When we look at the countless varieties of myths, legends and tales of the mysterious that we have in Britain, in Europe or around the world, we often make the mistake of trying to ascertain whether or not they are based in fact. Does the Loch Ness Monster exist? Is there such a thing as ghosts? Plus there is also the trap of aligning ourselves with the irrational – that we need to believe in the supernatural in order to examine an idea. However, that is not the point. Even the most stone-cold materialist can enjoy the giddy joys of the nonsensical. The question is not whether we believe in them, but whether or not it is fun to pretend to believe in them.
All of these myths are effectively a form of embedded fiction – there is no possibility of them ever being true, but it is sometimes enjoyable to act like they are. Legends are hard to create from scratch, so the ones we have are there to be enjoyed.
Take, for example, the myth of Curse of the Pharaohs and it's associated Mummy-related cultural ephemera. This myth is unusual in being rooted in an actual event -the discovery of Tutankhamun's tomb in 1922 and the subsequent 'mysterious' deaths of some of the crew. This effectively began the whole cultural phenomena of Mummy and Egypt-related horror. In a way this is unusual, as unlike the rest of the classic horror strands (Frankenstein, Dracula, Jekyll & Hyde, the Phantom) it does not have a core text but instead has a core event. 1922 was Year Zero for the entire canon of curses, sand dunes, Mummies and scrolls.
Now, there are many reasons to pour cold water upon the basis of the 'curse' – the actual number of deaths, for one (only 8 of the 58 crew died in the next decade) to the various scientific reasons for any fatalities (3000-year old grave is full of dust, bacteria and disease shocker!). But to do so is to miss the point: a 'true' myth like that of the Curse is a treasure trove of escapist joy. Is it more fun to write the whole thing off as bunk, or to suspend disbelief and roll with the ripping yarn of archeological derring-do and supernatural terror that is the Curse?
When we consider that the myth of the Curse isn't even a century old, we can start to see how vivid and self-contained the genre is. The original Universal movie starring Boris Karloff remains breathtakingly evocative, and the news that the franchise is set to be rebooted once more in 2014 should set fright fans about drooling over their doughnuts. Such a heady brew of colonial misadventure, indigenous revenge, blistering sun, sands, scrolls, science and zombies deserves to be approached with respect. And so what that half of the genre is hammy nonsense? Just roll with it! Never mind, the quality - feel the myth.
Johan Van Roy's legacy
speaks for itself. One of the pioneers of harsh ebm and aggrotech, or
“helektro” if you will, his style of rasping distorted vocals
spitting forth disturbing lyrics over abrasive synths and pounding
beats has been often imitated. Perhaps by no-one better than himself.
Van Roy has always stuck to his formula and given the fans what they
want ever since 2000's breakthrough album 'Mindstrip'. You can be
guaranteed then, that the latest album from the Belgian, 'When Evil
Speaks', will be crammed full of potential dance floor hits.
Interestingly on this
album though, we do see Van Roy casting his eye back a little further
than usual. Yes, the album is sounding up to his usual standard, and
songs such as 'Cut_Bleed_Eviscerate', 'Attention Whore', 'In Guns We
Trust' and 'Unterwelt' tick all the boxes for inclusion in the
Suicide Commando pantheon. The hard 4/4 dance beat and sadistic
lyrical content maliciously hissed over seething melodies and
occasional horror film samples are typically compelling dance tracks
that will be standards for both the clubs and the stage.
However there are a few
cuts that slip through that hark back to his pre-millennial albums
that capture the spirit of those earlier moody blends of dark electro
and ebm that just felt a little more playful. The likes of 'Repent Or
Perish' and 'Monster', with their slow pace, heavy use of vocoder and
relatively stripped-back construction recalls albums such as 'Stored
Images' and 'Construct-Destruct'. Though it isn't really a case of
going back to his roots. More of a little treat for long-term fans.
But either way, it adds a little more depth to the album.
Another recurring
factor of recent Suicide Commando albums is that the production feels
a little shinier with each outing, and 'When Evil Speaks' is no
exception. The mix is fairly well balanced and doesn't suffer from
the over-saturation of distortion that plagues many of Van Roy's
imitators.
