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'


Tuesday 28 August 2018


Of all the missed opportunities in the history of popular culture, all the overlooked chances to create something wonderful and special and uncanny, some are more glaring than others. Kraftwerk declining to produce Bowie in his heyday is one of them: what would the Düsseldorf Beatles have done with the cold, methodical chaos of the Thin White Duke? What stratospheric heights would the career of Patricia Morrison have reached if she had been cast in the Vampira reboot, rather than the gig being given to Elvira herself? How would Bela Lugosi's career have risen if he hadn't turned down the part in the original Universal vision of 'Frankenstein'? And what would have become of the creative partnership between Tim Burton and Vincent Price had it not been for the passing of the latter – would they have formed a trio of terror with Johnny Depp to rival that of any in the history of cinema?

These glimpses are even more frustrating when we note the opportunities that were taken, that never should have been. Instead, we got Tom Jones fronting New Model Army; street-punk darlings the Angelic Upstarts going synthpop; the abomination a glam-rock Celtic Frost; a whole movie of Kiss and their robot counterparts fighting a script even dumber than they are; and a Dracula-kung fu mash-up that took kitsch to whole new heights, and the Hammer legacy to new depths. Indeed, Hammer took more of these lamentably-unmissed opportunities than anyone else. Which makes one of the true overlooked creative collaborations even more disappointing...

Led Zeppelin, the undisputed behemoths of '70s rock and the one act on the planet with the most notorious and undisputed links to the occult, found one of the most ostentatious and horrific bases for their late-decade rehearsals – that of Bray Studios, long-time home of Hammer Productions and location for the shooting of an entire raft of Gothic horror classics. So for a brief, glorious period the fortunes of the bastions of heavy diabolic rock and the bastions of Gothic horror cinema overlapped.

This, my dear readers, is a synergy to relish. You can imagine 'Black Dog' blasting down the corridors as the ghosts of Dracula, Victor Frankenstein and Captain Kronos dance to the beat. What possible collaboration could have taken place? Well, one could imagine Bonzo as a grave-robbing extra, or a bearded Jimmy Page as the mysterious wanderer that he had always saw himself being, John Paul Jones as a creepy church organist in a Transylvanian hamlet, or even Robert Plant as the blonde bombshell lead in one of their raunchier sex-horror romps. But even better would have been an attempt to marry the genuine esoteric resources of the band – from Boleskin House to their rich repertoire of thrilling shockers – to the belated attempt by Hammer to update their material to meet the demands of the modern horror era. Could Zeppelin have soundtracked, or starred in, an Exorcist-inspired biopic of a fictional group of Satanic-inspired rockers? Could they have given much-needed credibility to the mid-'70s output of a studio desperately trying to meet the challenge of the new tastes of horror cinema?

We will, however, never know. By the time Led Zeppelin were having their last rehearsal at Bray in 1980 Hammer were already in receivership, and it was then that tragedy struck as John Bonham died following a day with Zeppelin at the former home of UK horror. Even this, though, suggests much else – what are we to make of the grim climax of the 'Zeppelin curse' arriving at such an auspicious location? What a rich potential seam of chills could be explored at the place where the cursed band and the cursed studio meet?

That is a place we have yet to visit, and a time that we have lost for good. Unless someone were to open a portal – to a time when 'No Quarter' echoed through the Berkshire night, and magic began to happen...

Download post as PDF file

Sunday 19 August 2018

Review: Ritual Aesthetic – 'Wound Garden'

'Wound Garden'

Denver's Ritual Aesthetic return with their sophomoric offering 'Wound Garden'. Aiming to build on the strong first step of their 2014 debut 'Decollect', Ritual Aesthetic hit hard and heavy right away with a demonic blend of industrial and metal.

Started by Sean Ragan, formerly the drummer of Dawn Of Ashes and Belhor, the album has a strong rhythmic grounding through which the guitars and synths saw through. Combined with his digitally-augmented growled vocals it's evident that 'Wound Garden' is a darker and heavier affair than it's predecessor, and the end result is utterly compelling.

