The album proceeds at a steady pace for
the most part with the electronics driving the backbone of the songs
while the metallic guitars chug along and cut through for the
choruses. Songs like 'Runnning', 'Believe', 'Bulletproof', 'Betray'
and 'Rise' provide the most memorable cuts from the track list with
their dance-friendly pace, headbanging riffs and shout-a-long
choruses. The album is rounded off by the wonderfully ambient '-'
which leads into the delightfully demented 'Sail' to add a little
darkly comedic edge to the proceedings.
You may be forgiven
for forgiven for thinking the band are a one trick pony, but the
electronic work on each track brings something new out of their
sound. And with the major curve ball that is the final two tracks, it
is evident that the band have a lot more to give.
Production-wise
the album is pretty rough and ready with it's 90s style rawness. But
it isn't low-fi by any means. It's not polished, but it isn't sloppy
or hastily thrown together either and benefits greatly from a great
mix-down that lets all the elements in the songs move freely.
It's hard
to believe that the Celldweller project headed by
multi-instrumentalist Klayton Scott has been around for over a decade
now. Though the project has only now reached album number three (not
counting the three 'Soundtrack For The Voices In My Head' albums),
thanks in part to the way the second album 'Wish Upon A Blackstar'
was released in five separate chapters over the course of three
years, with the full album released in 2012. It was a novel approach
but one that ultimately created a disjointed and unfocussed release.
Surprisingly Klayton has opted for the same approach this
time around for the new album 'End Of An Empire', however the space
between release dates has been greatly reduced to create a much
tighter and linear progression. And it is at '… Chapter 3: Dreams'
that we join the story.
If the previous album had been a
scatter-gun affair then this time around it shows that Klayton has
learned his lesson and kept to a more unified plan. '...Dreams'
continues the sound-designed approach of the previous two instalments
with the instrumental 'Faction' tracks taking the majority of the
airtime around two central vocal tracks. After the short noisy intro
of 'Faction 07' we jump straight into the punky strains of the Orgy
meets Dope Stars Inc. anthem 'Good L_ck (Yo_'re F_cked)' – an
energetic and addictive slice of rocking cyberpunk that rivals any of
Celldweller's classic tracks. The darker and more maudlin 'Just Like
You' follows on to slow things down and even breaks out the acoustic
guitar and strings to appeal to the more gothic inclined end of the
audience. The chapter is rounded of by the instrumentals 'Faction 08'
and 'Faction 09', which as good as they are just sound like filler
compared to the strong showings of the previous two songs. They have
a great glitchy industrial rock flavour and indeed sound quite
cinematic, but 'Faction 08' in particular would have benefited from
some kind of vocal structure to push it over the edge.
The
multiple remixes are a nice touch to give you a little more for your
money, and the contributions from Combichrist and Mobthrow in
particular are strong. But all the clean versions and instrumental
versions tacked on just come off as overkill.
As you'd expect
from Klayton this is an extremely well-produced release. Each track
sounds like it has been taken from the soundtrack to a big budget
sci-fi film. It is atmospheric, experimental but at the same time
commercially viable in its approach.
The line-up for one of the worlds biggest gothic/industrial
music festivals continues to grow as names such as Eisbrecher,
Moonspell and XMH join the growing list of bands playing at this
year's event.
