like Winter, Noir, Hardcore Pong, Cynical Existence, Veil of Thorns, Cold Therapy, and Chiron plus many more 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:

In addition to that wonderful download we've also been working on some Spotify playlists, which we will be promoting soon on the site.

Also did you check out our overdue top 40 albums of 2017? If you haven't click HERE to have a look.

The big thing I'd like to push this month is that we are on the lookout for some more writers. If you'd like to get involved with intravenous magazine, we're looking for motivated self-starters who can sniff out stories and make contact with bands and labels.

Also, if you are in a band or run a label etc. and you fancy writing a guest article/column, feel free to hit us up as well. We'd love to feature more guest content from the scene – please note that this does not mean we're going to be featured sponsored content or any of that nonsense, so don't worry about that!

Intravenous Magazine is a non-profit publication and cannot pay contributors, however you will be compensated with music, tickets and other fancy things.

If this all sounds good to you we would ask you to familiarise yourself with our style guidelines on the WRITING FOR IVM page and submit a 1000 article or a 300 word review (must be of a recent album or gig not currently featured on the website) in the vein of IVM magazine.

Hopefully the other things we have up our collective sleeve will be announced in the coming months. Until then, please enjoy the new (and previous) compilation albums, please donate, or at least share the link if you enjoy the album.

And as always make sure you have these links in your favourites:

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New acts announce for Infest 2018

2018's Infest festival this August is already shaping up to be a must see event. The annual festival is already a highlight of the industrial calendar, always boasting a mix of new and established acts as well as UK exclusives and debuts. 2018 looks to be no exception with three more great artists announced last week.

Inhabiting their own strange genre-stretching and playful world. Traversing contemporary and vintage fashion and styling, with blitz noir imagery and dash of retro sex appeal creates an eerie macabre pop! Zeitgeist Zero continue to tour the UK and Europe and are currently working on their fifth album.

Dark, unforgiving, post-punk with an electronic seedy sound.
Maria Joaquin and KC blend gothic undertones with catchy dance music to create a sonic-erotica of synths, guitar and EBM.
Amor Noir!

Fusing rock, electro, synthpop and bass music to create a divine energetic, intense fusion of sounds.
Hailing from North Wales please welcome to the Infest stage Def Neon!

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 lineup details and tickets will be available from the festival's official website:

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Ben Frost track preview and live dates

BEN FROST has shared an unheard track, ‘Self Portrait in Ultramarine’, from the All That You Love Will Be Eviscerated EP, which includes new tracks and previously unreleased remixes from Alva Noto and Steve Albini. Listen here:

Out on 23 March 2018, the new EP follows a series of dates, which start on Friday 16 March at Heaven, London. The show, part of this year’s Convergence, is a unique audio-visual performance featuring Marcel Weber (MFO) with support from Visionist, the experimental composer and producer Louis Carnell.

Ben Frost’s live dates also include Sonar in Reykjavik, ISM Hexadome in Berlin, at Schauspielhaus in Zurich and Nuit Sonores in Lyon, full details below.

16 March - UK, Convergence at Heaven, London
17 March - IS, Sonar Festival, Reykjavik
18 April - DE, ISM Hexadome at Martin-Gropius-Bau, Berlin
21 April – CH, Norient & Rewire present Sonic Fiction at Schauspielhaus, Zürich
11 May - FR, Nuits Sonores, Lyon

Described by The Quietus as “aural equivalent of a world turned to ash”, watch the video for the title track, ‘All That You Love Will Be Eviscerated’, a collaboration with conceptual documentary photographer Richard Mosse and cinematographer Trevor Tweeten: 

All That You Love Will Be Eviscerated is taken from Frost’s latest album, The Centre Cannot Hold was recorded over ten days by Steve Albini in Chicago. 

In collaborating with Albini, Frost chooses a new immediacy and raw directness. As an artist whose command of sound design lies at the heart of his practice, by placing himself primarily in the role of live performer and handing the studio recording process over to Albini, Frost continues pursuit of Theseus’ paradox; the question of whether a ship restored by replacing every single part remains the same ship.

All That You Love Will Be Eviscerated
Self Portrait in Ultramarine
Meg Ryan Eyez (Albini Suspension Mix)
Ionia (Alva Noto Remodel)
An Empty Vessel To Flood
Goonies Never Say Die

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