Opening with the ominous industrial overtones of 'Stasis', followed closely by the scathing synth-driven attack of 'Life Amnesia' the band set up the atmosphere of the album quickly, before dropping in the heavy guitars on the brilliant lead single 'The Analog Flesh'. The likes of 'Divided', 'Dread', and 'Malefaktor' vary things up a little bit between them, but they maintain that core formula of the strong rhythms, sharp synth melodies and blistering guitars.

Reflecting the construction of the first album the final three tracks are remixes from other artists. While these do play up different elements within the RA sound. They do stunt the pace of the album. The radical overhaul of 'Mechanism Of Desire' by ESA unfortunately stops the momentum of the album dead. While the Seraphim System remix of 'Chemical Weapons' attempts to kick-start things again, before Xentrifuge rounds things out with 'Amnesiac'. It's a shame as the remixes themselves are great, but it feels as though the album needed a few more original tracks.

The production is strong ans shows development from the first album. The heavier sounds and darker atmospheres on the album create a sense of claustrophobia and desperation, but the methodical construction of each track means that this doesn't become a din of noise. Instead the rhythmic foundations allow the gritty guitars and synth melodies to cut through with ease.

This is a strong follow-up that displays a hell of a lot of promise. It's unfairly short, but it is too the point. The dark and unfriendly industrial metal formula feels refined and focussed, and most importantly it's catchy. These are heavy tracks that have dance potential and stick in your mind. The band have definitely found their stride and hopefully they will stride back soon with album number three.

Download post as PDF file

Review: Lords Of Acid – 'Pretty In Kink'

'Pretty In Kink'

Back once again to give dance floors the world over the rough treatment they deserve. Belgian/American dance legends Lords Of Acid return with their sixth full-length studio album, 'Pretty In Kink'. Another sexy slice of groove-laden dance hits heavy on dirt and depravity, Praga Khhn and his minions are out to dominate in a big way.

Never ones to be pigeon-holed in any one particular style, LOA have always enjoyed mixing in elements from different genres while keeping their trademarked sexy beats and dirty bass at the helm. And 'Pretty In Kink' continues that tradition, whether it be straight-up dance appeal with nods to ‘80s and ‘90s anthems, or down-tempo sleaze and sensuality, or even the borderline pornographic.

Tracks such as 'So Goddamn Good', 'Before the Night is Over', 'My Demons are Inside', 'Sex Cam Girl', and 'What the Fuck!' are undeniable dance hits full-of thumping beats, compelling bass and infectious melodies that grab you in a sexually aggressive way and drag you onto the dance floor. While the likes of 'Androgyny', 'Ma Fille de Joie', and 'Goldfinger' amp up the sensuality of Khan's melodic songwriting ability, even doing his best take on James Bond with 'Goldfinger'. It's a strong track list that display's the full-scope of the LOA sound.

Production-wise, even with quite overt nods to the dance anthems of the '80s and '90s the album doesn't try to replicate them fully. Instead everything is fresh and modern with just hint's of nostalgia included to add a little more depth to the tracks.

This is another strong outing in the LOA catalogue. Sure it plays up their overly sexual side as usual but there is still plenty of innovation on display and the band's ability to keep coming back with fresh and engaging dance music is truly admirable. It may not have the oomph behind it that some of their previous albums have enjoyed, but it is still a very decent offering.

Download post as PDF file


Vancouver-based post-punk crew SPECTRES have inked a 5-album deal with Toronto-based Artoffact Records that will see the band's catalogue reissued. A new album is planned with the label in early 2019.

Formed in Vancouver, BC in 2005 and commonly cited as kicking off the renewed interest in the post-punk sound in Canada, SPECTRES emerged from the DIY Punk underground and have released three spectacular records, toured both the United States and Europe, and have been praised for their genuinely original blend of post-punk and goth-rock.
SPECTRES vocalist and founder Brian Gustavson wanted to blend the grassroots and independent ethic of anarcho-punk with the anomie and cold, modulated sounds of 1980’s Post Punk and death rock. Though the band’s output has matured with time to embrace a wider range of new-wave and shoegaze influences, their ethos remains rooted in anarcho punk. The blending of these influences allows for the curious juxtaposition of 80’s influenced pop sensibilities with lyrics that explore the alienation and cynicism of modern life and the search for hope in an increasingly terrifying world. One of the band’s core strengths is its sonic aesthetic, which ranges from brooding and confrontational dark punk to ethereal pop influenced dance anthems. SPECTRES’ live show harkens back to their punk origins bringing a direct and aggressive approach to their performances intended to convey a feeling of estrangement and urgency to the audience.
The band's three albums, Last Days, Nothing to Nowhere, and Utopia are all streaming on Bandcamp and will be reissued on CD on October 19th.

