Review: Deadspace – 'The Promise Of Oblivion'

DEADSPACE
'The Promise Of Oblivion'
SELF-RELEASED

Deadspace was founded by Australian Chris Gebauer (Earth Rot/Sensory Amusia) as a solo vehicle, but after one split release has quickly blossomed into a full band. The result of this is the bleak but rather beguiling début album 'The Promise Of Oblivion' which blends, depressive black metal with death rock, gothic, ambient and noise elements to create a tapestry of disturbing yet strangely accessible songs.

The 35-minutes of the album is divided up between eight tracks that keep their feet firmly in the depressive black metal genre, but are still full of experimental genre blending to separate them from the crowd. Tracks such as 'The Promise Of Oblivion', 'I'll Buy The Rope', 'The Clouds Won't Shade The Pain', and 'Pain's Grey' do this with ease as the ambient elements and more gothic melodies are preserved and despite the dissonance at work, they still manage to keep a level of accessibility that is quite refreshing. But it is the subtle instrumental 'Oblivion' and the near eight-minute long closing track 'In The Coldness Of Darkest Night' that the band really come into their own.

This is a raw and gritty album. But it isn't un-listenable The emphasis on emotion, ambience and gothic melodies come across in the production nicely to counterpoint the bleak black metal streak that is ever present. Add the emotional strain on the vocals and it is a hard to take but nonetheless effective formula.

This is a promising début from the Australians. It balances light and dark, heavy and melodic with ease. It threatens to spiral into utter insanity before steadying itself once again. But most of all it is a strangely addictive listen that compels you to stick with it until the end. It may be dark and dissonant, but if you're willing to go there, it may surprise you.  

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Review: Veil Of Thorns Feat. Jarboe – 'Sun Falling'

VEIL OF THORNS Feat. JARBOE
'Sun Falling'
PANICMACHINE 

The Necrofuturist P. Emerson Williams returns with his critically acclaimed Veil Of Thorns project – a multimedia assault of art and music that has been pushing boundaries for over 20 years now. His latest release under the moniker sees Williams joined by ex-Swans member and avant garde music queen Jarboe for 'Sun Falling'. After a successful world tour together in 2013 it seemed inevitable that the pair would at some point have to join forces and the result was worth waiting for.

The album may only feature three songs, but with the shortest cut weighing in at twelve minutes in length its obvious this is going to be more of an exercise in substantial musical exploration.

The title track opens the proceedings with a surge of droning guitars and rolling industrial meets tribal rhythms through which the distinctive feminine counterpoint of Jarboe's vocals cut with grace and ease. The song blends a firm rhythmically pleasing grounding with a minimalistic avant garde execution that uses the repetitive nature of the backing music to from the evolving vocal line to create a feel of a ceremonial incantation being performed.

'Atmospheric Conditions' delves into a psychedelic dream scape that makes use of more definable instrumentation, if still undefinable in it's use. There is a wonderful 60s jam feel to this track and once again there is a very tribal nature to the percussion although with the addition of a classic trip-hop beat evoking the likes of Enigma and early Juno Reactor. Meanwhile Jarobe channels the spirit of Grace Slick becoming the psychedelic priestess, guiding the listener through track and eventually back to reality.

'Dust Storm' rounds the album off with a big dose of ambient industrial. The bleak soundscape drones and swirls with dark synth noises and metallic sounds to create a huge but altogether crushing atmosphere akin to being dragged through one of H.R. Giger's biomechanical nightmares. Everything, including the vocals sound alien and foreboding as the track circles ever downwards towards its event horizon and slowly silence envelopes.

If you thought previous Veil Of Thorns releases were diverse, then prepare to re-evaluate your position. There may only be three tracks here, but each one is a colossal statement of intent by two of the most accomplished experimental musicians at work today. Long time fans of both artists, as well as those with a sense of curiosity, should be more than happy with this monolithic recording.  