'When Evil Speaks' is
another solid and compelling album from Van Roy. It's also a little
frustrating as in the forms of 'Repent Or Perish' and 'Monster' there
is just a little hint of a more playful and varied side to Suicide
Commando that is begging to be explored once more.
London's
cabaret-baiting electro-creeps AlterRed have been taking their
audience on a conceptual storyline surrounding the characters of
AlterRed and Emily, which reaches its conclusion on their third
full-length outing, 'The Time It Takes To Smile'.
Musically recalling the
likes of David Bowie, Depeche Mode, The Dresden Dolls and IAMX,
AlterRed on their previous albums, 'Mind-Forged Manacles' and
'Dollstown', have crafted a rich sonic formula. One that combines
strong electronic grooves with dance beats and a knack for avant
garde piano melodies that skilfully blends genres like ebm, synthpop
and dark cabaret into a fresh and engaging multi-media
presentation.
However there is a
shift in emphasis on 'The Time It Takes To Smile'. The album is as
lyrically driven as always to create a strong sense of twisted
narration, but the musical atmosphere feels darker and more chaotic
than the band's usual standards. This is perhaps best summed up by
the instrumental songs 'Coping' and 'Not Coping', which show the
extent of the unravelling psyche of the album.
Songs like 'Suits Me
Like A Coma', 'Spine', 'Dread' and 'Better Than Mending' are
excellent examples of what the band is capable of commercially,
crafting whimsically demented vocals with dance floor-friendly beats
and sleazy bass. Whereas the likes of 'Red And Black Coins', 'Me And
Conrad Veidt', and the instrumental 'She Still Fascinates Me' show
off the bands conceptual ambitions at their best, with their
flamboyant edge and grandiose sense of scope.
Production-wise the
album presents the band in the best possible light. The mix feels
minimal and modern, which allows Mike's vocals the room to push the
album along, especially through the choruses. While the piano feels
as though it is being played in a deserted theatre and allowed to
really haunt the songs.
This is a fitting
conclusion to a compelling trilogy of albums. 'The Time It Takes To
Smile' shows have far AlterRed as a concept as well as a band has
come in a relatively short space of time. However, the pressing
question is that, now the original story has come to a close... where
can AlterRed go from here?
Waterglass are possibly one of the slowest moving bands in
the scene, they formed in 1991 and new album, ‘…And the Bleak Shall Inherit’,
is only their second album.
Granted, they did take some leave in that time, but
still. This isn’t a criticism as such,
anyone who has their 2002 release, ‘WisdomLikeSilence’, will certainly be excited
about the prospect of a new album – though their recent inactivity may make it
tricky to remember them.
As the album title suggests, the music is indeed relatively
bleak, but is also melodic. There are even occasional moments that the album
gets a little heavy. Not heavy in a
metal way, but in a tower crescendo or stark rhythms kinda way.
Perfectly accompanying the melancholic bass, the chilling
keys and gloomy guitars is the haunting voice of vocalist Victoria, bringing
pessimistic tones to the disconsolate soup.
What does make this a special album is that this isn’t a
downtrodden shoegaze album, they’re not afraid to up the tempo and add some
variety. The variation in tracks keep
things interesting, but they all have a shared downcast atmosphere. The production is also lush, whilst a raw
post-punk album can be excellent, the cool smooth sound on ‘…And the Bleak
Shall Inherit’ makes this is all the more complete.
Twenty-nine years KMFDM have been going, twenty-nine. For a bulk of that it has been the joke that
their name stands for “Kill Motherfucking Depeche Mode” and it’s took them
until 2013 to put that into a song! ‘Kunst’,
the title and opening track, is full of self-references and singing in the
third person with an irritably catchy chorus of “KMFDM kill mother fucking Depeche Mode”.
Yep, it’s another bout of ten stompy tracks from the German industrial
pioneers, they’ve been around long enough that you know what to expect – but ‘Kunst’
is certainly an enjoyable opus.
Always ones to keep it topical, ‘Quake’ takes on a look at
refugees, whereas ‘Pussy Riot’ is self-explanatory and ‘Next Big Thing’ draws
parallels with the music industry.
Musically, their change has been slow rather than
progressive – this hasn’t moved on much from the last few albums, stompy beats,
punky electronics, primary focus on the rhythm of the track, dual female and
male vocals – so it’s a safe bet. If you
like KMFDM, you will probably like ‘Kunst’, just don’t expect anything fresh or
cutting edge.
