Review: Liquid Divine - 'Get Off My Planet'

LIQUID DIVINE

'Get Off My Planet'

INFACTED RECORDINGS

The tales of Liquid Divine are an electronic lack lustre of melancholy shapes of energy & electronic signature, which at moments becomes a combined force of reckoning.

I have always enjoyed Liquid Divine. Great dream tracks, where the music is setting the destination in your brain’s adventure. Problem was; it was a mash of everything, and the albums left your sense organs confused and not knowing which part they should have attacked in your nervous system.

Christian Fritzsche and Guido Stoye have seen themselves go rather unheard since the prior decade, as their feats and compositions in the electronic world, were not the highest of features in dark subculture's populism. However; they have composed a new album. With vocal appearances from Diskonnekted’s Jan Dewulf and Seabound’s Frank m.Spinath. This factor alone, either complimentary or fundamental; blew up Liquid Divine’s past, and made 'Get Off My Planet' a blunt injection of angelic falls of grace of depression and sub-verse.

‘Now And Then’ is a heavy start into the album and really commits to a 60% Seabound composition. The track list really starts at the 3rd, where a new organised Liquid Divine noise comes out with ‘Fireflies’. Straight after this synth acceleration, the following tones of 'House of Leaves' see the duo already hit the BPM into cruise control.

‘Die To Meet You’ is a pleasant hybrid. It plays with the momentum of the song and fantasy frequencies; before hitting the vagary melancholic tones of ‘Regolith’. ‘Home ground’ accelerates you with a 90 degree turn to get out of there! With clear vocals and high distortion.

‘Little Soul’ is the epitome, of why this composition has a remarkable score in 2016 charts of alternative albums. Highly progressive, yet with dark centrifuges, that spin the mind into a fierce spiral of all that is black & fluid. The signature key on the album's success is the highly clear vocals, which are underestimated in a lot of releases. 

The final four tracks in their own way tell us we are reaching the epilogue. ‘Here She Comes’ has a clear awakening in rhythm that lets us dance out of the mind’s entrapment, or does it? ‘Trillion’ is bringing the pillow back to sooth oneself with calm symphonies of making you accept the fact you are not going to change.

Here we are, at the end with ‘Basic Bitch’. A modern Liquid Divine outre; hitting the mind’s best and worst parts. No lyrics are necessary here until the next time, as a slash of distorted drum & bass get liquefied, with divination of a Coma girl’s wet dream.

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Film Review: Gothic – 'Beneath The Snow – Piovono Ombre'

GOTHIC
'Beneath The Snow – Piovono Ombre'
Dir: James Maximilian Jason

'Beneath The Snow – Piovono Ombre' isn't a film. Yes, it is in the film review section but that is purely because it comes on a DVD. Actually 'Beneath The Snow – Piovono Ombre', the latest project from the Gothic multimedia project based in Italy since 1989, is something much bigger than that. The result of the work of 28 musicians, artists, actors, graphics, technicians under the lead of James Maximilian Jason and David Bosch bring together film, artwork, music, lyrics, and much more besides. It is part film, part video game, part musical journey, part art exhibition, and something much more.

The film element (performed in Italian with English subtitles) sees a number of stories converging under the overall arc. The viewer is challenged to discover the real meaning behind the events through hidden symbols and messages. A truly interactive experience, the viewer must take god-like control of the events at strategic points to inform the progress of the story. Overall there are eleven interactive points, a total of five stories and four possible endings, which means that multiple viewings are guaranteed to reveal something new. The result is much like one of the old “create your own adventure” books, however with everything playing out before your eyes instead of in your imagination.

The soundtrack is expansive and comprised of mainly instrumental electronic gothic pieces that give the piece a strange and dreamy atmosphere. Coupled with the very low budget presentation it has a 90s VHS feel to it that comes off as a little cheap, but entirely reto chic given the growing affinity for glitchy analogue effects in the visual arts at the moment. However the overall presentation is so surreal and unnerving that it remains compelling to watch.

With a near two-and-a-half hour run-time and a blend of Italian with English subtitles, things can get very hard to follow. Luckily though there is a 32-page booklet included with the release that lays the stories out in plain English as well as reproductions of the artwork that is seen throughout the film.