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Review: Twilight Fauna – 'Shadows Of Ancestors'

TWILIGHT FAUNA
'Shadows Of Ancestors'
SELF-RELEASED 

Blending the traditional folk local instruments with a low-fi black metal malevolence, Twilight Fauna continues to innovate and perplex with every release. The follow-up to last years 'Hymns Of A Forgotten Homeland', multi instrumentalist Ravenwood returns with 'Shadows Of Ancestors' to continue to explore his Appalachian home. Ambient, cinematic, hypnotic and still wonderfully savage. 'Shadows Of Ancestors' is an introspective and genuinely moving album that transcends it's black metal roots and builds on the foundations of its predecessor.

Songs such as 'Helical Rising', 'Boring The Augur', 'Meadows Afire' and, 'Cave of Kelpius (Women Of The Wild)' walk a fine line between ambient apocalyptic folk and depressive black metal malice with ease. The traditional folk elements give the tracks a warm underbelly while the hissed vocals and static-spewing guitars wrench them into the modern world kicking and screaming.

While the likes of 'Purging Of Spring' invert the formula somewhat bringing the folk guitar right to the fore. And the final track 'Coffin Nails And Apple Trees' crafts and epic slice of ambient metal meets black metal across it's ten minute length to perfectly distil these elements into a fitting album closer.

With it's roots in low-fi black metal this obviously hasn't got the slickest production job, but what has been done is nonetheless effective. Atmosphere is king despite whether the folk or metal instruments take the lead and even though it is rough and ready it is still a very evocative album.

Twilight Fauna will undoubtedly continue to split opinions with its experimental nature and low-fi style, which is a shame as a more succinct and polished production would still keep the core atmosphere alive but make the end result more accessible. But that's not the point. The point is that Twilight Fauna continues to improve as a project and is crafting some very interesting music that is begging to be explored.  

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Review: Deuil – 'Shock/Deny'

DEUIL
'Shock/Deny'
CONSOULING SOUNDS

Belgian quartet Deuil may only have four songs across two releases to their name, but what they choose to unleash says more than enough about their intentions. Blending the bleak atmospherics of black metal and the heaviness of sludgy doom, as a bass, the band embark on long crushing explorations of heavy but always ambient orientated metal. Bringing in elements of shoegaze, dark electronics, and drone in order to weave winding monolithic music.

Beginning with ambient samples over a slow hissing funeral doom riff weeping distortion, the band erupt into a thunderous barrage of blackened doom that bludgeons the speakers as it escapes them. The band bring things back into faster black metal territory briefly before resorting back to drowning in slow sludgy riffs before slipping back into ambient waters to round the song off.

'Deny' follows with a long Electric Wizard-like intro of feeding-back guitars and bass before unleashing a mournful opening riff. The song unfurls at a methodical pace until the halfway point where the blast beats are unleashed and it's ferocity is kicked up a notch before ebbing back into the dark.

This may technically be a double a-side single on paper but in two fifteen minute tracks Deuil have still clocked up an impressive half hour of dark and disturbing music that should more than satisfy any listener.

The production walks a fine line with it's emphasis on classic black metal elements such as the jangling guitars sound and rasping vocals while the bassier elements take their cues from analogue-rich doom acts such as Electric Wizard and Sleep. But it works. The end result covers all the basses and every frequency hits your ear with force.

This is an impressive second release from Deuil. One that shows an uncompromising and fiercely unique streak that is greatly needed these days. Hopefully they will keep their releases frequent and long to give us something to get our teeth into.  

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Review: Vourteque – 'The Iron And Jazz Age'

VOURTEQUE
'The Iron And Jazz Age'
DEAD 2 ME RECORDS

If your only exposure to electro-swing was the UK's lacklustre entry for this year's Eurovision Song Contest, then you'd be forgiven for outright. But before you do allow me to educate you a little. The genre of electro-swing is a diverse and interesting beast that incorporates classic jazz samples and swing beats and mixes with elements of hip hop, edm, house, punk, techno, and even a bit of industrial that has been setting underground dance floors on fire for a number of years.

One artist that has been making a name for himself with his particular take on the genre is Chicago USA based DJ Joseph C.R. Vourteque whose first single 'Whiskey Drinker' was a searing blend of blues, jazz and gritty industrial that saw instant acclaim. His subsequent EP 'The Swing Mechanical EP' further cemented his credentials continuing the industrial-tinged formula.