However, the strength here is they haven’t needed to put out
something fresh or cutting edge, they know how to put together a decent tune
and that’s what you’ve got here. Ten decent tunes. No big hits, no real
sloppy parts, just ten decent tunes.
Listening to the album you can often hear hints from bands
as diverse as Angelspit or Inertia, this being down to the mix and type of
bands they’ve influenced.
It's been a long, long
winter hasn't it? But it looks as though spring has finally sprung
which of course means watching the black-clad faithful sweat into
their snakebite and blacks and jump from shadow-to-shadow in a bid to
ward of the dreaded sun.
I suppose I'm a bit of
a stereotype, as I'm not overly fond of the hotter weather myself. I'd
much rather be sat in the shade with an ice tea than soaking up the
rays on a beach. Though it is unavoidable venturing out I've found a couple of
little things to preserve my pallid visage. Firstly, colour correct
crème with SPF 30 removes any redness on the face and has added sun
protection. I've never found wearing black to be a problem as it
tends to conceal unsightly sweat marks better than other colours, but
favouring thinner natural materials such as cotton and linen is
preferable over denim and velvet.
Of course, as it is May, it also means it's time
for World Goth Day again, which over the past couple of years has
been a great excuse to get together and celebrate all things goth in
the most fun ways you can think of. So if this year you're throwing a
shindig of any sort, anywhere in the world, let us know and we'll
plug it in a World Goth Day Round-Up.
Speaking of community,
I'd once again like to say how appreciative of the
support this fledgling webzine has had from fans, bands, labels and
other publications. We're nearly half-a-year-old and it has been
absolutely fantastic, and really goes to show what a strong sense of
community there is still out there in the wider alternative scene.
In other news we have
less than a week left on our competition to win one of three copies
of the fantastic 'Foundations' compilation from Juggernaut Services.
To enter just visit the competition page and follow the very simple
instructions!
Finally,
if you are interested in writing for IVM please direct your attention
to the tab at the top of the site marked 'Writing For IVM'. We are
currently looking for two guest columnists to write about whatever
the hell they want each month, as well as writers and reviewers
specialising in music, books and films to join the talent pool.
From the beginning ATTRITION has inhabited a space all their own. From the stark experimental soundscapes of the early cassette releases to albums spanning electronic post punk, hard electronic beats, lush orchestration to ambient pieces that are simultaneously beautiful and disturbing, there is a sonic identity to all aspects. With an Attrition release one may know the universe that awaits within, but one may be taken to any one of innumerable galaxies and landscapes. Through three decades Martin Bowes has led the project, accumulating a body of work that stands outside its time and above any scene. It was a distinct pleasure and privilege to put some questions to Martin and receive the benefit of his years in music and as an artist.
Intravenous Magazine: This release feels like a culmination of different threads of past work with the integration of beat driven tracks with ambient and classical layers into an organic whole. Does the completion of this album feel like the start of a new era for Attrition?
Martin Bowes: I think it well may be... I did spend a long time writing and recording "The Unraveller...". After so many albums I felt it needed to go a stage further and there was no rush. I've always been interested and inspired by different threads of music anyway. I never sat down and said to myself "this album is going to integrate them all..", but it just happened and I let that happen. I'm never totally in control it seems :)
IVM: You had many collaborators on The Unraveller of Angels. What was the process of collaboration how did you gather contributions from people from all over the world?
MB: As ATTRITION for many years has been my own project, I've always found collaborating an inspiration. Opening up new ideas and new possibilities I'd perhaps never have known totally on my own. It's so easy sharing recording via the internet these days, so I've found it very easy to have people record with me, wherever they may be in the world. I love the fact that on many of the new songs the collaborators were not even aware of the other people they were playing with, and on one or two pieces their parts were even recorded for different songs! Once I get some audio I get my editing scalpel out and work on the songs very much like audio montages. For the Unraveller I had one or two regular guests, who often appear in the live line up, such as Tylean and Ian Arkley and asked Erica from Unwoman early on as she's already recorded with me on the "All Mine Enemys..." album. Then if I felt a song needed something extra I'd get other people involved. I was very pleased to have Anni Hogan in on piano, and then the guest vocals of Mona Mur are a treat.
