Critics Choice: Sean's Top Albums Of 2015

It's time once again to look back at the releases of the previous year and try to decide what were the best releases.

This year Intravenous Magazine scribes Dokka, Joel Heyes, End: the DJ, P. Emerson Williams, and Dominic Lynch, as well as myself count down our personal favourites individually over the course of the month. And today we kick things off with my top 20 albums and 10 EPs (in no particular order) that got me hot under the collar last year.


Albums:

Caustic – 'Industrial Music'

If 'The Golden Vagina Of Fame And Profit' was Matt Fanale's club album, and 'The Man Who Couldn't Stop' was his grand concept album, then 'Industrial Music' is a return to his roots. After another successful Kickstarter campaign, the first full-length Caustic album in three years – and the début on new label Negative Gain Productions – sees Fanale making a stand and embracing the industrial tag. Returning to the big distorted beats, crunchy synths and aggressive vocals that characterised his Crunch Pod years, but adding the skill and experience that made 'The Golden Vagina...' and 'The Man Who Couldn't Stop' such must have albums. With this album Fanale continues to take risks and they continue to pay off for him. It is not an album that takes any steps backwards. It continues to push forward and in doing so reclaiming industrial music as a tag to be proud of. 

Beauty Queen Autopsy – 'Lotharia'

The uniting of Unwoman's Erica Mulkey and Caustic's Matt Fanale promised to be something special from the very beginning. Combining simple mechanical post-punk beats, minimalistic synthpop electronics, and prominently placing Mulkey's seductive post-grunge vocals high in the mix Beauty Queen Autopsy present a deceptively straight-forward but undeniably infectious formula that is both intimate and dance-friendly. The album has a wonderfully gritty 90s sound to it in so much as it evokes, the best elements of the Nothing Records, Wax Trax! and Warp Records catalogues of the era but maintains a modern dark sound that is both dark and strangely pop-friendly. 'Lotharia' is quite simply a wonderfully strong full-length début from the duo. This a subtle, but varied album that leaves you hungry for more. If this offering is anything to go by, Beauty Queen Autopsy are going to be a name to watch over the next few years as they can only grow from here. 

iVardensphere – 'Fable'

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. 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.

Chelsea Wolfe – 'Abyss'

Chelsea Wolfe's blend of shoegaze, goth, doom and neofolk infused art rock has quite rightly seen her quickly amass a strong following. Thanks to albums like 'Apokalypsis' and 'Pain Is Beauty' she has a rich palette of esoteric songs that are utterly bewitching, but with her fifth full-length album, 'Abyss' she looks to go a step further. Wolfe has always incorporated elements of black and doom metal on her albums, but 'Abyss' goes much further than previous albums dared. The end result is a bleak and nightmarish journey permeated by blissful melodies and crushing atmospheres. The end result is her darkest and most honest album to date, one that pushes the boundaries of her songwriting further than ever before and reaps the rewards because of it. Chelsea Wolfe may have been a rising star in alternative rock, but 'Abyss' is an album that will definitely establish her as a creative force for years to come. 

Paradise Lost - 'The Plague Within'

'The Plague Within' is one of Paradise Lost's heaviest offerings to date harking back to the ground-breaking second album 'Gothic'. Nick Holmes' death vocals are front and centre backed-up by a bludgeoning doom metal barrage tinged with gothic symphonic elements. It's the kind of album that long-time fans will be yearning for. The production is cold and bleak, recalling the likes of Ulver and Swallow The Sun. It's the band at their melancholic best brought out by the capable hands of producer Jaime Gomez Arellano. A partnership that will hopefully continue onto future releases. 'The Plague Within' is a magnum opus for the band. Uniting 25 years of melancholic evolution while pushing their sound forward once more, they exemplify their own past and future. The album is heavy, dark and full of doom metal influences executed with the skill and attention to detail that you would expect from a veteran band of their status. The album is a proud declaration that signs acknowledges their roots but gazes towards the horizon.

Swallow The Sun – 'Songs From The North I, II & III'

Since the release of their riff-laden début 'The Morning Never Came' Finland's Swallow The Sun have been a shining beacon in the ever gloomy world of doom metal. Blending death doom with funeral and ambient elements and liberally sprinkling with memorable riffs they have quickly built an enviable discography. The band's newest album is an almighty slab of everything to love about their style. Split into three albums 'Songs From The North' takes the listener through their accessible death doom on the first album. Brings us through a head mix of acoustic folk and doom on the second album. And finally unleashes monolithic slabs of pure funeral despair on the final album. The band have taken their time, indulged their whims, and made a gamble that has ultimately paid off in a big way. This album is the definitive Swallow The Sun statement. It feels 100% complete as an album as well as a perfect distillation of what is truly great about doom metal in general. There is a lot to process but it is one of those rare albums you can truly loose yourself in.

Neurotech – 'Stigma'

With two great albums out last year it was a tough choice to choose between them but in the end the more accessible 'Stigma' won out. The Ljubljana based multi-instrumentalist Wulf, has been crafting strong albums that utilise elements of future pop, new age music, symphonic electronics and metal. The latest release, 'Stigma', marks the first full-length studio album since 2011's raucous 'The Antagonist' and it aims to make people sit up and take notice. Recalling in particular the work of Peter Tagtgren with his projects Pain, and to a certain extent Lindemann, Wulf presents a highly polished individualistic project. The production is pretty good with a nice fresh and modern sound to the whole of the album. With each track getting a solid mix down. Neurotech have created another strong album that is dance friendly enough for club play, but has the right amount of heaviness to give it a broader appeal amongst metal fans.

Killing Joke – 'Pylon'

Picking up from the band's previous two outing ('Absolute Dissent' and 'MMXII') Killing Joke's latest studio album 'Pylon' is another uncompromising blend of industrial electronics, post-punk venom and metal riffs that will not fail to satisfy long-time fans of the band. In the 35 years since the band's eponymous début, music trends have come and gone, politics has come round full circle, technology is choking humanity and a dystopian malaise has set in. It's no wonder then that the anarchic and apocalyptic fire of Killing Joke is just as relevant and needed as it has ever been. The new album (number fifteen and counting!) recalls not only the band's most recent works 'Absolute Dissent', 'MMXII' and 'Hosannas From The Basement Of Hell' etc, but it also looks back to the likes of classics such as 'Pandemonium' and 'Democracy' for its musical and lyrical inspiration. 'Pylon' shows that after 35 years Killing Joke still have a lot to say and they know how to grab our attention. The band sound stronger and slicker than ever – the song writing is punch, the musicianship is solid throughout, and Jaz Coleman's vocals are sounding powerful and full of conviction. This should be an easy album for both long-time and new fans to get into as it showcases both the band's melodic and heavy sides almost equally within each song. 'Pylon' continues the band's latest and perhaps greatest run of album and promises much more to come.