Fast-forward to 2015 and we see the first full-length release from Vourteque in the form of 'The Iron And Jazz Age', which sees the DJ and producer embark on a much more ambitious and diverse collection of retro dance anthems.

The album blends big band, jazz, gospel and blues, with techno, edm, and industrial liberally spreading samples liberally throughout and throwing in a touch of fire and brimstone to counteract the up-beat music to add an apocalyptic prohibition atmosphere to the proceedings.

Tracks such as 'Hot Sinner', 'Saturday Night Service', 'Firelighter' which features chap-hop/steampunk rapper Professor Elemental, 'Dust Rhythms', 'No Teeth' and 'Go Along Now' epitomise the best of this approach with their strong hooks, memorable leads, and easy to dance to beats that will blend in with industrial, steampunk and even more mainstream modern speakeasies clubs. But the biggest selling point of the album has to be the brilliant re-imagining of David Bowie's 'Magic Dance' as a chirpy 1940s Hollywood musical number.

The production is strong with the whole album having a great sound that is fresh and modern despite the use of vintage flavourings. It's a solid dance record that has all the pit and polish it needs to make it a contender with any modern dance album regardless of its genre.

If you're feeling adventurous and esoteric, Vourteque's 'The Iron And Jazz Ages' is a very rewarding listen. It blends darker genres into it's dance friendly mix making it an easy go to for ebm and industrial fans dabbling in electro-swing. Hopefully, Vourteque will be quick to capitalise on this album and continue to raise his profile internationally.  

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Review: Juno Reactor – 'The Golden Sun... Remixed'

JUNO REACTOR
'The Golden Sun... Remixed'
METROPOLIS RECORDS

Ben Watkins, AKA Juno Reactor has enjoyed an enviable career releasing a slew of genre bending dance albums that have gone one to fill dance floors and inspire artists all over the world to secure his legacy and an innovative electronic artist. It has been two years since the release of 'The Golden Sun Of The Great East' – the first studio album since the acclaimed 'Gods & Monsters' – and 2015 finally sees Watkins return with the remix companion to the 2013 full-length, and it is safe to say we're overdue another visit to the reactor.

OK, so it is only a remix album, but even Juno Reactor remix releases have a strong fanbase and often show of a range of approaches to the source material that is just as varied and interesting as Watkins' originals. And 'The Golden Sun... Remixed' is no exception... it's perhaps the strongest one yet.

The original album was a solid and methodical exploration of world music and body moving electronics that worked as a whole, but sadly lacked that one lead track that reached the heights of 'Navaras', 'Mona Lisa Overdrive, or 'Conga Fury'. But the remixes displayed on 'The Golden Sun... Remixed' more than just extends the club potential of the original songs. It completely revitalises them.

Tracks such as the GMS remix of 'Zombi', Bliss' version of 'Guillotine', the Zeologic reworking of 'Tempest', Modus' remix of 'Shine', and 'Tanta Pena' as re-imagined by Mickey Noise all illustrate the power and integrity of Watkin's songwriting with each track still sounding overwhelmingly like Juno Reactor rather than becoming vehicles purely of the remixing artists. The album still feels like a proper Juno Reactor album rather than a quickly put together extra to set up an excuse to tour.

'The Golden Sun... Remixed' is a strong album in its own right that returns to and preserves the psychedelic, ethnically infused trance formula that fans crave, and throws in just enough interesting additives to keep it fresh. This is an extension of the original that sees the artists complete Watkins' vision rather than totally reinterpret it. For long-term fans of Juno Reactor, this is exactly what you have been waiting for. 

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Editorial: June, 2015

It's June, we're halfway through the year and it's time to reveal the artwork for the next Compilation due to be released on 01/01/2016 to celebrate our third birthday as a webzine!

As you can see it follows the new look of the website with a similar, albeit more bloody, grungy background and a festive looking seal of baphomet within.