IVM: You created the score for the horror film G.H.O.S.T., which you released as an album that stands on its own as an intense abstract experience. Did creating music for a film inform the writing of The Unraveller of Angels?
MB: It was our first ever full length film score. I worked on Invocation with my wife Kerri helping on piano and keyboard parts. I remember when we first started it and I looked at 85 minutes of empty soundscape and thought how the hell am i going to fill all this up! A mixture of fear and adrenalin sorted that out, and I think that was very fitting for the soundtrack. We are both really pleased with that piece of music. Its a different way to work and different is always a good thing to me. We are actually going to perform it live in its entirety at this years Tower Transmissions festival in Dresden this September.
I took some time off "The Unraveller of Angels" to record that film score and I know I went back to finish the album inspired and that break helped. I took that inspiration and added it to the final processes and mixes of the new album.
IVM: You're quite active on facebook and other social media sites. How do you balance time between recording, admin, touring and promotion?
MB: Now that's a good question! I don't know how it do it sometimes... I do a hell of a lot myself here... management, promotion, studio work, booking shows, doing interviews (!)... oh and sometimes I write music! At the moment with the new album launch and new tours starting I've just had to work 12 to 14 hours a day to fit it all in, and Kerri has been helping more and more. Its working out. The response has been amazing, and taking control is always a good thing, now more than ever and i love what i do. I couldn't imagine it any other way and i still get time to see my kids and go down the pub.
IVM: You ran a 'zine called Alternative Sounds in the late -70's, early -80's. Did writing and editing for Alternative sounds inform your vision, and prepare you for the business when you started making your own music?
MB: It really did... I was inspired by punk and post punk and there was a great scene here in Coventry in 1979 when i started Alternative Sounds. It ran for 18 issues over 2 years and did pretty well and I learned a lot about how things worked in music from that, and more importantly became friends with other fanzine editors and bands so when I realised that writing a fanzine was not enough for me and started ATTRITION. I already had a network of contacts, so we got out of the City fairly early on which was important to us. It made a difference and it created possibilities.
IVM: There are some who are swapping scans of issues of alternative Sounds and other Industrial and underground music magazines over the web. Have you ever thought of making the magazine available electronically or in print collections for historical interest?
MB: Yes I have. There are a couple of issues online but I would like to find the time to scan them all. I also have a box full of old ATTRITION tapes and flyers and press that I want to document. I am gradually doing it, but it may take some time. I shall let it out a bit at a time I think. In fact we have started making a documentary on my life in Attrition and the early industrial scene with Daniel Gouyette, our Parisian film maker friend. It will take a year to make, but the release of this may well be the right time to release a lot more audio and printed history.
IVM: Do you think the move of most 'zines to the web has altered their effectiveness as a means of promotion, and as an experience for the reader?
MB: Yes and no... It was always a far more important experience to buy a fanzine and take it home to read it cover to cover. But they were also hard to find in your local shops. These days we live in an era of soundbytes, for good or for bad, but it does make things more easily available and that is a good thing. So the promotion has changed and the experience... well I think that is changing too. There are things we want in our lives and if they are lost we will find another way to have that experience.
IVM: From the beginning there has been a strong visual side to Attrition, is this something you incorporate live as stage sets and/or multimedia?
MB: We did a lot with multimedia in the 80's but everyone was doing film shows and i found they were getting blander. As we have 2 vocalists, I work with backdrops and lighting and smoke, and incense of course... I prefer it. It can be more intimate than a wall of images. But saying that, just for a change, we are having a special visual show for our performance of the Invocation soundtrack at Tower Transmissions by Holger Karas, the photographer and cover artist for that album and "The Unraveller .... " too. I love his work and it complements my music so well. We have something in common...
IVM: Many artists, labels and studios are struggling these days, caught between a sagging economy, the growth of filesharing and the demise of record stores. How has your approach to the business end adapted over the years?