Marilyn Manson – 'The Pale Emperor'

At one time it seemed as though Marilyn Manson, the self-proclaimed “God Of Fuck” could do no wrong. The former Brian Warner began his transformation into America's worst nightmare in the Florida underground rock scene in the early 90's before getting signed to Trent Reznor's Nothing Records imprint and releasing a slew of critically and commercially acclaimed albums including 'Antichrist Superstar', 'Mechanical Animals', Holy Wood' and 'The Golden Age Of Grotesque'. Fast-forward to 2007's 'Eat Me Drink Me' and 2009's 'The High End Of Low' and Manson appeared to have lost the spark that had won him legions of fans. And indeed the man himself seemed to be on course for his own public breakdown. We then pick up the story with the latest chapter 'The Pale Emperor', which is principally a collaboration with producer Tyler Bates rather than with his long-time musical confidant Twiggy Ramirez. Musically the album carries on the spikey post-punk characteristics of its predecessor and swamps it in nods to the likes of Nick Cave, Bauhaus, David Bowie and Tom Waits as well as some cinematic atmosphere for a “black and blues” slant on the Manson sound. As with 'Born Villain', 'The Pale Emperor' is good as an album and sees Manson continue the conceptual momentum as he draws the listener into his Faustian tale.

Zardonic – 'Antihero'

Following on from the thunderous 'For Justice' single that went off like a bomb earlier this year, was there ever any doubt that Zardonic's next album was going to be one to watch out for? His unique blend of bass-heavy electronic dance music genres melded with extreme metal has lit a fire under the edm scene. In the ten years since its inception, Zardonic has become one of the hottest DJ acts in the world today with not only his original tracks being released to acclaim, but also his remixing skills in demand from a range of notable artists. With a certain amount of anticipation behind it, 'Antihero' is an album that needs to hit hard, fast and leave a lasting impression. And that is exactly what it does. Drum 'n' bass, glitch hop, electro, darkstep, industrial, breakbeat, and hardcore techno collide head-on with extreme metal across eleven original tracks that will appeal to fans of Cubanate, Be My Enemy, Atari Teenage Riot, The Berzerker and the latest work from Combichrist. If you haven’t encountered Zardonic before, or are approaching his work with any degree of cynicism, then this should convert you. With 'Antihero' Zardonic has truly found his sound... and it kicks serious ass.

Grave Pleasures – 'Dreamcrash'

Under the moniker of Beastmilk, the band that is now Grave Pleasures instantly seared itself into the rock landscape with a stunning EP release in 'Use Your Deluge' and the follow-up full-length debut 'Climax' Blending post-punk, proto-goth / death rock, and elements of black and doom metal giving themselves a lot to live up to. The band then had a re-shuffle, changed their name, signed a new record deal and have hit even harder with their latest output 'Dreamcrash'. It's arguable as to whether is is in essence a debut or a sophomore album, but that minor complication is by-the-by. 'Dreamcrash' consolidates all the effort the band made under the Beastmilk moniker, expands on it, and focuses its gaze on the horizon. Icy cold atmospheres, sinister jangling guitars, tribal drums, palpitating bass lines, and the distinctive emotional evocations of vocalist Mat “Kvohst” McNerney come together in such a perfect way. There is nothing forced or contrived. 'Dreamcrash' is an album that has successfully surpassed expectations. Any worries about the line up change and subsequent re-branding of the band are instantly dispelled and all that is left behind is some of the best gothic-tinged post-punk released in years.

With The Dead – 'With The Dead' 

Given the past relationship between Rise Above Records (owned by former Cathedral vocalist Lee Dorrian), and Electric Wizard (whose founding rhythm section comprised of Tim Bagshaw and Mark Greening) having been a tempestuous one, the coming together of individual members of new doom metal trio With The Dead seemed like one of those “when hell freezes over” prospects. But nevertheless it has come to pass and the end result is a heavy dose of real doom that sees the distinctive voice of Dorrian set to the rhythmic talents that gave us 'Dopethrone'. With such accomplished work in every member's respective discographies, it is evident that With The Dead is a band that has nothing to prove and is free from the shackles of everything that has come before it. Yet this isn't about resting on their laurels. With The Dead want to craft their own identity and have one hell of an album with to do it. The album is grim, heavy, eerie and crushingly brilliant. This is a stunning début from three veterans of the doom genre that acknowledges their past work, but seriously amps it up. The eerie atmospheres, use of samples, and that ever present pressure from the guitars is a simple but wonderfully effective combination that has set the bar just that little bit higher. Hopefully With The Dead will become a mainstay of the doom genre for years to come. 

Mr Kitty – 'Fragments'

Forest Carney AKA Mr Kitty returns with his fifth full-length studio album and the first since the conclusion of his acclaimed “Dark Youth” quadrillogy that encompassed 'Death', 'Eternity', 'Life', and 'Time'. The new album 'Fragments' sees a much more open and vulnerable side to Carney's song writing coming through. Musically the icy synthpop and trippy witch house elements that characterised the first four albums remains at the core of the album, but with an air of stark and clinical futurism that recalls turn of the millennium ebm. The album is a deeply satisfying of melodic synthesizers, throbbing bass, steady dance beats and soaring vocals drenched in delay. It feels delicate and brittle, but altogether more hopeful and optimistic than his previous albums. This is another great and solid album from Mr Kitty that heads in new directions with ease. It is more emotional, measured, and instilled with a strong sense of purpose that sees him firmly close the door on the quadrillogy and look ahead to a very bright future.

Primitive Race – 'Primitive Race'

There are super groups and then there is Primitive Race. Boasting members of acts such as Pop Will Eat Itself, Peter Murphy, <PIG>, KMFDM, Ministry, Tricky, Nitzer Ebb, Combichrist and others in its ranks the group headed by Chris Kniker evoke everything that is great about industrial rocks past, present and future. The sound is hard to pin down though. It is a hard mix of industrial rock and ebm, but here are so many different flavours that bubble to the surface courtesy of the revolving line up of musicians and vocalists on every track. It's a veritable smorgasbord of world class talent coming together to do what they do best. Primitive race may be a new moniker, but it's members are some of the most respected names associated with industrial, ebm, and gothic music of the last 30 years. As such, this first full-length outing feels fully formed and actualised without any straining to find a niche. Fans of classic acts such as <PIG>, KMFDM, Skinny Puppy, Nitzer Ebb, Ministry, and Nine Inch Nails will feel right at home with this. While those just taking their first steps into the scene will find this album sits comfortably on the shelf next to modern acts like 3Teeth, Youth Code, Caustic, and Project F.

Cocksure – 'Corporate_Sting'

One year on from their full-length début album, the duo of Chris Connelly and Jason Novak return with their sophomore outing under the Cocksure moniker. The band's second album 'Corporate_Sting' sees the duo continue the big beat orientated industrial mayhem of their début across ten brand new tracks that evoke they 90s heyday of the Wax Trax! sound. Hard gritty beats, throbbing bass, heavily distorted vocals, and an anything goes attitude come together to blend old school sounds with modern execution. And once again it just works so damn well. There's certainly nothing corporate about this album, but there is plenty of sting to it. 'Corporate_Sting' is another great release from Cocksure, and fans of both old school acts as well as modern bands such as 3Teeth, Project F, Öhm, and Youth Code will definitely find plenty to enjoy here. Connelly and Novak's musical partnership is fast producing some of the strongest and most memorable material of their respective careers, and long may it continue.