Artists announced so far:
.com/kill (D)
- Accessory (D) - Agent Side Grinder (S) - Antimatter
(GB) acoustic and electric performance - Ari Mason (USA) - Ash
Code (I) -Ashes You Leave (HR) - Ashram (I) - Astari Nite
(USA) - Asynje (DK) - Automelodi (CDN) - Bella Donna
(D) - Bergtatt (N) - Birdmachine (D) -Black Lung (AUS)
- Blood And Sun (USA) - Captain Reckless & The Lost
Souls (AUS) - Centhron (D) - Clan Of Xymox (NL) - Cromdale
(D) -Deine Lakaien (D) - Der Weg Einer Freiheit (D) - Die
Kammer (D) - Dupont (S) - Eisbrecher (D) - Eisregen
(D) - Eluveitie (CH) - Empathy Test (GB) - Esa (GB)
- Escape With Romeo (D) - Evi Vine (GB) - Faey (D)
- Falloch (GB) - Fields Of The Nephilim (GB) 30th
anniversary show -Fixmer/McCarthy (F/GB) - Ghosts Of Dawn (D)
- Grendel (NL) - Harmjoy (D/USA) - Heldmaschine (D)
- Hezzel (LV) - Jo Quail (GB) - Keluar (D/GB) - King
Dude (USA) - Kingdom Of Heaven (USA) - Klutae (DK) - Koffin
Kats (USA) - L'ame Immortelle (A) - Last Dominion Lost
(AUS) -Laura Carbone (D) - Lights Of Euphoria (D) - Lisa
Cuthbert (IRL) - Majdanek Waltz (RUS) - Minuit Machine (F)
- Mono Inc. (D) - Mono No Aware (D) - Moonspell (P)
- Morthound (S) - Mushroom's Patience (I) - Nachtmahr
(A) - Nosferatu (GB) - NZ (A) - Orphx (CDN) - Otto
Dix (RUS) - Polaroid Kiss (GB) - Qntal (D) - Rabbit At
War (D) - Rezurex (USA) - Roma Amor (I) - Samsas Traum
(D) - Sólstafir (IS) - Seasurfer (D) - Skyforger (LV)
- Snog (AUS) - Soko Friedhof (D) - Sol Invictus (GB)
perform the album "In The Rain" - Soror Dolorosa (F)
- Spencer (CH) - Steinkind (D) - Stoneman (CH)
- Substaat (N) - Sweet Ermengarde (D) - Terrorfrequenz
(D) - The Exploding Boy (S) - The Other (D) - The
Present Moment (USA) - The Saint Paul (D) - Twisted Nerve
(GB) - Two Witches (FIN) - Unterschicht (D) - Unto
Ashes (USA) - Virelai (DK) -While Angels Watch (GB) - Wrangler
(GB) - XMH (NL) -
The festival will take
place this year from 22nd May until 25th May. For more
information please visit the official Wave GotikTreffen website.
Dependent Records
has enjoyed a rich history inexorably tied to the legacy of European
alternative electronic music thanks to releasing albums by luminary
acts such as Apoptygma Berzerk, Covenant, Girls Under Glass, Klinik,
KMFDM, Mesh, and Rotersand, as well as international acts such as
Front Line Assembly, Psyclone Nine, and Skinny Puppy among others.
The label's long-running sampler series 'Dependence' returns to show
off this years crop of must have tracks that will be infecting dance
floors at a club near you.
Established names go
shoulder-to-shoulder with newer acts but they all have one thing in
common... they are all great quality bands. The compilation's selling
point is it is mostly comprised of mostly exclusive mixes &
previously unreleased tracks from some of the hottest names in
alternative electronic music. With acts such as Covenant, Seabound
and Mesh leading the charge with some exciting remixes, the likes of
Iris, Beborn Beton, This Morn Omina, Clicks, Ginger Snap5 and
Fix8:Sed8 inject some fresh sounds and hint at this years must have
releases.
The compilation is nicely put together and plays
like a great DJ set would. The track list flows nicely and the
mastering gives it a nice continuity of sound to the whole record.
Usually on compilations, the individual tracks can vary in their
production quality, but this isn't an issue at all here, with every
act, despite their pedigree, sounding on top form.
'Dependence
2015' continues what is already a great series of compilations and
shows off that things are definitely looking good For Dependent
Records going into the second half of the 2010s with new signings and
old favourites producing some must have music.
Whether you're
a DJ, a promoter or just a fan of good electronic music, this will
easily become a collector's item and will stand the test of time.
Washington DC's Retrogramme return with their latest
full-length studio album and follow up to 2012's 'For Our Dearly
Departed'. The band's pleasing and original blend of synthpop, idm
and darkwave has always had a lot of potential to offer and has
developed a strong buzz that they now look to capitalise on with
'Feed'. The strong dance presence is always at the heart of the
band's sound and this hasn't changed for the new album, neither has
the penchant of for cold and futuristic elements. However this time
around, things feel a little more complex and mature, as though the
band have finally hit their stride.
Opening with the martial
influenced beats of the intro cum title track 'Feed' the band delve
straight into the melancholic but dance-friendly strains of 'She
Gives Me Nightmares', Baiting the hook with an undeniable
floor-filler right from the start. The likes of 'Thorns',
'Confident', 'It's Time', 'Furthest Planet', 'Wars And Fears' and
'Unsettled' follow suit showing off the band's skills with memorable
melodies, retro synth sounds, grungy guitars and body-moving rhythms.