'Beneath The Snow – Piovono Ombre' is an ambitious project that seeks to become something truly interactive. Budgetary constraints aside it remains powerful and engaging across it's long run-time and in terms of presentation evokes the likes of David Lynch's early films such as 'Six Men Getting Sick', 'The Grandmother', and 'Eraserhead', as well as the likes of Darren Aronofsky's 'Pi', and the classic surrealist film 'Un Chien Andalou'.

There isn't really a set genre – a psychological exploration of the subconscious with horror atmospheres would be it's best fit. The dark and sometimes bloody action walks hand-in-hand with an ever present sense of mystery and intrigue. We can't ever be sure of what is transpiring based on it's face values and the decisions we make based on our interpretations of it directly effect its outcome.

Unsettling, claustrophobic, occasionally funny, and always challenging, 'Beneath The Snow – Piovono Ombre' may be a lot to take in for a casual viewer. However fans of avant garde art and cinema, as well as those with a dark surreal outlook on life will find this a very interesting prospect to explore.  

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Interview: King Dude

The Hang Man's Song...

"I guess when my metal band was winding down, because people were on too much drugs, I had to do something. So I picked up an acoustic guitar, because it’s harder to be a one man metal band because that is just overall a pain in the ass."

America, from the dessert to the valleys; it creeks, while death thrives. Religion calls us to repent, whilst others ravish in the light of the dark temples. TJ Cowgill has had acts of different shapes and sizes; though with King Dude, he is a sleek cut vocalist that breeds his death through charm of cigarettes and whisky, as he sings his melancholy creations upon his audience.

Seattle is where the devil came from; where he chose to turn to create a one-man folk band, due to a single band member metal act has greater tribulations to go through. ‘Fear’, was where I first encountered him. An album of lost America, in a filthy energy of complete rage.

‘Songs of the flesh and blood’ released this year gives a more reconciliatory feel to the TJ’s dark light. Looking at previous albums, such as ‘Love’, there is a move away from traditional Folk, to a more southern country style.

Currently on his European tour, tonight is in Vienna. Over a cigarette and a good volume of bourbon, myself and my neo-folk guru Matthias Hollerer ask the Luciferian on his act of King Dude and where he is driving to next.

Intravenous Magazine: When you came to Austria last year, did you expect such a welcoming turnout?

TJ Cowgill: No I was completely surprised, but I am always surprised when I go to a new place and there are people there to see me. Because you could end up going to a new area and seeing ten people; so no I was very surprised there with the turnout I had last year.

IVM: Do you see a big difference between the Neo-folk scenes here in Europe in comparison to the US?

TJC: It’s not the same, though the US is much bigger. So there are a lot more areas which have never heard this type of music before. You use the term neo-folk; I don’t technically play this, however I believe there a lot of people in that scene, who have found out about my work by my affiliations with some of those artists. It’s hands down better here than in the US in general. If I had the choice to choose where to tour more often, it would be in Europe and you see that in my touring schedule, as I am three times more here, than there, because the scene is better.

IVM: Many music artists in the scene find it difficult sometimes to get the right permissions to travel to the US, do you have any difficulties with that in Europe?

TJC: Oh no, it’s really no problem.

IVM: To put your music in a nutshell for me it’s a combination of an evangelical folk mixture, with a bit of Gospel creeping in and a dash of neofolk. So it sounds like the story of an angel having an affair with the devil. Are you try to be the angel or the devil, or is that part of you that ends up trying to describe it?

TJC: I’m not sure actually, that’s a good question. I don’t end up applying genres to my music. As one may be soul, another neo-folk; though I am neither. I am not a country, nor rock and roll, though I end up in those genres. My conflict between the angels and devils, is mainly there as I find it interesting to write about. Love & Hate, revenge and redemption; all these things are great to write about. Though no song is pure love, or pure hate, they will have both or more.

I love using Christian allegories, because they are super fun and a really relevant in my life and upbringing, as well as less-Christian references because they are also very relevant in my upbringing. My mother is a practicing witch, and my father is an evangelical born again Christian. While I am neither of those, I grew up in those two separate households with those two separate influences.

I really reconciled any differences I had with either faith I had, and came to my own faith which is Luciferin and in my Luciferin principle, there is a balance between good and evil, and reconciliation   between both, which I lean more to the narcissistic side of things.

IVM: Are you a vegetarian?

TJC: I was ten years ago, I was a vegetarian from the age of 16-26, and I am now 37.

IVM: Because my next question is do you grill or fry your steak?

TJC: Depends what’s there. I have a cast iron skillet for that, that’s more of an American thing, I don’t know if that’s popular over here. I live in the pike place market in Seattle, where I can get fresh food, which means I eat very well at home and it’s pretty cheap also.