Lindemann – 'Skills & Pills'

The coming together of the musical maestro behind Hypocrisy and Pain, and the vocalist and lyricist of Rammstein was always going to yield interesting results. Peter Tägtgren's blend of addictive industrial metal that he perfected over the years under the Pain moniker melds perfectly with the twisted humour of Till Lindemann who now treats, or subjects, his audience (depending on your position) to every filthy lyric in English. With Rammstein Till has used English sparingly, usually for comedic effect in songs such as 'America' and 'Pussy', but with his Lindemann project he drops the veil for the non-German speaking world to finally hear. Musically the album calls heavily on Pain albums such as 'Psalms Of Extinction' and 'Cynic Paradise' with its hard, memorable riffs and industrial meets symphonic synthpop electronics. All the while Till Lindemann's distinctive vocals power through the tracks to whip up huge sing-a-long choruses. It's a combination that simply works. Hardened Rammstein and Pain fans should find plenty here to get their teeth into, though casual listeners may be turned off by Till's explicit use of English, or perhaps the strong musical resemblance to Pain rather than something drastically different. However, that's not really the point of the album. It's dirty, it's fun and it's most certainly memorable.

Cold In Berlin – 'The Comfort Of Loss & Dust'

Cold In Berlin have become one of the most respectable and genuinely intriguing bands in the UK underground. The band's first two albums were stunning exercises in gritty and arty gothic tinged post punk. But the band's third album sees perhaps the biggest step in their sonic evolution thus far as 'The Comfort Of Loss & Dust' slaps a heavy dose of stoner rock on top of the bands cool gothic sounds. The fusion is a slice of sheer bliss that recalls the black metal tinged post punk of Beastmilk, and the avant garde doom rock of Chelsea Wolfe, as well as occult rock bands such as Jex Thoth and Subrosa. The Siouxsie Sioux meets Lene Lovich with a liberal sprinkle of Grace Slick style vocals of Maya cut through the cacophony of fuzz to preserve the bands gothic menace. The bass and guitar switch between doom, stoner, and punk riffs while the drums thunder above to create a thick and foreboding atmosphere of melancholia. The Comfort Of Loss & Dust' is a revelation. They've taken a gamble and it has definitely paid off for them. It mangles and distorts genres into a captivating new beast. One that will still appeal to their long-time fans but will open new doors for them with an appeal that fans of occult rock, stoner rock and doom will find hard to resist.

Near Earth Orbit – 'The End Of All Existence'

Artaud Seth (Merciful Nuns, Lutherion, Garden Of Delight) teams up with Ashley Dayour (Whispers In the Shadows, L'Âme Immortelle, Veneno para las Hadas) to usher in the end of days. The duo's new project Near Earth Orbit is an apocalyptic exercise in atmospheric gothic rock fixated on the threat of destruction from space. The album is propelled by Fields Of The Nephilim style bass lines, coupled with near ritualistic beats, washes of droning guitars, and dark ambient synthesizers which frame Seth's shamanistic vocal style. There are nods to the likes of Fields Of The Nephilim, Pink Floyd, Tiamat, Tool, and the duo's own expansive back catalogues. It's a seminal and wholly original sound that is both disturbing and utterly compelling. 'End Of All Existence' is less of an album than an audio disaster movie. Such is the scope and excellence of the execution. Seth and Dayour have crafted a fine and original work that while following the path laid out by Seth's own recent work with Merciful Nuns, still manages to create a unique and effective identity of its own. The songs are catchy and fans of both artists will easily be able to pick up this album and engage with it. It's a promising first move from a partnership that looks set to pay off time and time again.

Sidewalks And Skeletons – 'White Light'

Love it or loath it, witch house is here to stay and so is Sidewalks And Skeletons, AKA Bradford's Jake Lee who, on his latest release under the moniker continues to experiment and push the definition of the genre. 'White Light', the follow-up to last year's 'Future Ghosts', incorporates the classic trappings of witch house but pushes beyond them as well and even goes as far to infuse metal elements into some of the songs. It is an album that is set on expanding the palette of its creator and the experimental scope of the genre. 'White Light' is hands down the strongest Sidewalks And Skeletons release to date, and perhaps one of the best witch house-related releases of the year. The songs are aiming for another level and more often than not reach it. It has aspirations to stay true to its roots but at the same time redefine what they are and can encompass. This is an album that should hopefully capture a lot of people's attention, and quite rightly so.

Chant – 'Brave New Apocalypse'

Chant, AKA Bradley Bills, sounds like one of those projects that has been around forever... despite only being on album number three. Chant's high profile North American and European tour supports with the likes of KMFDM and Die Krupps has seen Bills spread his tribal infused industrial sound far and wide and gained an international following in the process. Drawing on influences such as Nitzer Ebb, Nine Inch Nails, Killing Joke, and KMFDM there is something classic about his sonic formula that creates and instant familiarity. The third album from Chant, 'Brave New Apocalypse' sees Bills further refine his rhythmic industrial manifesto and brings in a fresh take on the classic industrial rock style of the early 1990s. 'Brave New Apocalypse' is a great stylistic turn by Bills and should play well to new fans looking for something to rock out to, as well as older fans who will feel a pang of nostalgia for the days in which industrial rock gained some mainstream traction. It is full of potential club-friendly hits and will ensure a healthy live repertoire for future live shows. But most importantly it should continues to see Bradley Bills song writing talents strengthen and his position solidify as a name to be reckoned with.





EPs:

Wik▲n – 'Nightfall'

Sheffield's Wik▲n may be flying the flag for the witch house scene, but there is so much more to their sound than that. Their newest offering (their eighth EP since 2010) 'Nightfall' includes ambient, drone, noise, dark electro, and even neofolk as well as drag and witch house to create haunting soundscapes and experimental grooves. But no matter which direction they choose to go, the songs remain epic in their scope and rarely drop below seven minutes in length. Wik▲n may not be a common name in the UK underground scene but they should be. 'Nightfall' is a mature, engrossing and deeply fulfilling listening experience. The band prove they can turn their hand to anything and everything here and still make it sound like a cohesive whole. This is definitely an act to keep your eye on.

Garek – 'Take the King Vol. 1'

You may have seen the videos for the incendiary slices of pop-industrial that Garek has released prior to his début EP in the form of 'Cavity', 'Save The Queen' and his cover of Katy Perry's 'E.T'. If you haven't had the pleasure yet then you've been missing out. Garek presents a satisfying blend of electro mixed with industrial rock and given a radio-friendly pop veneer that recalls the classic years of Marilyn Manson, Orgy, Nine Inch Nails, and recent acts such as Aesthetic Perfection. Throw in a glamorous presentation and a genuinely artistic idiom and you have a winning formula. The EP is brief clocking in a t just over twelve minutes in length and refreshingly doesn’t include any tacked-on remixes, instead keeping to the short but complete statement of the four tracks. But despite it's length it hits its mark with ease. Garek has a great sound that won't fail to inspire a big following and perhaps even some cross-over success down the line.

