Editorial: November, 2015

November is a strange month. Post-Halloween, pre-Christmas and a lot of nasty weather. A generally boring month which prefixes the all out chaos of the festive season. Well we're doing our best to keep you entertained and informed with reviews, articles and of course planning our next compilation album.

We've had a very nice assortment of bands confirm tracks and this month will see us chasing up the finished offerings. The post Christmas download compilation has become a tradition here and it is one that I would like to see keep happening every year. It may be that the schedule changes slightly and it doesn't go out on the first of January every year from now on. But it will go out!

The feedback from both readers and bands has continued to be positive and every year the first month always sees our free download limit on bandcamp breached significantly.

This is going to be a very short and sweet editorial just to check in with you all really as I have a tonne of work to do and very little time in which to do it. In addition to the usual reviews, and the compilation, the time has come for most of my favourite TV shows to come back... so I need to make time for them as well! Oh yeah, and to eat and sleep... but they aren't as important.

I've got a nice big Friday the 13th themed article in the works this week and there will be interviews over the next couple of weeks as well hopefully.

There is still room for any bands that would like to contribute any tracks to the next compilation. As it is a download album there are no real limits to how many bands we can include. So if you want to get involved all you have to do is check out September's editorial.

If you've not heard our previous compilations, I thoroughly suggest you do by going to our bandcamp page HERE.

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: Johnathan|Christian – 'The Nothing I Feel'

JOHNATHAN|CHRISTIAN
'The Nothing I Feel'
SELF-RELEASED

While their first album 'Beautiful Hideous' was a somewhat self-conscious exploration of influences and heroes, the transatlantic duo of Johnathan Mooney [ex-The New Creatures] and Christian Granquist [Day Behaviour, The Atom] return with a more mature sophomore effort. The duo's second album 'The Nothing I Feel' still has it's feet firmly in the 80s with big nods to the likes of Depeche Mode, The Sisters Of Mercy, Joy Division and Bauhaus making it instantly accessible to the traditional goth scene. However, the brief glimpses of their own emerging style on their first outing, begin to coalesce in a more defined way on 'The Nothing I Feel' to show off a more well-rounded and individualistic sound.

Songs such as 'The Nothing I Feel', 'The Pink And The Black', 'Independence', 'Her Austere Heart', and 'Your Lying Virtue' provide the album with it's strongest moments as they walk a fine line between old school gothic and modern dark rock with piercing electronic elements and emotive vocal performances.
The remix of 'The Pink And The Black' courtesy of industrial rock legend En Esch provides another high water mark that while providing the album with a club-friendly mix also unfortunately shows up a few shortfalls left to iron out in the band's own formula.

The production isn't amazing and in a few places hampers some otherwise passable tracks. It feels low-fi and retro but not in a good way. The songs lack a strong bottom end and the vocals often sound flat in the mix compared to the symphonic keyboards. It's a shame as the En Esch remix shows just how strong they could sound.

'The nothing I Feel' is certainly an improvement in terms of the duo defining their sound and song writing. However it still sounds very much like a work in process, and a little rushed in parts. It's a shame as there is a lot of potential for this veteran duo to create some genuinely strong music together, but they're just not quite there yet.  

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

PSY'AVIAH
'Never Look Back' / 'Words' EP
ALFA MATRIX

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.

The remixes from the likes of Jean-Marc Lederman, B-Sights, Gavril, Simon Carter, and Baterist Sinetic introduce dub, electro, trance, and experimental industrial elements to the track list to further re-enforce it's progressive style.

In terms of production it is hardly surprising at this point that the EP is mixed and mastered to a high degree. It is fresh, modern, progressive and continues to build on everything that Psy'Aviah have released up to this point. It is the kind of quality that you'd expect from a veteran mainstream with money to burn, showing once again what a strong song writer and producer Schelpe is.

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.

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Review: Doganov – 'Conducting Chaos'

DOGANOV
'Conducting Chaos'
SELF-RELEASED

Belgian electro rockers Doganov return with their latest album 'Conducting Chaos'. Since their formation in 2010, the trio and their blend of industrial, ebm, metal and rock has seen them on stages across Europe alongside names such as Die Krupps, Ost+Front, Punish Yourself, and Crematory. Despite only having a couple of official releases to their name, they have still produced a finely honed and accessible sound. Fast-forward to 2015 and the band's first full-length album promises to show off just exactly what they can do.

The band's sound is akin to a cross between Rammstein's early “tanzmetal”, with heavy doses of latter day Front 242 style ebm and a little of BlutEngel vampire pop sheen (in their most melodic moments). It's a combination that works very well with heavy guitars, sing-a-long choruses delivered in a style reminiscent of Gothminister, and dance friendly electronics driving the tracks.

Songs such as 'Mad To The Sane', 'Blood And Rain', 'Conducting Chaos', 'Distorted Nursery Rhymes', 'Phoenix', and 'What's The Case With You' perhaps best exemplify the band's core sound with their addictive leads, heavy riffs and engaging vocal performances really providing the stand-out moments on the album. The other highlight on the album is the brilliantly updated ebm cover of Front 242's seminal single 'Headhunter'.

The production has improved since the ban's last releases, however it does still sound a little hit and miss throughout. It has a much better mix that bears the brunt of mp3 compression a lot better than its predecessors, however the vocals still sound too low and it lacks that modern sparkle many bands enjoy.

'Conducting Chaos' may not be the most polished electro rock album available, but don't let that put you off. There is some serious talent behind the song writing and performances on this recording. The songs are catch and dance-friendly while keeping their rock heaviness. There is still the potential to really take their sound further, and if the band had a little more time and money in the studio there is no doubt they could push themselves further.  