IVM: Do you see yourself as American or from Seattle?

TJC: Well it’s pretty much the same thing, like there are mini factions like southerners and Texans; as you wouldn’t call a Texan a southerner, as they mean two different things. There are really only people who are from New York. You really wouldn’t define Seattle, as it is a rather boring place in comparison to maybe Copenhagen, in the way it’s clean and grey… not really much of a personality.

IVM: You have this 21^st century Johnny cash resurrection going on with the imagery, is that something that accidentally occurred?

TJC: No I think Johnny cash was definitely an influence on me, because who doesn’t like Johnny Cash. Though I didn’t say in any press release that I am trying to be Johnny cash; I studied more Roy Orbison, as he is more relevant I believe than to what Johnny did. But I think the first thing people think is him, because he was a bigger personality.

IVM: How did you become entwined with this project King Dude, because you have several other projects?

TJC: I started out playing punk and metal music because I was a kid and wanted to be loud. But I always liked country music, British folk music for example bands from the like Richard Thompson. I guess when my metal band was winding down, because people were on too much drugs, I had to do something. So I picked up an acoustic guitar, because it’s harder to be a one man metal band because that is just overall a pain in the ass.

IVM: How did teen Cutulu get into all of this?

TJC: I toured a lot back then and from that I learned how to tour.

IVM: Is the record label not just religious music yours?

TJC: Yes that’s mine, I usually use it to put out my own records and also some of my friends, if they get there shit together, then I’ll be there shitty label for them.

IVM: Is there anything, other than music that has been a big part of your life?

TJC: I have been artist most of my life. I own a clothing company called ‘Actual Pain’. I wanted to be a painter, but that didn’t work out, so I started making shirts and that went really well, and that’s what I have done for ten years now.

IVM: Being the owner of your own record label, what are the big advantages?

TJC: 1. You don’t have to answer to anyone

2. You don’t have to tour with any band you don’t want tour with.

3. You don’t have to put out a record, when you don’t want to.

4. You get all the money from it.

You don’t have to rely on anyone for money to make your own record. If you are capable, like I am, I couldn’t see any reason to be on somebody else’s record label. Because I have a serious problem with being associated with other artists on the same label. I would never want to be on the label of a band I didn’t like, because that draws the same attention in people’s minds and see a parallel. Dais records was the only record label I have ever liked to be on, but I still won’t do a release with them. I am on Vaughn records for Europe, but Sven is like my brother and I trust him.

IVM: Is it lucrative to come over here?

TJC: Definitely, we make a lot of money touring. It is very important to me, because it employees me, my band, my driver, my booking agent and the people at home, who ship my records. There are a lot of people who I have to look after, not just myself. So I am very serious about this kind of stuff.

IVM: If we are looking at a pie chart, where do the sales come from music wise?

TJC: Digital and records are basically split down the middle, though digital is extra, I base myself around being a physical release, primarily vinyl and I only produce cds, because people want them. Digital music to me doesn’t really count, its just an extra thing with ones and zeros. If people steal my music online, so be it, but if people stole my records, I would be pretty upset.

IVM: Do you think that musical greed has taken over, because of file sharing? For myself when I download something, overall I believe I have less connection and concentration than I would have if I had bought the CD

TJC: I can’t blame people for downloading, because there’s so much shitty music out there and so much more, because you don’t need to go to a studio anymore to record, you can do it at home. Since the rise of synthesizers etc. so there’s so much shit out there, how are you going to know if you like it, if you don’t give it a try and the days are gone where you had to go to the record label and you would look at the album artwork to decide if it was a good release and maybe they would let you play it in the store, and then you’re stuck with it.

IVM: Is there any music you have picked up on tour that you have taken a liking to?

TJC: We did a few show with ‘Dllch’, we did some shows with gold and zene shrek whos an idol to me.

Has there been a moment on tour you will remember?

TJC: Well I drink so much whisky it’s hard to remember. My whisky preference is bourbon, I don’t like Scotch.

(Silence at the TJ’s loathe for scotch)

IVM: Is King Dude currently possessing you at the moment for the future or does it have an end date?

TJC: No it has an end date and it’s relatively soon, and it’s all planned.

IVM: Is there anything about King Dude you don’t like?