(((O))) – 'We Hate You'

Despite only emerging in 2012 (((O))), AKA Nikita Vasilyev has already developed a loyal following thanks to releases such as 'Black EP' and 'Motherland'. This year the Belarus-based artist returns with the new three-track EP, 'We Hate You'. Taking its cues from LaVey and Lovecraft it's dark experimental electronics and witch house embellishments make it one of the few underground electronic bands that can be happily summed up as avant garde while keeping a straight face. If you haven't had the pleasure of listening to (((O))) then 'We Hate You' is a good starting point. It's accessible, moody and psychedelic electronic that fans of dark electro will be able to appreciate. It would have been nicer to have a bit of a longer running time. But the three tracks feel like a complete statement, so it is by no means disappointing. However it does build up the anticipation that could be quenched by another full-length release.

The Gothsicles – 'The Nyarlat Hot EP'

After Brian Graupner and his band of reprobates embark on their most club-friendly and well-rounded outing to date with the delightfully mad 'Squid Icarus', The Gothsicles returned with a follow-up EP in the form of 'The Nyarlat Hot EP'. Picking up where they left off the band with three new songs and some bonus remixes to extend their club appeal a little further. The classic Gothsicle elements are all present such as Graupner's bat-shit crazy vocals, the 8-bit leads, and of course more nerd culture thrown under the microscope and lovingly mocked. Throw in some great remixes from the likes of  Ballpeen, Projekt F and God Module and this is becomes and addictive little taste of where the band are at. The EP may be a humble one and not exactly push new ground in it's own right, but it is a nonetheless zany and delightful appendage to the main album that still has some great dance floor moments to enjoy.

Monomorte – 'The Three Mothers'

Danny Ryder AKA, Monomorte, returns with a new EP sure to appeal to fans of witch house. The Liverpool-based producer has crafted some wonderfully unique releases in recent years including 'Ad Extremvm', 'Coven XXIII', and 'Douosvavvm' which have explored genres such as chillwave, ambient, old school house, trip hop and industrial to create a take on the witch house sound that is accessible, enjoyable and most importantly high quality music. 'The Three Mothers' is a very, very strong release from Ryder. Its a shame it only features three tracks as it leaves you hungry for more. It shows Ryder continueing to develop and improve his take on the witch house sound, and as a result raise the quality for others to aspire to. Let's hope a full-length release is on the cards soon.

Psy'Aviah – 'Never Look Back' / Words' EP

Belgium's Psy'Aviah AKA multi-instrumentalist and producer Yves Schelpe, have been providing an eclectic injection into the electronic scene for a number of years. Blending elements of trip hop, ambient, pop, rock, techno, electroclash, and ebm Schelep and his now revolving door of talented vocalists the music of Psy'Aviah has always been something that is hard to ignore. Now one year on after the last full-length outing on 'The Xenogamous Endeavour' Schelpe returns with the 'Never Look Back' / 'Words' EP as a precursor to the next Psy'Aviah album. With the two lead tracks Schelpe continues to break down genre conventions injecting 'Never Look Back', which features the vocal talents of Ellia Bisker of New York's Sweet Soubrette, with a heavily trip-hop saturated direction while keeping it's fresh electro framework. While 'Words' , featuring J Ari, adds a couple of big helpings of reggae and Mowtown to Schelpe's electronic formula. This EP bodes well for the forthcoming album. If it continues down a similar line of eclectic genre blending and emotion-tugging melodies, then the next full-length Psy'Aviah album could be their best yet. 

V▲LH▲LL – 'Vi††ΞЯS†ЯåK'

Stockholm's V▲LH▲LL are an undeniably impressive act. Formed in 2012 they have fast become one of the most impressive underground electronic acts around today despite only having a few releases to their name. Their début full-length release last year on Artoffact Records, 'Leaning On Shadows' was a triumphant blend of atmospheric songwriting incorporating elements of witch house, neofolk, dark ambient and industrial. Just in time for Halloween comes the band's new single 'Vi††ΞЯS†ЯåK' which features two tracks of dissonant dark ambiance to send shivers down your spine. This is another great release from V▲LH▲LL that continues to show off their skill and diversity. They seamlessly span experimental and more accessible genres and can craft exquisitely haunting atmospheres with ease. 'Vi††ΞЯS†ЯåK' is Halloween friendly scary music in a non cliché way that shows a real mastery of sound, melody and rhythm. Hopefully the band will follow this up soon with another full-length album to show the full scope of their abilities again.

Blush Response – 'Future Tyrants'

Blush Response's last release, 2014's 'Desire Machines' was a stunning blend of avant garde electronics and intelligent dance music that consolidated Joey Blush's position as arguably one of the most exciting electronic musicians around today. Utilising modular synthesizers, Blush blends a mixture of influences gleaned from glitch, ambient, industrial, ebm and electronica to create something truly fresh and modern. Fast forward two years and the now Berlin based artist releases his latest EP 'Future Tyrants' on Aufnahme + Wadergabe. Distorted glitch elements combine with subtle dance beats and throbbing synth bass for a dark and satisfying sound that evokes the early works of acts such as Front 242, Skinny Puppy, Die Krupps, Cabaret Voltaire, and Front Line Assembly. 'Future Tyrants' is another feather in Joey Blush's cap showing him to be a true master of his art. The album is comprised of instrumentals, and that may turn off those who like a nice lyric or two to get stuck into, but it doesn't hold it back. These are four bold and forceful tracks that demand to be heard and leave you feeling satisfied. Fans of the old school sound will immediately dig it, while those newer to the classic ebm / electro-indutrial scene will still find this an accessible point of reference.

Celldweller – 'End Of an Empire – Chapter 3: Dreams'

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. This chapter shows that the 'End Of An Empire' album is progressing nicely and may even eclipse the eponymous début album. The fact it is being released in chapters is still very frustrating as it would be great to listen to everything in one sitting and take it all in properly. However it seems as though Klayton has got this one completely under control this time and we won't have long to wait to get the final instalment.

In Death It Ends – 'Protogrammaton'

In Death It Ends has maintained an intensive release schedule over the past few years with multiple album, single, EP and free download releases each year. This has already built up into an impressive and enviable back catalogue that synthesizes elements of witch house, post punk, gothic rock, industrial and darkwave into something genuinely unique. 'Protogrammaton' marks the start of the 2015 release cycle in anticipation of the next full length LP 'Beneath Eden'. Even though it is a free to download mini-album, that doesn't take away from the quality of the music it contains. If this is your first introduction to IDIE then 'Protogrammaton' is a good place to start. It provides a good cross section of the band's styles and influences in one accessible package. It isn't the most defining of the back catalogue to date, but it still holds its own.

Keep an eye out for more countdowns this month. In the meantime, what were your favourite albums off the past twelve months? Let us know on our Facebook page.  

