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.

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Review: Ritual Aesthetic – 'Wound Garden'


Review: Axegrinder – 'Satori'


Sunday 30 December 2018

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.

'Blood Pack Vol. 6.66' is now available from our bandcamp page.

It's been a lot of work and I just hope you all enjoy it, discover a new band, and then go and buy all their albums.

The compilation is our biggest to date and features a massive 27 tracks including many exclusive or as yet unreleased tracks.

The sixth and final free annual compilation album features the likes of Angelspit, Noir, IIOIOIOII, Flesh Eating Foundation, ßęđŧīmĕ Šŧōŗĩėş, Hardcore Pong 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:
As this is a *free promotional item, feel free to share this among your friends and family. However, please refrain from uploading this on to torrent or other free download sites. This is a free compilation available through our bandcamp page and will remain so. If you would like to share this album please use a link to our bandcamp page.

Track List:

1. Angelspit – Tragic Sexy Muse (Intravenous Mix)
2. Noir – TimePhase (Die Sektor Remix)
3. Sine Division – Solitary Observer
4. Injustrial – Porcelain Doll (It's Not You It's Me Remix by The Gothsicles)
5. Lorelei Dreaming – Of Stars (Single Mix)
6. RCH IV – Road Opener
7. IIOIOIOII – Reunite
8. Deflexity – Reflections
9. BolPaVox – Deep Dance
10. May May Graves – Die Like It's The 80s (Intravenous Mix)
11. Flesh Eating Foundation Feat. JOHN 316 – Spinality (intravenous Version)
12. ßęđŧīmĕ Šŧōŗĩėş – ßąbęł
13. Miel Noir – From the Ashes (Crvor Martyrivm Remix)
14. TONTTU – Tonttuuden loputtomassa suossa soi pimeyden ääni
15. Veil Of Thorns – Something Passes Into View
16. Hardcore Pong – Space Course Golf Course (Intravenous Mix)
17. Howl – Squall
18. A Slice Of Life – Sweet Sin
19. The Mannequin Factory – I Found God (Intravenous Version)
20. Non-Bio – Believe
21. Humanfobia – Electronic Voice Phenomenon
22. Miss Ballistic – Scream (Intravenous Mix)
23. Dirty K – Provoked
24. Vlimmer – Moskenstraumen
25. Sugarplum Suicide – Burn Me Alive
26. Blood Magick – Your God Is Dead
27. Stahlschlag – Storm

*Please note: We have now switched over to a Name Your Own Price model from now on - Don't worry, we're not charging you for a free download (that would be stupid!) - instead we're asking you to make a donation of just £1 which we will then be donating **DKMS UK ( a charity that is helping to fight blood cancer.
If you don't want to donate, that is absolutely fine as well. We just saw this as an opportunity to something good.
**We are not an official partner of DKMS, but we will be periodically donating the proceeds of this download compilation to them.

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Tuesday 11 December 2018


The strange thing about the history of the gothic movement in Britain is that this generally neglected and often forgotten cultural current has roots which go back centuries, crossing paths with other movements and art forms, many of which are long lost, misrepresented, or misunderstood. The role of gothic theatre in the formation of modern goth culture is one such example.

The second wave of British gothic culture effectively began with the first production of 'The Bells', at the Lyceum in London, in 1871. This single production was a key event in both the renaissance and eventual respectability of British theatre, but also indirectly laid the basis of twentieth century gothic. The fact that it is generally ignored these days, then, is a curious and unfortunate development.

'The Bells', a translation by Leopold Lewis of the 1867 play 'Le Juif Polonais (The Polish Jew)' by Erckmann-Chatrian, was first performed by Henry Irving in that production. Irving had taken over management of a failing Lyceum earlier that year. Irving, a renowned 'actor-manager' who took keen (some may say overbearing) interest in the running of the theatre and set the artistic direction of the productions, each of which would invariably star himself, was a huge star in the theatrical world at the time – but even he had his work cut out in turning around the fortunes of the Lyceum. There were many empty stalls when 'The Bells' made its debut. So the huge success of the production was, then, extremely timely.

The play itself deals with a fairly simple gothic trope: a wannabe Silesian Burgermeister who owns a tavern who kills a passing Jewish trader for his money, only to tormented by his guilt in the form of the sleigh bells of his victim. The ingredients of the play – cursed ambition, petit-bourgeois avarice, guilt, madness, and not a little anti-Semitism – were standard fare. But what was more unusual was the powerhouse, barnstormingly visceral performance that Irving's production gave. The histrionic, hammy performance by the Old Man was so electrifyingly emotive that it provided all the thrills and chills that a Victorian theatrical audience were craving; the third act of the production was essentially a showcase for Irving's singularly egomaniacial vision. It was, as Garth Marenghi would say, “raw, balls-to-the-wall horror”, and it was a smash hit. It ran for a spectacular 150 nights.

This production had a number of repercussions. It had the result of making Irving's career, and taking British theatre a massive step forward towards respectability; Irving would later become the first actor to be Knighted. It also rekindled the Victorian appetite for the macabre, and with it the next generation of gothic.

But probably most importantly it provided the basis for the figure that would dominate that next gothic wave. Irving's theatrical manager was one Bram Stoker, who would become so enamoured with the visceral performances Irving gave that he intended his new character – one Count Dracula - to be performed by him. Indeed, the first ever stage performance of 'Dracula' was a dramatised reading on stage at the Lyceum – and the description of the Count in Stoker's original novel, with his grey hair and 'aqualine nose', bears an obvious to the Old Man himself.

Where is that legacy now? Well, in one of those curiously self-defeating things that characterise the goth movement the Lyceum, after being derelict and then a bingo hall, is now showcasing 'the Lion King' on a daily basis whilst we were busy trying to get 200 bands in a small field in the midlands. Irving died at the Midland Hotel in Bradford, just a few miles from Goth City, although this fact in itself has also been largely ignored. 'The Bells' today is just a footnote in the backstory of modern goth.

But that's not important to dwell on at this time. What is important is to remember that ham pays, that audacity pays off, and that things begin. All the time, they begin.

Merry Christmas, gothics!

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