The depth of the song writing comes in part due to the mixing
of styles and elements that sees the band come out of their comfort
zone a little more. They can move from hard and dance friendly to
softer, darker or even more experimental within the same song and do
it without it jarring against your ear.
The production is
strong as well. There is still that gritty edge to the production
that has a kind of mid-90's flavour and works particularly well with
the old school synth sounds and the guitars. There are one or two
spots where the vocals don't gel as well as they should, but these
are very rare occurrences amongst an altogether brilliantly put
together album.
The remix dis is a nice addition. They can be
divisive and outside of DJs and fanatical completes it won't sway
many people's decision to buy the album. But there's nothing wrong
with a band giving you a little more bang for your buck, especially
with the likes of ProjectK11, TourdeForce, Deadliner, and Citizen 16
offering some excellent reworks of the originals.
Retrogramme
have reached their potential with 'Feed'. Previously the ideas seemed
to work on paper, but they didn't 100% come together on the disc....
however, 'Feed' sees everything just work. It all fits into place and
sounds completely natural. Hopefully they will push this hard and
capitalise on what is undoubtedly their strongest record to date.
It's April already, and no sooner have you worked off all of
that Christmas weight it's now time to gorge yourself half to death
on chocolate eggs! It's also time for another editorial ramble, so
strap yourself in...
This month I'm inclined to talk about
the late, great Ralph Bates. Yes, this is my Hammer Horror fetish
rising up from the depths once again. And while I could talk for
hours and hours about Christopher Lee and Peter Cushing, I always
appreciated Bates' work, and not just for Hammer.
Bates died
from pancreatic cancer 24 years ago on 27th March 1991,
aged 51. His career spanned stage, film and television from the 1960s
until his death. But after Lee, Cushing and Ingrid Pitt, he became
one of the recognisable faces linked to the Hammer Films productions
– as both a hero and villain with his pale skin, raven hair and
strong jawline as gothic as the subjects themselves – with
appearances in 'Taste The Blood Of Dracula' (1969), 'The Horror Of
Frankenstein' (1970), 'Lust For A Vampire' (1971), 'Dr. Jekyll And
Sister Hyde' (1971), and 'Fear In The Night' (1972).
The
Hammer films of the early 70s are often criticised as being more
blood and boobs than actual story content, but nonetheless actors
such as Bates continued to add depth to the increasingly formulaic
and shallow plots. One particularly admirable role saw Bates take
over the mantel of Baron Victor Frankenstein from Peter Cushing for
the studio's attempted reboot of the series in 'The Horror Of
Frankenstein'. Bates' Baron brought the arrogance and fanaticism of
Cushing's portrayal and mixed it with a sly coolness that left you
hoping he would get away with his crimes. His version of the Baron
was markedly more psychotic, and Director Jimmy Sangster does an
adequate job at attempting to live up to Terrence Fisher, but it
nonetheless became one of the most misunderstood of the Frankenstein
canon and did not enjoy the success it deserved.
The film was
a tall order for anyone considering that the first two Hammer
Frankenstein films, along with 'Frankenstein Created Woman' (1967)
were some of the strongest films the studio ever released. Bates
rises to the task, and preserves the idiosyncrasies of Cushing's
Baron, while adding a more youthful fervour. However, he wasn't cast
in the next film 'Frankenstein And The Monster From Hell' (1974),
which saw Cushing take the reigns once again to close the series.
Post-Hammer Bates continued to be a regular on television
screens for the rest of his life, but his film career was, perhaps
unfairly, tied to horror with appearances in some less than memorable
titles to punctuate his film career. But all the while Bates remained
a strong and believable actor no matter in what capacity he was cast.
Had he lived, I'd have no doubt he would be counted along with many
of his contemporary peers among Britain's current crop of venerable
actors.
Finally, in case you haven't seen
it yet, we launched our second free digital compilation on 1st
January 2015 to coincide with our second birthday as a website.
You
can download all fifteen tracks for free at out bandcamppage.