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Review: David Bowie – 'Blackstar'

DAVID BOWIE
'Blackstar'
RCA

It is with some regret that I am reviewing this album after the sad passing of David Bowie today. I had been waiting for its release to do a review and had planned to write it today after the chance to fully absorb it. But today I found myself at my computer penning an obituary first, the aftermath of which will inevitably serve to clarify the cryptic lyrics of this album and add poignancy to the album from now on.

After a decade away from music, Bowie returned to us suddenly with 2013's 'The Next Day' – a wonderfully nostalgic and avant garde tinged rock album that instantly re-established Bowie as a musical force in yet another decade. Fast forward two years and after a new 'best of' compilation, a big box set of re-releases from his early years, and a new musical based on the cult classic film 'The Man Who Fell To Earth', he looked like a man with a new energy. The tip of this creative spear is 'Blackstar' – a bleak and dark blend of jazz, avant garde, electronics and art rock that heavily evokes Bowie's lauded Berlin period of the late 1970s.

The tracks are few in number (seven in total), but are often lengthy compositions that twist and evolve across their length. The title track 'Blackstar' is a grand and opulent piece permeated by jarring rhythms, hauntingly atmospheric synths and strings, as well as a low throbbing bass and cutting saxophone that evokes the heady experimentalism of his Berlin years.

Songs like ''Tis A Pity She's A Whore', 'Sue (Or In A Season Of Crime)', 'Girl Loves Me', and 'Dollar Days' delve into the jazzy rock dissonance of 'Aladdin Sane' mixed with the left-field construction of '1. Outside' as well as the soulful offerings of 'Heathen' and 'The Next Day'. But along with the title track it is the second single 'Lazarus' and the heart wrenching closing track 'I Can't Give Everything' that provide the album's undeniable stand out moments that cut deep below the skin.

The album is wonderfully produced with Tony Visconti's expertise evident all over it as with many of Bowie's classic albums. The band this time is primarily a jazz band led by New York saxophonist Donny McCaslin which serves to heighten the left-field feel of the album. It is a wonderful blend of experimental, emotional and accessible that only Bowie can pull-off.

As we know now Bowie's health was failing him during the making of this album. But his voice sounds as beautiful as ever. Mature, soulful, deep and with that unmistakeable vibrato he sounds like he is singing right into your spirit. The lyrics may have been cryptic until today, but they are raw and cutting now as their true meaning is revealed. And this only adds to the power and resonance of his performance.

'Blackstar' is a wonderful, powerful and well-calculated parting shot for an artist who truly was an artist. This album links Bowie to his past but it still feels new, daring and pushing the envelope of rock music. It is an epitaph from the artist to his fans, but it is also a brilliantly inspire album in its own right that even before Bowie's untimely death would be hard to push from the top of a lot of people's best of the year lists.  

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Obituary: David Bowie 1947 – 2016

Goodbye Spaceboy... 

“As you get older, the questions come down to about two or three. How long? And what do I do with the time I've got left?” – David Bowie

The news that David Bowie had died following and 18-month battle with cancer was just as out of the blue as his shocking return from retirement in 2013. The singer, musician, producer, actor, poet, painter, sculptor and all round polymath was ingrained firmly into the popular culture of the later 20^th and early 21^st centuries. His work transcended genres, pushed boundaries, experimented and played with conventions whether they be musical or cultural. No written tribute will ever truly be able to encapsulate the influence this man had on generation upon generation of artists and fans alike. Always at the forefront of every trend, reinventing himself perpetually. He was the ultimate chameleon, the ultimate mirror to mankind's post-modern evolution. He was, will forever be David Bowie.

Born David Jones in Brixton in January 1947, the boy that would become Bowie grew up in South East London gradually developing an obsession with rock 'n' roll, art and theatre. He played in bands throughout the 1960s as many other teenagers did. He painted, modelled, studied mime. He later admitted that he didn't quite know what he wanted to do, other than be known for something. After a few false starts he finally had a hit song in the form of 1969's 'Space Oddity'. The single seemed like it would be a one hit wonder for Bowie despite being followed by albums that would go on to be highly influential in their own right, as well as penning hits for several other artists.

Then came glam rock, and Ziggy Stardust was born. The national début of Bowie's new glamorous androgynous alien alter ego was on Top Of The Pops and thrust him into the living room of every house in the UK. The colourful Bowie with his arm draped over the shoulders of guitarist Mick Ronson as they performed the single 'Starman' from the album 'The Rise And Fall Of Ziggy Stardust' may seem tame by today's standards, but in a Britain where homosexuality had only been legal for a few years it was a shocking display of nonconformist sexual liberation set to infectious rock 'n' roll. Bowie and his band toured relentlessly with a show combining the conceptual story of the album with his previous songs, costume and make up changes, mime and thousands of screaming fans. It was a hit and Bowie never looked back.



Ziggy didn't last long. He was soon followed by characters such as Aladdin Sane, Halloween Jack and The Thin White Duke. The characters enabled him to project his reality onto their fiction:

“As an adolescent, I was painfully shy, withdrawn. I didn’t really have the nerve to sing my songs on stage and nobody else was doing them. I decided to do them in disguise so that I didn’t have to actually go through the humiliation of going on stage and being myself. I continued designing characters with their own complete personalities and environments. I put them into interviews with me! Rather than be me — which must be incredibly boring to anyone — I’d take Ziggy in, or Aladdin Sane or The Thin White Duke. It was a very strange thing to do.”

Bowie also didn't stick to his comfort zone and keep churning out glam rock as his peers would do. He embraced avant garde methods, kept an ear open to new sounds and an open mind to new ideas. He would go on to explore genres such as soul, art rock, krautrock, new wave, industrial, drum 'n' bass, and jungle to name a few. This would keep him in the public consciousness and ensure hit albums in every subsequent decade, re-introducing him to the next generation.

In addition to this he would keep on painting, and he would also find time to indulge his skills as an actor in films such as 'The Man Who Fell To Earth' (1976), 'The Hunger' (1983), 'Merry Christmas, Mr Lawrence' (1983), 'Labyrinth' (1986), 'The Last Temptation Of Christ' (1988), and 'Basquiat' (1996). He would also see him gain critical acclaim as the title role of John Merrick in the Broadway production of 'The Elephant Man'.

His work schedule and personal demons led him to spiral into a cocaine addiction which saw Bowie thin and skeletal in the mid-1970s prompting an escape to Berlin in an effort to try and kick the habit. There he would collaborate with Brian Eno and Iggy Pop once again redefining the direction of popular music at the time.

On the morning of 11^th January 2016, just days after the release of his latest album 'Blackstar' the news that David Bowie had died. His social media posted a short message stating:

“January 10 2016 - David Bowie died peacefully today surrounded by his family after a courageous 18 month battle with cancer. While many of you will share in this loss, we ask that you respect the family’s privacy during their time of grief.”

The world erupted into an outpouring of tributes that eclipsed any other star before. Everyone from the fans, to colleagues, peers and even governments paid their respects to him. Bowie's influence was truly global and was internalised by millions.

He himself was always incredibly modest about his work stating in an interview in GQ in 2002; “You know, what I do is not terribly intellectual. I’m a pop singer for Christ’s sake.”. But was always ready to make a joke about the absurdity of it all; “Fame itself… doesn’t really afford you anything more than a good seat in a restaurant.” - Q Magazine 1990.