SPECTRES live 2018
October 4th-6th, San Antonio, TX (San Muerte Festival)

Download post as PDF file


MUTE and specifically the influential independent British label’s founder, Daniel Miller, have never been ones for looking back. The label has always sought ways to celebrate all of its varied artists, but there has never been a focus on just the label.  MUTE 4.0 (1978 > TOMORROW) is not about to change that, but it has prompted the idea of creating a series of special events and releases that will go further than 2018 with plans for 2019 and beyond.

MUTE 4.0 (1978 > TOMORROW) acknowledges the launch of a label that started out of necessity rather than design (to release the 7” single by The Normal, ‘T.V.O.D.’ / ‘Warm Leatherette’, recorded by Daniel Miller on a KORG 700S keyboard with a TEAC four-track recorder), and marks the past 40 years, but crucially, looks forward to the label’s many years to come as it travels unapologetically into tomorrow.

This month, Mute will be at Sea Change festival in Totnes on 24/25 August alongside Mute artists Josh T. PearsonChris CarterDaniel Blumberg, Can’s Damo Suzuki and Lost Under Heaven, all performing live - and Cosey Fanni Tutti, who will be in conversation with Emma Warren.

On Saturday 13 October, Mute will take over Rough Trade East in London for a whole day of performances, including a lunchtime modular set from Chris Carter plus shopscapes from Simon Fisher Turner.  In the evening, A Certain Ratio and Lost Under Heaven will play live, and Maps will be DJing. The bar will be open, and everyone’s welcome!

In addition, Alt-Classic Album Playback will present a playback of Swans’ 1996 album, Soundtracks for the Blind, recently reissued on vinyl for the first time on Mute. Nick Soulsby, author of Swans: Sacrifice and Transcendence, will be guest speaker at the event taking place on 23 September at Shacklewell Arms. Future playbacks will include a series with Pitchblack Playback, details to be announced.

Forthcoming releases that tie in with Mute 4.0 include artists from across Mute’s catalogue as well as newer signings to the label – A Certain Ratio’s ACR:SET is out on 12 October and features two new tracks from the band, Barry Adamson’s Memento Mori Anthology 1978-2018 is out on 26 October and features a brand new track and Yazoo release Four Pieces, a four disc box set collecting their two albums alongside remixes and rarities and their BBC Sessions collected together for the first time. More releases will be announced in the coming weeks.

A special series of reissues on limited edition coloured vinyl are planned for October, and will include “probably the world’s first teenage electronic pop group”, Silicon Teens, and their one and only album ‘Music For Parties’; Mute’s first signing, Fad Gadget - ‘Fireside Favourites’; Josh T. Pearson’s lauded ‘Last Of The Country Gentlemen’, Apparat - ‘The Devil’s Walk’; Vince Clarke and Martin Gore’s project, VCMG - ‘Ssss’ and A Certain Ratio - ‘The Graveyard & The Ballroom’. Pearson will be released on gold vinyl, Apparat on violet and the rest will be on very limited Mute 4.0 orange vinyl.

Further releases to be announced include Mute Synth 4.0, the third handheld analogue synth collaboration between Mute, Adrian Shaughnessy and Dirty Electronics.