The response to the first two compilations has been overwhelmingly positive and I'm grateful to everyone who has downloaded them so far. If you're new to this site and haven't downloaded them yet, please click the album cover in the sidebar and download yourself a free copy of both of them from our bandcamp page. These releases presented us with a steep learning curve. But in both instances we got it together in good time and I'm proud of the final products and how they flow as an album.

Once again we'll aim for a shorter and more concise album that will probably be about sixteen tracks in length maximum rather than trying for a double album as we did with the first compilation. I'm thinking about going for a theme with this one given the devilish style of the artwork, but I sometimes find those a bit cheesy... but if one were to naturally evolve as the submissions come in then that would be fine.

With this in mind I'll be personally sending out invitations to some bands and artist later this month before I open it up to other submissions if there are slots left. That being said, feel free to leave a comment on our Facebook page if you're interested in contributing anything.

As with the first two compilations we'll be looking for exclusive new songs, demos and remixes from new and exciting acts from around the globe. And again we'll be including a PDF booklet with the album that will feature biographical information and hyperlinks for every band and label featured.

Like I said last month, these compilations are a big job, and I put them together on my own. B it is done out of a belief in this website and over the past few years I've been humbled by the bands, artists, labels, promoters and most importantly the readers who believe in it and keep coming back to it.

I hope you'll all continue to download, share and recommend the 'Blood Pack' compilations and most of all support the artists, bands, and labels that submit new and exciting music to them.

Anyway, that's where we are with it this month. I'll be sending out requests to bands myself. But if you'd like to be considered, please feel free to message us.

And finally, make sure you have these links in your favourites:

http://www.intravenousmag.co.uk

http://ivmagzine.tumblr.com/

https://twitter.com/IntravenousMag

http://www.facebook.com/IVMagazine

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Review: Biomechanimal – 'Biomechanimal'

BIOMECHANIMAL
'Biomechanimal'
CRL STUDIOS

London's Biomechanimal may have only had a solitary EP and remix companion to their name so far, but this hasn't stopped them from making a name for themselves on the UK industrial scene. The duo have scored support slots with a number of big name acts and have been remixing just as many. So it isn't a surprise that they have opted to dive headlong into a full-length studio release rather than continue to test the waters with another EP release.

Their self-titled début is a heady mix of industrial, edm and neoclassical embellishments that come together to form a catchy and complex dance floor assault. They mix a classic industrial flavour with modern ingredients such as dubstep bass, hard trance leads and a myriad of subtle hooks to push the club-orientated agenda of the album hard.

Songs such as 'Ov Glory', 'Wasteland', 'Desekreator' (featuring Ruinizer), 'Commonwealth' (featuring Cryogenic Echelon and Studio-X), 'Monster', and 'Catching Sparks' (featuring Lauri Black) drive the album forward with a unique style that doesn't pander to genre conventions. They are making strong dance music that is complex and ambitious in its scope.

There are one or two places where it doesn't quite work though, such as on 'Broken Wings' which as on the previous EP falls flat compared to the rest of the tracks on offer. And in the occasionally unnecessarily long intro. But the last one is a matter of personal preference.

In terms of production, there has simply been a big improvement since 'Renegade 2.0' which really changes the landscape of their sound. The final touches have given the songs that push to match the band's ambitions.

Biomechanimal's self-titled début is a strong offering full of intelligent design and mass dance appeal. It's unashamedly club fodder, but at the same time doesn't take its cues from anything else that's going on right now. This will definitely mark them out as one to watch.  

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Live Review: Coal Chamber – The Ritz, Manchester 30/05/2015

Coal Chamber (+ Soil, The Defiled, Dope)
The Ritz, Manchester
30/05/2015

If it hadn't been for the last minute replacement of American Head Charge with London's The Defiled, you'd be forgiven for thinking it was 2001 all over again. Thankfully though it isn't, and despite the periodic desperate gasps of Fred Durst's Limp Bizkit it's the underrated stars of the “nu-metal” movement are coming back and hitting harder than in their heyday. Tonight is primarily about Coal Chamber and their mighty new album 'Rivals', but it's also special for the fact that the reformed and revitalised Dope are making their first UK tour in their history.