Bowie has left us with a rich legacy that has and will continue to stand the test of time. He sold over 140 million albums and he has new music in the form of 'Blackstar', and was still working until his final hours. But just as sudden as his return had been it has been just as quickly taken away.

As long-time friend and producer Tony Visconti said in the press today: “He always did what he wanted to do. And he wanted to do it his way and he wanted to do it the best way. His death was no different from his life – a work of Art. He made 'Blackstar' for us, his parting gift. I knew for a year this was the way it would be. I wasn't, however, prepared for it. He was an extraordinary man, full of love and life. He will always be with us. For now, it is appropriate to cry.”

On a personal note it was only on Sunday that I sat in the Hard Rock Café in Manchester, and on the wall behind me were three men’s suits. On the left a white suit worn by Liam Gallagher of Oasis, on the right a pinstripe suit worn by Elton John, and in the middle a teal suit that belonged to David Bowie. Of the three Bowie's kept drawing my eye, and not in an idle glancing way. I found that I kept turning myself to look at it. I had been there before and seen it, but this time I studied it intently.

If you haven't seen it, it is a double breasted, light teal suit with wide lapels and a few creases that looks unmistakable of its era. The kind of suit you'd see in a retro clothes shop and think that it would make a good costume. On its own it's just an ordinary suit like those next to it. But just by that association with Bowie, it became more. It was a fashion statement, a work of art, a relic of a bygone era. It evoked the piano strains of 'Life On Mars' and the over saturated colouring of it's music video. It evoked screaming fans in the Hammersmith Odeon as Ziggy retired. It was a grand and spectacular as the Glass Spider tour, and as intimate as the video for 'The Buddha Of Suburbia'. It was Bowie, encapsulated and crystallised in a fragment of his past. It was, more than any other item in there, a true relic of a genius.

David Bowie is survived by his wife Iman, his son Duncan, and his daughter Alexandria.

R.I.P David Bowie



www.davidbowie.com

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Obituary: Lemmy Kilmister 1945 – 2015

Born To Lose, Live To Win...

“Death is an inevitability, isn’t it? You become more aware of that when you get to my age. I don’t worry about it. I’m ready for it. When I go, I want to go doing what I do best. If I died tomorrow, I couldn’t complain. It’s been good.” – Lemmy Kilmister

This obituary may be running a little late but it isn't written with any less love because of it. Infact it has been due to the outpouring of love from Lemmy's friends and fans that this feature has been delayed until after the enigmatic musician's webcast funeral.

Only once every so often does a man such as Lemmy Kilmister come along. The founder and leader of arguably the loudest band on the planet Motörhead lead an uncompromising lifestyle. He was the hard drinking, hard living poster boy for the rock 'n' roll lifestyle. A lifestyle that claimed many of his friends and colleagues long ago. But the man born Ian Fraser Kilmister outlived so many of them it looked as though he was truly indestructible. With his trademark bass style, unusual microphone positioning and gruff recognisable voice Lemmy was unique, in fact Hunter S. Thompson's line in 'Fear And Loathing In Las Vegas' could have been a perfect summing up of Lemmy's life – “Too weird to live, too rare to die”.

But on December 28^th 2015, just days after his 70th birthday, the man that allegedly drank a bottle of Jack Daniels a day and had a long-term affair with amphetamines and yet still lived to beyond retirement age sadly died following a short battle with an extremely aggressive form of cancer.

Lemmy was born in Stoke-On-Trent on Christmas Eve 1945. His father a former RAF chaplain separated from his mother just months after his birth. The family moved around a little before his mother married an ex-footballer and they relocated to Wales. Lemmy did not get on with his new stepfather's children and would soon grow to find an interest in Rock 'n' roll and girls. In his teens he began playing in local bands and working menial jobs. He then met a girl called Cathy and followed her to Stockport where they had a son.

Lemmy continued to play in small local bands before joining The Rockin' Vicars and gaining a record deal with CBS. He would go on to roadie for the Jimi Hendrix Experience and play with the band's Sam Gopal, and later Opal Butterfly which were all short-lived. In 1971 though, Lemmy joined space rockers Hawkwind and switched from guitar to bass. He developed a distinctive style of playing informed by his previous experience as a rhythm guitarist which enhanced the Hawkwind sound. His high point with the band saw him take lead vocals on the band's smash hit single 'Silver Machine', but soon after he was fired from the band.



In the aftermath of his release Lemmy founded a new more raucous outfit he initially called Bastard, but after being informed he's never get on Top Of The Pops with a band called Bastard he rechristened them Motörhead and brought in guitarist "Fast" Eddie Clarke and drummer Phil "Philthy Animal" Taylor. And the rest, as they say is history.

Motörhead pioneered a frantic and aggressive style of rock 'n' roll which became a major influence on both the emerging punk and heavy metal movements. Though Lemmy said he always had more affinity with the punk scene, indeed sharing the stage with the likes of The Damned and allegedly trying to teach Sex Pistols “Bassist” Sid Vicious how to play. But the band's loud uncompromising style drew them into the pantheon of the heavy metal greats.

The band's biggest mainstream success came with the release of the single and album 'Ace Of Spades', as well as the live recording 'No Sleep Til' Hammersmith'. Motörhead would go on to release a total of 22 studio albums the last of which, 'Bad Magic' was released in august 2015 to strongly favourable reviews from critics and fans alike.

Lemmy and by proxy Motörhead's appeal was in the reality they projected. Lemmy was straight-talking, down to earth and raw. The man onstage was the same as the man offstage. He never worried about being trendy, just being true to himself.

Lemmy was diagnosed with cancer only days before his death and only shortly after completeing the band's last tour. He had previously been diagnosed with diabetes and hypertension, and in 2013 he had an implantable cardioverter-defibrillator fitted. His cancer diagnosis had given him two – six months to live, but Lemmy died on 28th December 2015 at home. His manager, Todd Singerman, later revealed: “He (Lemmy) gets home (from tour), we have a big birthday party for him at the Whisky A Go Go. His friends came down and played. Two days later I could tell he wasn't feeling good so we took him to the hospital, they release him, then after the brain scan they found the cancer in his brain and his neck... The doctor comes with the result a couple of days later and says... it's terminal.”



The news of Lemmy's passing was announced on the band's facebook page with a statement that read:

“There is no easy way to say this…our mighty, noble friend Lemmy passed away today after a short battle with an extremely aggressive cancer. He had learnt of the disease on December 26th, and was at home, sitting in front of his favorite video game from The Rainbow which had recently made its way down the street, with his family.
We cannot begin to express our shock and sadness, there aren’t words.
We will say more in the coming days, but for now, please…play Motörhead loud, play Hawkwind loud, play Lemmy’s music LOUD.
Have a drink or few.
Share stories.
Celebrate the LIFE this lovely, wonderful man celebrated so vibrantly himself.
HE WOULD WANT EXACTLY THAT.
Ian ‘Lemmy’ Kilmister
1945 -2015
Born to lose, lived to win.”