From The Port To The Bridge”, a retrospective exhibition of the work of Thomas Leer and Robert Rental, is at the Beacon Arts Centre, Greenock from 2-28 October. The exhibition will include a new film about Leer and Rental featuring interviews with Daniel Miller, Chris Carter, Cosey Fanni Tutti, JD Twitch (Optimo), family members and more. Their groundbreaking work was a huge influence on early 80s synth pop and the independent music scene in the late 70s. Daniel Miller met Robert Rental at a Throbbing Gristle performance and then went on to work with Rental (releasing Live At West Runton Pavilion, 6-3-79 on Rough Trade in 1980) and release music by both Robert Rental and Thomas Leer. Robert Rental's classic double a-side single ‘Double Heart’ / ‘On Location’, was Mute's 10th single in 1980.

Mute and Thames & Hudson recently worked together on Mute: A Visual Document, a visual history of the label. One of Uncut and Rough Trade’s Books of the Year, it was described by the shop as “Beautifully bound, this book is as iconic and dynamic as Mute's musical past”. Learn more about the publication here: 

New Mute merchandise will be launched in the coming months, and future announcements will include a specially commissioned release well as unique events and evenings.

Download post as PDF file


Next year's E-tropolis festival announces the first six acts joining the previously announced bill, which includes, Apoptygma Berzerk and Suicide Commando. Joining the festival are:

Two more bands and the DJs will follow soon.

The festival will take place on 16th March 2019 at Oberhausen Turbinenhalle, with a pre-festival party the night before.


SYNTHATTACK + ES23 + RROYCE + 2 additional bands
+ after-show party
+ merchant gallery + chill-out areas
+ official pre-party @ 15. March | Turbinenhalle 2
  (admission included in festival ticket, standalone tickets available at the door)
Info: &
Original tickets / 5+1 & combi-tickets (worldwide shipping): 

Download post as PDF file


The Doomsday clock strikes two minutes to midnight, The World is a horrible place to live in and The Apocalypse feels like it is on the horizon - the perfect time for a new album by bonkers Irish Extreme Electronics duo DRUGZILLA.
Horrific orchestral synths and terrifying samples merge with relentless hardcore techno and aggressive splitter blasts. Barbaric, insane, savage… WARNING! This is not for the 
faint hearted!
Featuring guest appearance’s from the cream of the extreme music underground includingVitriol (ANAAL NATHRAKH), Mories (GNAW THEIR TONGUES), Drunk (ANAAL NATHRAKH / FUKPIG), Zara Scumshot (SKAT INJECTOR), SCHIZOID (D-THARSH) &DIGICORE.
This is the soundtrack to the end of the World. "Laugh? I almost lost my window" is out now via Human Jigsaw.
Laugh? I almost lost my window” track listing
1. Drug Addicted Fuck
2. Malicious Communications (feat. Zara Scumshot / Skat Injector)

3. Survival Of The Fittest
4. Ratpocalypse
5. Distortion Lies In The Lens Behind Brain
6. Give A Man A Gun And He Will Rob A Bank, Give A Man A Bank And He Will Rob The World
7. 0 FUCKING 8
8. Circle Of Mania
9. Kill Your Way To A Peaceful Solution (Drugzilla remixes Digicore)
10. How Can You Not Like Bullet Belts… It’s A Belt Made From BULLETS
11. Why You Never Became A Dancer (feat. Vitriol / Anaal Nathrakh, 
Mories / Gnaw Their Tongues, Drunk / Anaal Nathrakh & Fukpig, Jay Schizoid / D-Trash)
12.Cuntry Folk

Download post as PDF file

Saturday 18 August 2018


Skeletal Family: Mel Butler Photography

Leeds' very own goth cultural festival Goth City returns in October for 10 days of top quality music, theatre, writing and art.

Goth City Festival is a city-wide musical and cultural festival that celebrates the gothic and post-punk heritage of the city and of Yorkshire generally. Events include, gigs, clubs, discussions, spoken word, acoustic and social events at more than six venues and feature more than 20 different bands and performers. In keeping with the DIY and underground spirit of the event, the festival is held at the best alternative venues across the city, including the co-operatively owned Wharf Chambers and renowned underground Leeds' venues such as the Fenton, Bad Apples and Fox & Newt.

This year sees West Yorkshire goth legends Skeletal Family, pagan rock heroes Inkubus Sukkubus and recently reformed '90s goth favourites Rome Burns headline. Other notable acts include local rising starts FEHM, the Sisters of Murphy, and Saigon Blue Rain from Paris amongst over 20 acts over ten days.