Once again, make sure you have these links in your
favourites:
As much as I love the Roman numerals of :Wumpscut: releases, it is some ways a lazy breath of carbon monoxide to know actually which CD I am looking at, and not relying on the artwork. One part always remembered is the sheer number of tracks possessed on the DJ Dwarf releases, that compile a variety of grinds and cuts from the holy butcher of gothic industrial.
‘That Was The Life That Was’ is a direct injection of percussion, perfect for applying dark lipstick, and clipping a knife above the thighs to the bass garter; as Rudy Ratzinger’s theatrical play is about to begin.
There are two things you need for a :Wumpscut: song:
1.Theatrical music of the old century Vs the new modern age of mournful brutality, which has turned into filth.
2.A combination of vocals that are brutally short, yet soft to the sweetest touch.
‘Rattengift’ takes a slower approach of these characteristics, falling into a melody of poison, then its remixed twin ‘2nd Face’ kicks in with a heavier work on the ear from the blade. ‘Gangraen (Reactor 7X Remix) gets’ the EP rolling into the 21st century dance grind. A harsh alteration of rhythm; nevertheless you can feel the trigger being stroked gently, as a throwback of vodka/met cocktail gets the ye olde reactor pumping again.
‘The Grim reaper’ takes you on a walk through Ratzinger’s trance smog violins, and carries you with disturbing rhythm. Slowly along that dance you’ll fall through the invisible wall of ‘iVardensphere’ where the old sound vanishes and a deep pound of bass brings you into a tribal industrial theme.
Advent Resilience bring some disturbing joy into this death dance, with ‘Oh Mein Kuemmerling’ pouring the blood from shoulders to hands, the beat reminds me accurately to recent project Blac/Kolor. Keeping in with that modernisation, ‘Kamerad Kapput’ is either going to make or break DJ Dwarf for you (thus put the disc in your mouth and let your teeth be the best judge!) I think to describe this song would be :Wumpscut: on snow freestyle.
After that setting on the delightful snow, ‘Wish I Was A Failure (Reactor 7x Remix)’ decides to stab you back to a place of sweat, black & tanzified dirt; that filth is a bit harder to rub out of the veins. ‘Advent Resilience’ provides another remix that brings the same joy on bloody skin in maniac fashion, however this time with cyber elements.
Piano keys introduce you to a stomp that picks up momentum quickly and becomes more electronic ‘Oh Mein Kuemmerling (Cynical Front Remix)’. Another immediate change in tone occurs into Electro swing. ‘Das Deutsche Schwert (Advent Resilience Remix)’ is an odd rhythm to dance with axe to put it frank, more unexpected than anything else it’s a bass thud ballad.
‘The Grim Reaper (Nigen Remix)’ begins its ascent strung chords of dark violin percussion, however this track swings into a ballad of dubstep, this being the softest of the compositions of the genre, and is a twisted way to end it.
This DJ Dwarf release is an interesting experiment. There are core elements of blood and witchcraft similar to previous, however a sheer amount of new genres have been added. If you haven’t resorted to compact disc in the throat; then you may get Rudy’s thoughts of implementing it into his music. Here are genres are growing into the alternative scene, and you shall either love it or hate it. Reviewed by Dominic Lynch aka DJ LX-E
"I believe there is a stagnation at the moment that many new bands are coming to scene, though the headliners are continuously the same at many festivals, after ten years and this is what I see when I go to festivals. But the main thing is the scene is still living."
Snuff machinery deals with a lower lax of German industrial. Slower vocals, that are easier for the body to break away with the main
beats beyond minute of the typical industrial EBM genre.[:SITD:] is as group that bring in vocals that reveal a
beacon of hope, from the thick sulphur fumes of Germany’s heartland. Only to be engulfed by the ignition of a coal burning thump from heavy
electronic drum machine tones.
2014 gave out Dunkelziffer into the atmosphere, a
composition of a typical [:SITD:] album. The tone is certainly a 2014 noise of the group with a much cleaner
detail of sound & vocals, though is this relief to listener’s electronic
eardrums? Or a clear sign of industrial technology making a harsh move.
Maturation of the group in comparison to the likes of
similar artists, is a strong resilience against the new norm of new genres entering the alternative scene.
Intravenous Magazine: Is there anything you would like to say towards Dunkelziffer
and what is embedded inside the tracks?
[:SITD:]: To describe it, we find it the darkest album by far! Due to
the themes within that enveloped through no pre meditation, we made our style.