The 5pm doors opening is a little unusual, especially as it isn't until 6:15pm that Dope finally take to the stage. But soon the wait is a distant memory as the band launch into a fast and frantic set. The music was tight and the adrenalin was high as they reeled out classics such as 'Violence', 'Fuck Tomorrow', 'Die Motherfucker Die', and 'Addiction'. Interestingly though there was no sign of their most recent release 'Everything Sucks' and the dropping of their cover of Dead Or Alive's 'You spin Me Right Round (Like A Record)' in favour of Billy Idol's 'Rebel Yell'. But nonetheless the crowd were into it and the band could hold their head high.

Next up were The Defiled. The electronic tinged metal of the London quartet seem like a good match on paper. But despite the few hardcore fans that had pushed their way to the front, and the crazy shenanigans of keyboard player The AvD; their efforts fall flat before the majority of the crowd. Perhaps it was the aftermath of Dope's heartfelt madness still buzzing in the minds of those who had waited over a decade to see them. Or perhaps it was their lack of stage presence. But either way it wasn't really the band's night and they come of a superfluous to the rest of the line-up.

Soil were next to hit the stage to a sense of anticipation. It's a strange choice of support as the Illinois natives are no strangers to headline performances in the UK. The post-grunge meets nu-metal purveyors of the overplayed 'Halo' whipped the crowd into a frenzy despite not really doing anything at all. The return of original vocalist Ryan McCombs following a stroke late last year obviously made it a special tour for the band and their hardcore fans. But objectively it was a lacklustre outing that would have only satisfied long-time fans. They reeled out the fan favourites such as 'Pride', 'Breaking Me Down', 'Unreal', 'The Hate Song', and of course the inevitable rendition of 'Halo' that saw McCombs wander through the crowd, with the set rounded off with a cover of Ram Jam's 'Black Betty'. The fans were evidently loving it, but it was hard to see why.

Finally after a decade away it was time for Coal Chamber to return. Dez Fafara, hardened by years on the road with Devildriver slips comfortably back into his role as frontman for the nu-metal pioneering band, and brings the fury. The band open the set unexpectedly with arguably their best known cuts 'Loco' and 'Big Truck'. It's a ballsy move that leaves you wondering where they can go from there as the crowd collectively loose their shit from the off. The band answer the speculation with a heavy and aggressive set that sees classics like 'Fiend', 'Dark Days', 'I', 'Clock', and 'Not Living' with new cuts 'I.O.U. Nothing' and 'Rivals. They don't bother with leaving the stage for a rest before the encore and play straight through to get as much in as possible... it has after all been a while... before closing out the night in style with 'Oddity' and 'Sway'.

Coal chamber have matured, and are just as tight and crazy as ever. Even those in the crowd who had primarily come for other bands on the bill found it hard to resist the mayhem as pits opened for every song and crowd surfers poured over the barrier. For long time fans it ticks all the boxes and for new fans it was a perfect introduction as to why they had such a cult following in the 90s and early 00s. Let's hope they stick around long enough to come back.

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Introducing... nTTx

"There is a lot of talk about 'the scene is dying' or 'musicians are losing out' with regards to file sharing, streaming services etc. I am much more excited about these times than 20 years ago. Back then I would never have had the opportunity as an independent artist to reach fans all over the world as I can now." 

Name of Band: nTTx

Year Formed: 2015

Location: Toronto, Canada

nTTx is the new solo project of Gord Clement who was the former singer/songwriter for the band Atomzero (AnalogueTrash Records). His new sound is described as 'EBM with synthpop and disco influences'. The songs feature a strong vocal delivery of intelligent lyrics.

A single 'Falls Beautiful' with a b-side (Depeche Mode cover) was released in May 2015.

It is available as a FREE download via nttx.bandcamp.com. It is also available on iTunes, Amazon, Spotify, and most other streaming services.

This song is from his upcoming début EP to be released in the fall of 2015.

Live shows with custom programmed lighting will begin with the EP release.

Intravenous Magazine: Who are you and how did the band/project come to be formed?

nTTx is just myself, Gord Clement (occasionally my cat helps). Up until a few months ago I was the lead singer and song writing partner in the band Atomzero. My original intention with nTTx was to be a side project and do some fun cover songs and a few originals as an outlet for my own creativity aside from my main focus which was Atomzero. However, my partner and I had some unresolvable issues so I made the difficult decision to leave. nTTx then became my full time project.