All proceeds from Goth City Promotions events during the festival are donated to PAFRAS (Positive Action For Refugees and Asylum Seekers), a local charity for destitute refugees and asylum seekers. Their work providing financial and practical support to destitute refugees is vital in the current political and economic climate

Joel Heyes from Goth City Promotions said; “We are delighted to have so many fantastic acts from around the UK and Europe playing at Goth City Festival this year, as we continue to build a progressive and inclusive independent event that celebrates the past, present and future of Yorkshire gothic culture.

Goth City Festival is proud to have raised nearly £6,000 for PAFRAS doing our first two years. We support the charity not only for their invaluable work but also because we feel it is important to root the festival in grassroots community activism. Funds raised bat the event will fund a specific project providing therapeutic support to destitute women refugees. We have a set a fundraising target of £3,000 to ensure that this project is fully funded.”

Goth City Festival 2018 - Confirmed Schedule

Thursday 11th October - Launch Party featuring:
Churchgate + Aether Skies + The Seventh Victim and the infamous Goth City Raffle!
Bad Apples Rock Bar, Call Lane, Leeds. Doors 8pm-11pm, Pay as you feel. Festival tickets £35.

Friday 12th October -
Goth City Festival Opening Ceremony featuring:Inkubus Sukkubus + Dyonisis + Seventh Harmonic + DJs to be announced
Wharf Chambers, Wharf St, Leeds. Ticket £10. Festival tickets £35. Doors 8pm-late

Saturday 13th October -
Occupy LS6!: The Goth City Otley Run Otley Road/Woodhouse Lane, Leeds. 2pm start.

Saturday 13th October -
The Sisters of Murphy
The Fenton, Woodhouse Lane, Leeds. 8pm-11pm. Ticket £5. Festival tickets £35.

Sunday 14th October -
Black Gold!: dry social featuring food & stalls
Wharf Chambers, Wharf Street, Leeds. 3pm-6pm. Free admission.

Monday 15th October -
Shadows of Goth - open mic ghost story night
Hyde Park Book Club, Woodhouse Lane, Leeds. 8pm-11pm, free admission

Tuesday 16th October -
An Evening with Anne-Marie Hurst
Live interview by
Tim Synyrstyr (The Blogging Goth) and Q&A
Wharf Chambers, Wharf Street, Leeds, 6pm-8pm. Tickets £5 . Festival tickets £35.

Wednesday 17th October -
A Night of the Dark Arts III featuring: Alice Nicholls + Anna Smith Spark + The Two Buskateers. Compere: AMereKat
The Fox & Newt, Burley Street, Leeds. Doors 7.45pm, entry £5. Festival tickets £35.

Thursday 18th October - the Penny Magpie Theatre Company presents
'Edith in the Dark'
The Lending Room @ The Library, Woodhouse Lane, Leeds. Door 7.30-10pm. Tickets £5. Festival tickets £35.

Friday 19th & Saturday 20th October -
Goth City Festival: Season of the Witch featuring:Skeletal Family + Rome Burns + Saigon Blue Rain + FEHM + Last July + The Way of All Flesh + Isolation Division + The Golden Age of Nothing + Voi Vang + DJs to be announced
Wharf Chambers, Wharf St, Leeds. Weekend tickets £20, day tickets £10/£15. Festival tickets £35.

Sunday 21st October -
Goth City FC vs Real Gothic FC
Middleton Leisure Centre, 1pm-4pm, 2pm kickoff. Pay as you feel. Festival tickets £35.

Sunday 21st October –
Aftermath featuring DJs and surprises
Bar Santiago, Grand Arcade, Leeds, 8pm-11pm. Festival tickets £35.

Download post as PDF file

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, history 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 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: Thank you & 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

Download post as PDF file

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.

Download post as PDF file

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.

Download post as PDF file



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

Download post as PDF file
Twitter Delicious Facebook Digg Stumbleupon Favorites More

Enter your email address:

Delivered by FeedBurner

[Valid Atom 1.0]

Click to download our free compilation albums!


Radio Nightbreed