TJC: There are definitely times I don’t like anything about it, not a single a thing. But I think that is overexposure to King Dude from touring for so long. I think anyone who tours too long, starts losing inspiration in their music and what they’re doing. So yes it can be difficult at times, though I am always going back to it and trying to improve on it, from the last time.

The monotony of touring can be a drag at times, but that’s my job, that’s what I chose to do. I will be on tour another four months this year and plan on finishing another record next month. So its full steam ahead and I can get consumed, more obsessed with it; that’s the way I am. I guess I don’t like music sometimes.

Matthias Hollerer: Are there any songs you don’t want played live anymore?

TJC: There are songs I never play live, because they don’t work or they are too difficult for me to play live. But I like playing the songs that people expect me to play, because they’re fun.

There’re a lot of dicks on the wall in here, there must be a lot of girls who come to this venue and draw penises, that’s what I think.

(After a bit of debauchery and swearing we somehow came to finding out the King’s family tree)

TJC: My sister took a swab of her gums and sent it this place called 23 and they do your genetic background, to determine where you’re from, and it turns out that I am 99.6% where you’re from (Ireland), so my family tree probably doesn’t have as many branches as it should have. I would like to be from the Doggerlands, it’s a place that is between UK and Europe that doesn’t exist, as it is underwater. It sounds cool.

IVM: Have you played in the UK?

TJC: Yes, I like playing for people in London, but I find London terrible because it is hard to get around, very expensive, very grey; it’s not a fun city for me, but I have a lot of friends there. I had a private party and played for my friend Simon, who tattooed me when I was there and that was a lot of fun, but that doesn’t change my thoughts about the city.

IVM: This is going to be a shite question, but describe your perfect Morning?

TJC: Well I probably get up, I feed these crows outside my window that live in the tree. I walk my dog and I work from home and eventually get dinner with my girlfriend and go to sleep. I prefer a peaceful day, with no sound, maybe see some animals… like some crows, and my dog and just chill. No driving a car, as I don’t like driving around and not taking a plane, because that’s my fucking job. I think last year I took fifty flights in 3 months. I ended the tour in Tasmania at a festival called dark Mofo which is a cool/weird/Avant-garde festival, which was a lot of fun, with a lot of mullet haircuts.

IVM: Would you be interested in touring North Korea and what do you think of Kim in June?

TJC: Sure if they asked me to, I haven’t heard it yet, but it sounds funny. But I love Death in Rome.

IVM: Is there anything that you would like to speak about with ‘the songs of the flesh and blood?

TJC: It was a tough record to make for sure. As it was a trying time of my life, where I broke up with my girlfriend for two years. It was one of the first records I approached from a personal point of view, not that the other records are lies, just more narratives. There is more truth about me on this record. It’s not what I set out to do, but it’s what ended up happening, as I felt really fucking depressed and the only thing that made me better was writing those songs. You can hear on the record how miserable I am in some of those songs, because you can’t fake that stuff.

IVM: Do you think sometimes your music career was like making a deal with the devil?

TJC: Absolutely not; if anything it brought me away from what I consider to be the devil. Artists are a fucked up group of people, who have to tell people how they feel all the time.

IVM: Is there anything you would like to say as an endnote?

TJC: No, but thank you very much for the interview and meeting you both.

IVM: It was my pleasure.

Interviewed by: Dominic Lynch aka DJ LX-E

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Interview: Rome

A La Faveur De La Nuit...

"[...] I definitely don’t want to be in a political band. I like keeping an open mind, as there is not the one message. I do address specific stuff, but I want to do it in an open minded way."

In Luxembourg, there lies the tales of hollow flowers and exiled lands. There lies the tales of men's fear, recorded and embedded from the eyes of Rome. 2015 celebrates a decade of compositions that led Jerome Reuter’s music into the neo-folk scene. A decade of work, which brings in political questioning from the archives of history, brought to life in a desolate theatrical play of words and sounds. Created in a ballad of acoustical guitars and drums that vibrate tyranny towards silent death, with the softest touch.

The autumn colours of Vienna begin to blossom in the seventh district of Vienna. IVM makes a brief visit before sound check to interview the actor, absinthe seller, now musician on his European tour. 

Intravenous Magazine: So if we are looking at yourself are you a Hamlet or a Coriolanus kind of person?

Jerome Reuter: Yeah I’m probably more of a Coriolanus kind of guy, for the obvious reasons!

IVM: Are you currently a full-time musician?