We don’t consider the volume of electronics or lyrics in a song, it just is
created and the rest flows. We stop halfway and listen back and then we
discover which direction the song wants to take. Whether that is also in
Deutsch or English.
IVM: Are you together when the songs are being created?
Carlsen: Yes and no, sometimes at 3am we could have an idea and Tom will go
to his keyboard and he will send it, and I will think of lyrics that go with the flow.
IVM: Bauer Sucht Frau or
Come to dine with me?
[:SITD:]: Both of us love trash TV, so obviously Bauer sucht Frau.
IVM: Who is the best cook after the two?
Tom: Probably me!
Carlsen: No comment.
IVM: As [:SITD:]of 2014, have you had to become Graphic designers,
social media managers, video production as well as music producers, in order to
deal with the increase in technology & cost efficiency?
Tom: By ourselves, definitely not, we have our graphic designer
2- 3 months ago we produced our official video. This area is covered for.
IVM: With the way that the scene is going, do you think it is
down to the festivals, needing to mix-up the flavour with new blood?
Tom: The only thing I think I can say is that the amount of
festivals, especially in Germany is growing and growing and maybe this has a
negative effect on single concerts. As an individual person may see it as a
better to use his or her money if they can see multiple artists, instead of
attending a concert.
IVM: Have you as music artists seen the quality in how you are
treated at festivals or concerts gone down or up contract related?
Carlsen: It is difficult to say, as we play in multiple countries and
our status varies, as we are quite well known in Germany, but in North America
this differs. Overall we believe
Going back to the way the scene is going at the moment, do
you think is confused in which direction it will go?
Tom: I believe there is a stagnation at
the moment that many new bands are coming to scene, though the headliners are
continuously the same at many festivals, after 10 years and this is what I see
when I go to festivals. But the main thing is the scene is still living.
IVM: Were you aware of the problems tonight?
Tom: We didn't know what was the playback issue in the beginning, we had low volume, and we tried to fix this with the sound engineer; though he didn’t know the reason and after the 3rd song, it was better but only by the 4th song all systems were running.
IVM: When you were singing Carsten at the beginning do you find it frustrating to perform, that would lead you to wait until the problem is fixed?
Carsten: Every concert is a challenge, the problem was that we were under a strict time schedule, and we would end up having to shorten the show, we wanted to keep playing.
IVM: If live music isn't nearing a comparison to what it may sound like in the studio, is this adding to frustration?
Tom: It is always a different situation to a studio whether it be a small club or Blackfield Festival, it will never sound in comparison to the quality of a studio, but that is good quality in itself.
IVM: With platforms such as Soundcloud and the ability to analyse the statistics do you allow it to impact the song creation, from possible favourability over certain styles?
Tom: Absolutely not, of course we are looking at that for curiosity, though it does not really affect the creation of our work.
IVM: Who would you like to
be in Hannibal?
Carlsen: What we don’t like Hannibal! Ask us about Breaking bad!
IVM: You like Breaking
Bad??? Why?
Tom: It is the best, have you not seen what happens in the
seasons?
IVM: With the way that bands
in the scene are needing to change their model for cost reasons and revenue
stream, is there any way in which [:SITD:] has innovated itself to deal with the
challenges of keeping it alive?
Carlsen: Not really actually, from the beginning we found a way and
style to handle different situations whether good or bad, though we don’t have
any special models. In our band, I am responsible alone for the music and cost
and Carsten is responsible for the lyrics, so there is no special plan.
IVM: So with the emergence
of platforms such as Spotify, which obviously has negative affect on [:SITD:] CD
sales, not to forget file sharing. You haven’t consider Meth production as a
new source of income for Band?
Tom: The Interview is now over!
IVM: Billy Idol or Tokio Hotel?
Tom: Is that a serious question?
IVM: By this moment I believe I found out the secret to the industrial cooking pot of the band....Trash TV!
[:SITD:]'s most recent album 'Dunkelziffer' is available to buy now through Asscension Records. For more information on the band, including release and tour news, please visit their official website.
A body of one of the most infamous and reviled kings in British history, long thought lost in the mists of time, is discovered buried under concrete centuries after his death. Conspiracy? Cover-up? It sounds like the beginning of a Dan Brown potboiler. But no– it is England! Now!