MB: A Tricky Business indeed. Its been difficult. A lot of musicians I know have been down about how things hit everyone over the last 10 years. For us, as for most bands, we sold a LOT more records 10 years ago, but at least that got our name out there then when labels were willing to invest as they would see a return. Ever since my fanzine days I've always seen the value of and been involved in self promotion and with the help of the web these days its more and more possible to do it, with not too much financial backing, although the hours are still the same if you are going to do anything effectively. So its self reliance and doing it yourself. I promote even when I have a label to help. I book my own shows even if I have booking agents helping. And record labels don't have advances any more, so I long ago set up my own studio to record, well, 20 years ago. And with computer technology its so much easier these days. Its a lot of hard work and a lot of ups and downs, whatever level you are at. Just do it. it is all so worth it.
IVM: What did it take to make the Cage studio a success in with so many artists taking on recording at home with the wide array of digital tools that are available?
MB: Well you're right, everyone can have studio in a box at home, but its knowing how to use them. I taught students music tech for years at the college here before i opened up the Cage full time. Its one hell of a learning curve, and I'd come up through years of recording with hardware and it gradually turning into software. So yes its about that, and for me, I already had the equipment and the place and bands had asked me if I'd be into mixing them or mastering them for quite a while. I just hadn't the time for most of them when I was teaching, and with the internet and file transfers I can work with bands from all over the world now. I did do a little marketing at first, but nothing as much as I have for the band. I didn't really need to. I'm in a good position with the Cage, it's my day job now if you like to call it that, and I love it, and I can keep ATTRITION as my passion.
IVM: A common argument that comes up in discussions on file sharing and the rate of pay from streaming services like Spotify and Rdio that recorded music are just ways to sell merchandise and concert tickets. Do you find that this argument squares with your experience?
MB: I know streaming is negligible for pay, but its a way people are listening to music now, so it can't be ignored. And yes of course its publicity and that can lead to concert sales and other merch. I don't think I'd agree that recorded music itself is just a way to sell merch though. There are a lot of people still buying physical formats and paying for downloads. I've seen an amazing response to our new album through direct sales on our bandcamp page. I've done more than ever before. Maybe as the record stores have closed, the people that care come direct now. It certainly seems like that and it really helps as we cut out the middle men. As much as I loved the indie stores and they offered more than just record sales, but ultimately stores and in particular the distributors are just that...
IVM: Some producers will do separate masters for lossless formats like CD and master separately for streaming and other lossy formats to compensate for the limitaitons of the latter fomats. Is this something you were mindful of when praparing to release the back catalogue for digital Distribution?
MB: Actually all our back catalogue is available as full wave file quality through bandcamp and all the major digital platforms, so I think the days of mastering for poor quality mp3 are behind us. Actually what's come back is more mastering for vinyl format, something I am doing more and more in my studio. Some of those extreme noise releases are a killer!
IVM: Attrition has been released through a number of labels, including Third Mind, Antler Subway, Contempo, and Projekt Records among others. Did you stipulate that you retain rights and masters kept from the start?
MB: Well, in the early days, like most bands, we didn't always know what we were doing and masters were usually just one set of analogue reel to reel tapes back then. So for a while we lost our early masters.... until we got them back and re-issued on CD and one way or another I made sure I had the rights from then on. Some of our songs we signed publishing over to in the early days and we still can't win them back... But to be honest, we've done pretty well compared to the many horror stories I've heard from bands. I have rights to almost everything I've ever done and the masters are all here and copied many times over.
IVM: Steve Albini has stated on several occasions that he records to tape because analog can be preserved longer. Do you worry about archiving music for posterity?
MB: I did used to worry, but now my music is available in full quality in so many places online and physically that I really don't think there's much chance of it disappearing. Early CDR's were prone to corrupt and die but the new ones and hard rives are pretty good. In fact, we lost some tracks on old reels of ampex analogue tape at one point as they shed their coatings, so there's no such thing as perfect.
IVM: How do you think current conditions for independent musicians compare with when you began, both in a career aspect and as a way to spread new ideas and issues in the greater culture?
MB: At a glance it seems a very different world to the early 80's. Technology is all around us, an information overload is everywhere we turn, and that's so different. But I actually don't think things are really all that different when you look at things in perspective. Like always, we need to find our own way in this life, and as I said earlier it's all down to taking control of your career, your life and working on those skills and working as hard as you can at it. And don't care for the knock downs, be confident in yourself and don't worry about fitting into any trend or clique or fashion. Work with them, use them, help them too, but ultimately let them fit around you.