Tributes came pouring in from peers such as Ozzy Osbourne, Alice Cooper, Metallica, Anthrax and even WWE Professional Wrestler Paul Michael Lavesque whose character 'Triple H' regularly uses Motörhead songs as his entrance themes.

On Saturday 9th January, Lemmy's funeral was broadcast live from Forest Lawn Memorial Cemetery over the internet and saw stars such as Slash, Scott Ian, Lars Ulrich, Robert Trujillo in attendance while Foo Fighters founder and Probot bandmate Dave Grohl closed the service with a moving eulogy which was unfortunately not broadcast in its entirety due to the feed cutting out. In the UK after Lemmy's death was announced a facebook campaign gained momentum to try and get Motörhead's 'Ace Of Spades' single to the first number one spot of 2016. The campaign was partly successful with the song entering the top 20 at number thirteen which is higher than it's best position (fifteen) during it's initial release.

Lemmy made an indelible mark on rock and metal. He was an icon of the genre that helped defined it and through it he lived his life to the fullest. As he said in a Classic Rock Magazine interview: “I don't do regrets. Regrets are pointless. It's too late for regrets. You've already done it, haven't you? You've lived your life. No point wishing you could change it.”




R.I.P Lemmy Kilmister

www.imotorhead.com

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Review: Neurotech – 'The Ophidian Symphony'

NEUROTECH
'The Ophidian Symphony'
SELF-RELEASED

If the two stunning albums, 'Stigma' and 'Evasive', released last year by Neurotech (AKA, Ljubljana based multi-instrumentalist Wulf) weren’t enough for you, the Slovenian genre-defying composer and producer returns with a final parting shot to 2015 in the form of 'The Ophidian Symphony'.

The free single returns to the more metal influenced sphere of 'Stigma' but retains the expansive blend of ambient and classical influences that made 'Evasive' a joyous listening experience. Add in the ebm and industrial influenced electronics and you have a solid representation of the Neurotech sound.

At eighteen-minutes in length the song goes through several movements truly living up to the symphony part of it's title. The song is entirely instrumental, which on one hand is a shames as Wulf's vocals are great and he could pull off something quite interesting over the top of this music. However, on the other hand it is an impressive testament to the composition that it manages to hold your attention so strongly that it is about several minutes before you realise that no vocals have come in.

In terms of production it sounds brilliant. Wulf's studio prowess is reflected well once again as he manages to balance fast metal guitars and drums, groovy synths, and ambient elements in a way that preserves the accessible end of the band's song while keeping it's cinematic scope intact.

This may be an instrumental single but it is nonetheless a big statement. If Wulf can keep up the momentum he has built with stunning releases such as this and the last two albums then 2016 could be the year of Neurotech. 

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Review: Attrition – 'In Dark Dreams 1980 – 2015'

ATTRITION
'In Dark Dreams 1980 – 2015'
A TWO GODS PRODUCTION

A 35 year career is hard to sum up for any artist, let alone one as prolific as Attrition mastermind Martin Bowes. He has been the dark cornerstone of the UK gothic industrial music scene for all of that time, garnering international acclaim not only for his own output but also for his extensive production work out of his own The Cage Studios in Coventry. As such any kind of attempt to create a “best of” compilation is only ever going to scratch the surface of a diverse and expansive discography. But with 'In Dark Dreams...' Bowes does just that. A perfect introduction encapsulated on a two-disc set, (which could have easily been a box set) to present Attrition's legacy in a bite-size fashion.

For this compilation Bowes looks back across a range of albums including '3 Arms & A Dead Cert', 'In The Realm Of The Hungry Ghosts', 'Dante's Kitchen', 'Attrition Of Reason', and 'The Unraveller Of Angels', as well as his most recent outing 'Millions Of The Mouthless Dead'.

The compilation follows no chronological framework, but instead lets each track compliment the one that came before it to create a unified expression. This sees older material and newer works rub shoulders comfortably and shows of the truly esoteric nature of Bowes' compositions.

Grooving electronics, dark ambient, grim industrial and gothic atmospheres from the darkest corners of Bowes' discography create a rich sonic journey with songs such as 'Dreamsleep', 'One Horse Rider', 'Beast Of Burden', 'Invocation V', 'Lip Sync', 'The Bone Factory', and 'Silent Night'. As well as rarer gems which give a well-rounded look into Attrition as a whole.

As you would expect from Bowes, 'In Dark Dreams...' is well produced and nicely put together with every track remastered and updated to fit perfectly with one another. The older recordings sound fresh and just as relevant as the more recent ones.

Attrition may have an intimidating discography for those new to them. But with 'In Dark Dreams 1980 – 2015' some of Bowes' finest cuts provide a taster of many of his most memorable albums. This release in itself is a very strong offering, keeping that album unity that Bowes has always fostered on his main releases, and as such for fans old and new this is an essential release.

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WITCHES ARE FROM VENUS, WITCH-HUNTERS ARE FROM MARS

Happy new year, readers! Now that the long dirgey coda of 2015 is finally over (I thought it would never leave...) and the winter solstice sees the beginning of lighter, longer, warmer, less penury-inclined days ahead we can finally look forward to what 2016 holds in store. And one thing it does hold in store is lots of lots of Horror (and, probably, horror too – but that's a different matter).

March this year sees the UK release of 'The Witch', another not-particularly-successful attempt to bring the much contrived tropes of witchcraft to the big screen. The key ingredients of dark, primitive forests, puritanical superstitious townsfolk and pagan evil are present and correct. Such stuff is surely trope-on-a-rope these days. Only recently Vin Diesel heroically flopped in the abysmal 'The Last Witch Hunter' which was the latest exploration of the corresponding witchcraft-related trope – that of the ruthless witchhunter, witchfinder or similar emissary of righteous justice. Movies and other cultural portrayals of these confrontations are plentiful. But what, exactly, is this stuff all about?

In order to edit the lengthy exposition which starts this discussion it is first necessary to get out of the way what witches really were – namely, the predominantly female cultural leaders of village ceremony and healing that was prevalent in pagan societies before attempts were made by Christian authorities to violently suppress them. The notion of witches as hideous crones linked to Satan and evil was a cultural creation used to justify what amounted to a widespread genocide of female power and alternative spirituality, and it has since become embedded in popular culture.

So, moving swiftly on from that...what is the witch/witch-hunter dynamic really about? Well, we must first look at what the witch represents in these stories. The witch is almost always portrayed as female, despite it being a unisex position (much in the same way that a nurse is portrayed); she also has a link to the 'wild', often found living in the forest, controlling the elements or literally riding the wind – a literal 'force of nature'. Her skills are arcane, occult and pre-Christian, and her power is portrayed as primitive and fundamentally sexual: much talk of 'spells' and 'enchantment', either literally cast or metaphorically cast as sexual attraction. In short, all sorts of casual misogyny abounds with various allusions to 'original sin', Lilith, women's innate corruptibility and ability to corrupt, and so on.