JR: Yes; before I was basically a student, I studied languages and worked day jobs, then things started happening with music and that led me to Rome.

IVM: What brought you into the “neo-folk scene”?

JR: I was playing in many different bands, and one by one they began falling apart. I was left to my own devices and it ended with me doing what I felt like doing. Rome was my own little project, I was doing for myself and I had no intention of turning it into a band, as it never went that well. Where people have different choices to make in our lives and career options. I did what I was in the mood for; it was influenced in some way by the dark wave/ punk scene. 

IVM: Where were you when you came to this conclusion of making your own band? 

JR: In Heidelberg whilst studying. Basically the current band I was in, was falling apart, mainly due to some of the band members living in different countries, making it not that easy, including myself I was moving around quite a bit. I was not living too far away from the location, which is where I also recorded the first Rome demo. It was a big blur this time as I was participating a lot in theatre also, for a big part of 2005 I was not creating music, just concentrating on theatre. 

I had this big decision to make on which path to choose, as I knew I could only do one properly. So for that one year, it just happened I was in involved in a lot of productions, which was lot fun, though I could do without theatre and not without music. At this same point in time I had no band! (Laughs) Partly because of the theatre, but I ended up being the only one left and having a solo project, in comparison to a studio one, I did not have to worry about how many guitar tracks I am allowed to record. After the project then started to kick off I was in a tough bind, as I had to then find a way to put it on stage, so in the early days there was a lot of backing tapes, whereas now there is much more of a real band with me. 

IVM: What brought about the name Rome?

JR: Well, since I was starting afresh and I had all these nick names back in my child punk days and you would use the nickname on the record label, so I decided to shorten my name. It is kind of silly, though at the same time it is a cool name, especially when you mention history, like you mentioned Coriolanus for example. As much as it is derived from my name, it certainly has a different vibe to it.

IVM: With your 2014 release 'A Passage to Rhodesia'', how does the way Rome was initially compare to the 2014 version?

JR: It has always been different for every record really, when I looked at the discography which I was forced to this year with the anthology release, to look back is something I do not really like doing. When I look at the different albums, what I see is the different people who were involved with it, the period of my life and what inspired me and 'Rhodesia' in that regard was just a different chapter. It was with me for a while longer than others, as I had the idea quite early on. It could have been the fourth album, but the theme and the music didn’t quite gel until last year.

IVM: You touched on the Anthology, Is it a horrible feeling having to make one, is it more of sales thing for the ten years than a studio production?

JR: For the label, they had started talking quite early on about a best of and I was releasing quite a lot, so then there were thoughts of ‘should I be releasing a best of’? But then the market changed, in the old days not that too long ago, the best of CD would be the most with the highest sales figures, as the people who had not heard the band would take this and possibly get another for a friend. But now it’s not the case at all and more the complete opposite.

I did not want to go through the trouble of remixing and mastering it, to give people an excuse to purchase it, as most people will have the songs. Maybe they won’t have the rarer version, but they’re online so the term rare doesn’t really apply any more, not like it used to. It’s a great thing to have when presenting Rome to a new person; but also for me, it is a way of starting a new chapter and taking it from here.

IVM: With music creation, is there a past, present or future though behind it?

JR: There is definitely some songs and records that look towards the past, but then you have this big present aspect coming in, at the end of the day, it is just one of those you mentioned. I was always interested in history, not because it is gone but mainly because it is still very very present. I was never interested however in history that has been too far away and difficult to see the link; the historical things that inspired me, are still very close to me and my family, such as ‘Flowers in Exile’, these are not too distant and you know there is a link.

IVM: Do you consider yourself then more European in that respect?

JR: I do, I am first a European and then I am from Luxembourg. Obviously it is easier to say if you are from Luxembourg, compared to a country as big as France or Germany, which had some sort of colonial history. We do profit a lot from the European Union and were one of the six founding members. We also had a lot of people from all over come to Luxembourg; if you go from one bar to the next, the language changes and going abroad doesn’t have the same ring to it, as you’re only travelling 5 miles. Also with my background, from my father being a theatre director, we went to a lot of international film festivals, in Europe, Eastern Europe and Russia. This was right just after the wall went down, so this definitely had a big impact on me. 

IVM: Would you say then, creativity is in your blood?

JR: Of course your environment will have an impact on you, though I know a lot of people without a background with connections to creative arts that turned out to be musicians. I was around actors a lot in my life, and I liked that crowd. 