Check out The Unraveller of Angels, the latest album from attrition:
We're still plugging
our competition with Juggernaut Services to win one of three copies
of their brilliant 'Foundations' double-CD compilation. I'm looking
at the CDs right now as I type this. If you haven't already entered,
make sure you do before the 13th May!
This week we've had
news that the legendary Dive will be releasing a new best of album in
the form of 'Compiled' and that Berlin-based duo Noblesse Oblige have
a new single out in the run up to their next album. We've also got
reviews for the new albums from Blank, Emme Ya, Partly Faithful and
Juno Reactor for you to read, digest and hopefully help you make up
your mind as to whether or not to part with your cash for them.
Over in social network
land we've had a new music videos from Shellshock, Tiamat and
Gothminister, as well as a sneaky preview of the new single from
Aesthetic Perfection and The Devil & The Universe posted a remix
from In Death It Ends. Kinteik festival have released their updated flyers with what is shaping up to be an unmissable line-up. Author
Neil Gaiman has released a free e-book. The History Of Guns have also
got some free downloads for you. And finally World Goth Day has a new
advert to promote all things dark and dismal this year.
That's your lot for
this week. Now we're going to go turn on, tune in and drop off.
Some artists simply
need no introduction as their body of work speaks for itself. Ben
Watkins, AKA Juno Reactor is one of those artists. A career of
blending ground-breaking electronica with dance and world music has
seen his music grace both dance floors as well as some of the biggest
film soundtracks of the past decade. Now, five years after his last
outing on 'Gods & Monsters' Watkins returns with 'The Golden Sun
Of The Great East'. With a twenty-year legacy to his name there is a
lot of high expectation for this album.
From the opening of the
fast-paced 'Final Frontier' it is evident that Watkins' edge hasn't
dulled in the interval years. All the elements that have come to be
associated with Juno Reactor are evident throughout; globe-hopping
instruments and vocals along with classical embellishments compliment
the incendiary trance beats and hypnotic electronics.
Songs like 'Invisible',
'Trans Siberian', 'Tempest', 'Zombie', and 'Playing With Fire' will
no doubt come to be viewed as classics within the Juno Reactor back
catalogue. But all the tracks have the power to move you both
physically and emotionally as the various ethnic, classical and
choral overtones interact with their strong fundamental dance
structures.
Yet 'The Golden Sun Of
The Great East' doesn't particularly break new ground for Juno
Reactor. For all the evocative power of the songs there isn't really
anything that pushes the envelope for Watkins. For the most part, the
album takes the slower, more restrained path laid out on 'Gods &
Monsters'. But while it may arguably lack the full-on force of tracks
like 'Navaras' and 'Conga Fury', it is still a solid dance album.
Albeit a rather psychedelic and immersible one.
With 'The Golden Sun Of
The Great East', Watkins returns to do what he does best. There isn't
any need to fix what isn't broken. Instead Watkins focusses on the
kind sheer cinematic scope and evocative song writing that is begging
to be part of a huge live show.
Blending scathing
post-punk with dark pop and shoegaze powered by an ever present
grooving bass the band's sonic formula is a heady and infectious mix.
Recalling the likes of Bauhaus, The Cure and Nick Cave And The Bad
Seeds at their most sinister and innovative the band feel fresh and
modern while proudly tracing a lineage back to their influences.
Ed Banshee's vitriolic
vocals coupled with the vicious guitar lines from Anouska Haze give
songs like 'Amen', 'Hatchet', 'Big Bang Medicine', 'Stop' and
'Obsession' and undeniably savage edge that is utterly compelling.
While more retrained tracks like 'Underset', 'Skin' and the title
track 'Lazarus Under Glass' give the album a more approachable side
that plays up the band's ear for a strong melody and funky bass
lines.
The album has a
grittiness that works well, but doesn't take off any of the veneer of
the band's collective talent. It's raw, savage and vitriolic. The
vocals have heart and the guitars are in-your-face. But the mix never
feels swamped by these strong elements. It harks back to albums like
'Mask' and 'Unknown Pleasures' but through the band's performance
feels very much of the twenty-first century.
Partly Faithful have
essentially crafted a lesson in what modern post-punk should be. It's
arty, but not pretentious. Raw, but not sloppy. It's a very strong
first step that does well to capitalise on the potential that shone
from their first EPs. So the pretenders out there best take heed.
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