The witch hunter predictably plays a more blunt role in this paradigm. Universally portrayed as a man ('Hansel & Gretel: Witch Hunters' doesn't count), the witch hunter is charged with a dour moralism, a pious sense of certainty and incorruptible integrity. A man of god, brave enough to be so over-the-top ruthless and determined that he is impervious to any charms (physical, spiritual or otherwise) that the witch may use against him. He is also uniquely violent, allowed as he is to accuse and torture without any objective proof of guilt and armed with the judgement of God he is particularly cruel.

The contrast here is very straightforward: one between a heathen, anarchic, pagan femininity and a phallocentric, masculine, centralising authority. The interrogations that the witchfinder undertakes are a sadistic attempt to break the spiritual, sexual and political independence of the woman - and furthermore this is something he appears to take great pleasure in doing. It is a Freudian power dynamic come to life as much as it is a glib demonstration of a gender essentialism viewpoint.

But why does it have to be so? Why can't the witch hunter and the witch come to a better way of settling their disputes? Does the basis of such tales always have to remain this way? It is tempting to ask how the dynamic would change if the witch hunter was female, or how the tale would play out if the witch hunter was more fallible and the witch less so – maybe they would fall in love and form a more equal partnership, one based on recognised uniqueness and mutually respected difference?

Of course, don't expect much of that at the Cineplex; but still, it's worth considering the next time you consume this particular piece of cultural candy.

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Editorial: January, 2016

It's 2016. It only seems like yesterday that I was stressing over the final bugs before launching this website on New Year's Day 2013. That was three years ago, and it has been a steady climb upwards ever since. For a niche subject matter such as dark culture, our readership continues to grow. Artists, fans, and industry people seem to value our opinions on the latest releases. Our features, and columns are widely viewed. And we've brought you some great interviews from some of the best names in the scene.

Not bad really.

Of course this can't be done without the help of you the readers. Therefore as you will have no doubt already seen, we have released another free download compilation in the form of 'Blood Pack Vol. 3'. Featuring 21 bands and 99 minutes of free gothic, industrial, electronic and metal tracks from artists such as Monomorte, Machine Rox, Human Traffic, ѦPѺLLYѺN'S ▼ISѦGE, and Ca†hedra plus many more exclusive and unreleased tracks.

Please head over to our bandcamp page and get your free download as soon as possible, then send the link to a friend. Play the tracks loud and proud and support the artists who kindly offered their hard work up to us.

https://intravenousmagazine.bandcamp.com/

On bandcamp we get 200 free downloads per month and we nearly hit our limit less than 24 hours after the compilations release prompting me to buy more free download credits, so please make the best of them.

And if you haven't already got them, there is also 'Blood Pack Vol. 1' and 'Blood Pack Vol. 2' still available to download for free!

That's a total of 56 free songs + three PDF booklets with information on each artist!

I know we're good to you.

But please enjoy all that free music with our thanks, and please keep tuned to IVM over the next month as we bring you more reviews, interviews and of course our staff picks of the best releases of 2015.

That's all to come this month on Intravenous Magazine.

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

http://www.tsu.co/IntravenousMagazine

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First acts announce for Wave Gotik Treffen 2016

The annual music festival Wave Gotik Treffen is a major event on the gothic calendar every year. The German city of Leipzig welcomes black clad arrivals from all over the world to take over. This year the festival will fall on 13th May 2016 and will run until 16th May 2016. It may seem a long way to go yet, but the festival organisers have already unveiled the first 45 acts set to play this year's event.

Announced so far: Amnistia (D) - Artwork (D) 30th anniversary show - Bifröst (A) - Biomekkanik (S) - Blitzmaschine (D) - Chainreactor (D) - Christ Vs. Warhol (USA) - Christine Plays Viola (I) - Cinema Strange (USA) worldwide exclusive show in 2016 - Coppelius (D) - Crematory (D) 25th anniversary show - Culture Kultür (E) - Darkhaus (D/USA) - Darkher (GB) - Das Ich (D) - Destin Fragile (S) - Diary Of Dreams (D) - Gernotshagen (D) -Girls Under Glass (D) 30th anniversary show with special guests - Gothminister (N) - Grausame Töchter (D) - Hante. (F) - Har Belex (E) - In The Nursery (GB) 35th anniversary show - Kauan (RUS) - Kuroshio (FIN) - Kyoll (D) - Leather Strip (DK) - Legend (IS) - Machinista (S) - Mesh (GB) - Näo (F) - Neuroticfish (D) - Peter Yates (GB) - Reaper (D) - Siechtum (D) - Signal Aout 42 (B) - Suicide Commando (B) - The Deadfly Ensemble (USA) - The Underground Youth (GB) - Tragic Black (USA) - Triarii (D) - Unzucht (D) - Winterkälte (D) - XTR Human (D)

For more information please visit the official Wave Gotik Treffen website. 

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Intravenous Magazine 'Blood Pack Vol. 3' Released

The big day is finally! Our third birthday as a webzine and our third free download compilation is now available from our bandcamp page.

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

The compilation features 21 tracks and clocks in at a whopping 99 minutes long, so there is plenty to get your teeth into.

The album features names such as Monomorte, Machine Rox, Human Traffic, ѦPѺLLYѺN'S ▼ISѦGE, and Ca†hedra plus many more exclusive and unreleased tracks from international gothic, industrial and electronic bands. It also comes with an A4 PDF booklet containing bios and links for all the bands who have kindly donated a track.

To download it all you have to do is go to our bandcamp page here: https://intravenousmagazine.bandcamp.com/




As this is a free promotional item, feel free to share this among your friends and family. However, please refrain from uploading this on to torrent or other free download sites. This is a free compilation available through our bandcamp page and will remain so. If you would like to share this album please use a link to our bandcamp page.

Track List:

1. Monomorte – 'Devour The Day'

2. Machine Rox – 'One'

3. Atomzero – 'Therapy'

4. Machinista – 'Dark Heart of Me (Hindustrial Edition by Independent State)'

5. Cold Therapy – 'Angesicht De Angst'

6. Human Traffic – 'My Body Is A Mechanism (Zovi Remix)'

7. Double Eyelid – 'She's Falling (DJ Cruel Britannia Mix)'

8. The Sweetest Condition – 'Watch You Fall'

9. Dawn Of Oblivion – 'The Pathfinder'

10. ѦPѺLLYѺN'S ▼ISѦGE - 'Choke (∆AIMON Cover)'

11. Acclimate V.1 – 'Born Of Ancient Longing (Featuring Martin Bowes)'

12. TONTTU – 'Se On Tonttusota Nyt, Perkele!'

13. Ca†hedra – 'Alone'

14. Chaos Research – 'My Queen'
15. Drakenwerks – 'We Are In Control (Album Version)'

16. The Insight – 'Give Me A Chance'
17. Ghostlight – 'Drift'
18. DJversion666 – 'Malevolent Introspection'
19. Amáutica – 'Disidentes'

20. Alex Robshaw – 'Alive'

21. Bofo KWO – 'Enduring The Smell Of Burning Flesh' 

Don't worry if you missed the chance to be on this compilation. 'Vol. 4' will be released next January.

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