IVM: How would you describe your sound/style, and how did you arrive at it?

This project is going to be more of an EBM theme with a little bit of synthpop and even disco elements! I don't like to pigeon-hole myself into one sound, so some songs may be more synthpop whereas others may be more aggressive EBM type stuff.  My vocals will also vary, as I like to do both soft/emotional runs along with some harder stuff. I really enjoy listening to albums that vary in style. I don't like when every song sounds the same. I'm also making a return to a more basic form of writing and production as I did back in the '80 when I wrote electronic music in my bedroom (because there were limits with gear back then). Recently, technology has allowed us to compose with unlimited tracks and effects, I've made the decision to keep nTTx as simple as possible, returning to the way I did things years ago. It's a more stripped back way of writing than what I've been doing in the last several years.

IVM: Who and what are your primary influences both musical and non-musical? 

The first time I heard Kraftwerk (a glow in the dark 12" of The Model, Trans Europe Express and Neonlights) I knew that this was my calling. My friends in the auto-industry blue collar town I was raised in would make fun of me for always talking about "synthesizers" when they talked about Camaros and dirtbikes and beer. I eventually was pulled into the punk scene as a drummer, but always retained my true robotic soul underneath it all. When I heard Der Mussolini and Alle Gegen Alle by DAF, I knew the future path I needed to take. Song writing inspiration strikes in so many different ways. Sometimes it's an update to any one of the many bits of software I use, learning a new feature... sometimes it's a bit of random chaos as I happen upon by absolute user error. Generally I let all things flow through and onto a recording and then later figure out how they need to sit together. Almost like channelling an unknown force that writes through me.

IVM: Do you perform live and if so where can we see you perform in the near future?

Performing live is what I look forward to the most. It's a major reason why I do this. I come from a family of performers and it's in my DNA (I have photos as a toddler performing in front of my family). I have my line-up set: keyboards will be Lance (The Grey Disorder) and Mike (previous live drummer for Atomzero). We are starting rehearsals soon and will start playing when the EP comes out this fall. I always put everything into my live shows and strive to give a stadium worthy show even if it's in a small club. I have my own lighting rigs which I've programmed to flow with the music.

IVM: What is your current release and where is it available from?

The first single 'Falls Beautiful' from my début EP is out now and available as a free download from nttx.bandcamp.com. It also includes a b-side cover of 'New Dress' by Depeche Mode. I've modernized the lyrics to reflect the current times. It's also available on iTunes, Amazon, Spotify and all the usual streaming services.

IVM: What have been the highlights of your career so far?

The highlights of my career so far have been playing Edgefest in Toronto (large outdoor music festival) with my previous band 'Riddle Me This'. It was a more alternative rock outfit in the mid '90s. Also, last year after releasing our debut album 'Symbiosis', Atomzero was signed within 3 months to Analogue Trash records out of the UK. We put a lot of work into that album and spent a lot of time doing promotion for it. It was nice to get the recognition for our work.

IVM: What are your plans for the future?

I'm presently finishing up the final tweaks and mixes for the upcoming debut EP which should be out this fall. I'm also doing some remix work for other artists which should be out soon as well.

IVM: Finally, is there anything that you would like to add?

There is a lot of talk about 'the scene is dying' or 'musicians are losing out' with regards to file sharing, streaming services etc. I am much more excited about these times than 20 years ago. Back then I would never have had the opportunity as an independent artist to reach fans all over the world as I can now. It's been very rewarding to get the feedback that someone in a far off place is enjoying my music. Unless you were a big name band back then, that wouldn't have happened. This is a great era we are in now, being able to reach a global audience on our own.

Links:

Website: nttxmusic.com

Bandcamp: nttx.bandcamp.com

Facebook: facebook.com/nttxmusic

Twitter: twitter.com/nttxmusic

Soundcloud: soundcloud.com/nttxmusic

Youtube: youtube.com/c/nttxmusic

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