The discovery of the body of Richard III and his ceremonial reburial in Leicester this week is a very rare and interesting event in British history. For one thing, it is an event in British history – when was the last time we could witness that? In the compressed, condensed multimedia dirge of modern British political culture this counts as Officially Interesting.
But why is it so interesting? The first thing we can point to is that it brought the ancient, bloodthirsty, violent and turbulent age of pre-modern Britain back to life; something happened that belonged to the middle ages but which actually happened in the twenty-first century. It's difficult to think now that the soil of England, which has barely seen anything but sporadic bloodshed over the past few hundred years, was the scene for waves of wars, coups, invasions and political instability. It's a culture shock which – removed by centuries – is escapist and almost romantic. Kings are buried beneath the car parks of provincial English cities – no, really!
It is also interesting due to the fact that it represents a development; it represents something new. What we thought were the circumstances surrounding the disposal of Richard's body were incorrect. It was a historical finding of great importance, and there haven't been many of those recently.
What is also fascinating is how the old links between church and state in England, having been secularised and modernised for much of the past decades, can swing back into action like a sleeping spy upon hearing the code word. Ceremonies of reburial such as we are seeing this week in Leicester are not things that tend to be standard fare for the state in 2015. It is also important to note how important is was considered not to skimp on the pomp nor circumstances for the reburial of a man who died over 500 years ago.
However, the two most prescient points are regarding Richard the man. The process of excavation, analysis and reburial have led us to re-evaluate the man who has been a byword for English villainy since his defeat. We have few genuine, universal hate figures of authority in England РCromwell or Thatcher spring to mind, but even they divide rather than unite; we would have to look at a Chamberlain or a Richard III to find someone so universally reviled (and I can write that even as an avowed republican). The man we now see emerges as more complex and maligned, and the very patrician fa̤ade of classical British history appears to be de-stuffyfying as we speak.
And finally it shows us that these revelations from the past change nothing at all; the complicated process by which reality is created rolls on, regardless of whether we correctly judge what is happening. If the continuous narrative of British history was to change by dint of new evidence we would encounter nothing but mass shrugging of shoulders and washing of hands. That, though, is the risk of leaving others to make your history – so undertake your own archaeological dig, and discover what secrets you hold.
iVardensphere are one of those acts that seem to just get
better with every release. Their last full-length studio outing,
2013's 'The Methuselah Tree', was a high-watermark for their tribal
infused rhythmic industrial formula. The band proved they could be
experimental, cinematic and club friendly all in the same breath and
set the bar high for this year's follow-up 'Fable'.
It is
immediately obvious though from the stunning opening of 'Million Year
Echo' that the band are continuing to push themselves. This one track
on its own encompasses everything to love about iVardensphere with
it's noisy intro, apocalyptic samples, deep bass, hard but danceable
beats and sheer ferocity setting the pace for the rest of the album.
Tracks such as 'Stygian', 'A Tale Of Two Wolves', 'It Is As
Blackness Is', And 'Yesterday's Giant' give the album a dark footing
with their groovy and rhythmic dance leanings and industrial
hardness. While the likes of 'The Woodsman And The Serpent', 'Papa
Legba', and 'Terra Sapian' preserve the tribal / world music
influenced side of the band's formula creating some more accessible
club appeal.
The album is completed by a series of tracks
featuring female guest vocalists that add a nice counterpoint to the
masculine overtones of the rest of the album with 'Tribes Of Moth'
featuring Mari Kattman and 'Disir' featuring Nymm in particular
really making an impact on the course of the record. 'Tribes Of Moth'
is a great trippy, rhythmic blend of experimentation and pure melody.
While 'Disir' layers up acapella vocals to create a tapestry of light
and almost mediaeval chorus.
Once again it is evident that
the band are pushing themselves harder than ever. The scope of the
song writing continues to grow and the production is always able to
match it. The band's global rhythms are reflected in a cinematic
style of production that even with such heavily layered tracks they
sound beautiful and expansive.
The lessons the band learned
in creating 'The Methuselah Tree' have been built upon. They've not
rested on their laurels and have written an absolute stunner of an
album that in its diversity still remains cohesive and focussed. If
their previous album was a game changer for the band, then 'Fable'
should cement their spot as one of the most interesting and unique
bands at the top of the industrial pile.
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