IVM: Is your work a touch of opinion, or motivation from current and past affairs?

JR: I see it as a personal thing, then again it brings about the old discussion, should music be political? I am in no position to foresee the events of the world.

IVM: In that case would you see it as more complimentary?

JR: It’s like human life, you can always have both and you cannot shut it out, but I definitely don’t want to be in a political band. I like keeping an open mind, as there is not the one message. I do address specific stuff, but I want to do it in an open minded way. My opinions have changed so much in the last ten years, I would dare not name any, as next year they will be different due to change in affairs. And now this impermanence, may be the new theme. 

IVM: Is there anything you could say to give the readers a realistic view how it is to live the life, as a successful musician in this particular genre?

JR: Well the truth is, we are still trying to figure it out. In many ways the genre is dead and you don’t want to be pinned down, as you could end up creatively dead. And as for the life, I guess some of it is in the songs, on what we go through. When you are a multi-millionaire, you cannot really sing what it is like to be at the pub with the lads, as your life has changed. Some of the truth is in the songs but also the dream of a better world is there too (laughs).

IVM: Is there a method behind the songs? A Pint?

JR: Most of the time it is me sitting down reading books with a guitar, and the words slowly fall into their place. But that is not all of it, you are working all the time and collecting ideas, and that’s the main chunk of the work, finding something and keeping it for later and then you sit down and things will fall into place. A film might create a world, and I dive into it and try to create a sound and we start from there.

IVM: So this would be like for example 'A Passage to Rhodesia'?

JR: Exactly, it took a longer while to collect I guess, the main problem was I had the idea around the time I was doing 'Masse Mensch' in 2007 and I knew right there I had an album. I then started digging and I was really confused in looking for the voice to tell that story, in a not too clichéd way. It also took me a long time to find the truth in researching sources; and that took a while and then with pre-production being on the back of the Trilogy album. For example 'Hell Money' took only a few days to make and I ended up using production time booked for Rhodesia, for work on 'Hell Money'. The artwork was very important for the trilogy. 

IVM: Once upon a time you did the living room tour. How was it?

JR: It was good, but was impossible to afford and exhaustingly difficult in relation to logistics. I am not ruling out another one, but definitely not this year! Some people really invested into us and paid for flights, for us to get to them.

IVM: What would be your cocktail, or drink?

JR: Well right now I am doing my best not to drink. We have had a few band drinks over the years, currently it is this Tequila that I am never buying, because it is ridiculously expensive. Our bass player Patrick is the barman!

One of my day jobs was selling Absinthe, and I was quite into it. I haven’t been inside the job for a while now, but my personal recommendations are:

1. Versinthe La Blanche
2. Amer 72
3. La Clandestine

Rome's latest album 'Anthology 2005 - 2015', is available to buy now through Trisol Records. For more information on the band, please visit the official website.

Interviewed by Dominic Lynch aka DJ LX-E

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Video Nasties (NSFW)

As it is Halloween we thought we would get down and dirty with twenty of the most bizarre, freaky, scary and downright extreme music videos from the world of goth, metal, and industrial. Some have aged well and some haven't. Some made it onto television, and some didt. And some, quite frankly, we can't see what all the fuss is about. Nonetheless, be warned the videos below are most definitely not safe for work and discretion is advised.



The Birthday Massacre – 'Blue'

Tool – 'Aenema'

Marilyn Manson – '(s)AINT'

Nine Inch Nails – 'Happiness In Slavery'

Dir En Grey – 'Obscure'

Cradle Of Filth – 'From The Cradle To Enslave'

Skinny Puppy – 'Worlock'  

Gorgoroth – 'Carving A Giant'

Salem – 'Piggyhog'  

Combichrist – 'Throat Full Of Glass'  

Korn – 'A.D.I.D.A.S'  

Sepultura – 'Arise'  

Satyricon – 'Fuel For Hatred'  

Spahn Ranch – 'Locusts'  

LFO – 'Tied Up'  

Eibon La Furies – '...And By The Moonlight'

Rammstein – 'Pussy'

Dawn Of Ashes – 'Poisoning The Steps Of Babel'  

Lesbian Bed Death – 'I Use My Powers For Evil'  

_Officers X Gary Numan – 'Petals'  

That's just some of the myriad of videos to dark, disturbing and controversial for civilised viewing. It's by no means an exhaustive list and few of these artists could have been featured many times. You can post your favourite extreme videos in the comment section of this post on our Facebook Page. 

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