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Review: Killing Joke – 'Pylon'

KILLING JOKE
'Pylon'
SPINEFARM RECORDS

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.

Songs such as the opening trio of 'Autonomous Zone', 'Dawn Of The Hive' and 'New Cold War' along with 'War On Freedom' and 'I Am The Virus' are incendiary blends of heavy industrial rock that see some of the best riffs, melodies and vocal performances in the band's history. 'Euphoria' and 'Big Buzz' provide a couple of slightly lighter moments within the track list and 'Into The Unknown' rounds things off with some great soaring melodies while keeping it's heaviness intact.

The production is brilliant keeping up the quality of the previous two releases (unsurprising with legendary production talents of Martin "Youth" Glover in the fold) and keeps that fine blend of heavy and melodic running throughout that makes this both a gritty yet completely accessible album to listen to.

'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.  

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Review: Jess And the Ancient Ones – 'Second Psychedelic Coming: The Aquarius Tapes'

JESS AND THE ANCIENT ONES
'Second Psychedelic Coming: The Aquarius Tapes'
SVART RECORDS

Finland's Jess And The Ancient Ones have enjoyed an enviable level of success in recent years. From their NWOBHM influenced beginnings to their position at the forefront of a psychedelic rock revival they have over just the course of a handful of releases built up a strong following. The band's second full-length album, 'Second Psychedelic Coming: The Aquarius Tapes', continues to see them expand on their own brand of occult themed psychedelic rock that incorporates genres such as surf, blues, folk, and jazz.

Based on the quality of the band's previous outings the expectations for this are understandably high, and early on it is evident that the band have set out to raise the bar and blow their previous releases out of the water. The band play a strong game from the off as the intensely addictive opener 'Samhain' kicks in with its brilliant guitar and vocal performances. Songs such as 'In Levitating Secret Dreams', 'Wolves Inside My Head', 'Crossroad Lightning', and 'Goetia Of Love' provide the album with a solid backbone of inspired riffs, delicious hooks and memorable melodies that flow effortlessly from one song to another to create an almost river-like torrent that propels the album.

The album's crowning glory though, has to be the near 22-minute long opus of 'Goodbye To Virgin Grounds Forever' with it's wonderful interplay of vocals, acoustic sections and luscious layering of instruments. It rounds off an album that has set it's sights as high as possible and as a result delivered a stunning album.

The production is excellent and keeps that balance between slick modern production and mixing with that warm analogue atmosphere that harks back to the psychedelic records of old. With the flow of the tracks as they are and the old school flavour to the production there is a sense that this is real album rather than just a collection of songs as you tend to get these days, and each individual track feels very much part of a greater musical whole.

This is the album that will put Jess And The Ancient Ones on the map and establish them as a major force in rock. 'Second Psychedelic Coming: The Aquarius Tapes' builds on the strongest elements of the band's previous releases and opens up new doors for them to go through. It is an album that feels complete and classic already and will surely only continue to improve with age.

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Review: Neurotech - 'I Desensitize'

NEUROTECH
'I Desensitize'
SELF-RELEASED

Only a few months after his last stunning outing on 'Stigma', Slovenia Neurotech, AKA solo artist Wulf, returns with a new single and album to see out the year. The album 'Evasive' will be dropping in a couple of weeks, but prior to that the first single 'I Desensitize' has landed.

The single blends epic sci-fi atmospheres with industrial, trance, futurepop, and ebm to create a stunning instrumental track that would be just as at home on a film soundtrack as it would in a club. The song may have removed the metal guitars that characteristic a lot of his work, but it is no less brilliant for it. It's almost reminiscent of what a collaboration between Peter Tagtgren and Vangelis would perhaps sound like.

The production is perfect. It has a grand sense of space that adds to it's heady cinematic scope. But with it's solid beat, memorable melodies and clean hooks it feels grounded and dance-friendly.

This is an addictive first taste of the forthcoming album that once again shows off Wulf's seemingly effortless prowess as a songwriter and performer. Based purely on this it seems as though 'Evasive' is shaping up to be a seriously promising album.  

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Review: KPT – 'Descent' (Featuring Jekka)

KPT
'Descent' (Featuring Jekka)
POLKADOT MAYHEM

KPT (pronounced “Kept”) is a name slowly making waves in the underground edm scene. Having released a handful of singles and EPs since 2012 KPT is already being tipped for big things, and if the lead single from his soon to be released full-length début album 'Alive By Machines' is anything to go by, they may be right.

The single is 'Descent', and features the sublime vocals of Russian alt-pop vocalist Jekka who lends her unique style to a track that blends industrial, ambient and idm with ease. Beginning with industrial style distorted beats the song begins to unfurl as subtle ambient textures intermingle with the beats and the synth and vocal melodies intertwine. The end result is a hard, yet melodic track that is rich with texture and depth that just begs you to dance.

The track is dark, and atmospheric yet completely accessible and polished. It is a smart single that shows that genres such as industrial and darkwave can add depth of flavour to the accessibility of edm. The full length album will definitely be one to keep and eye out for.  

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Review: Kyle Michael Porter – 'Dead Gods'

KYLE MICHAEL PORTER
'Dead Gods'
UNSOUND AMERICA

Artist and producer Kyle Michael Porter's (The Walking Wounded) last outing 'NeoNoir', released earlier this year was a distinct dive into cyberpunk atmospheres and experimental electronics. But not one to be limited by genres, Porter's new EP 'Dead Gods' turns his attention to industrial-tinged alternative rock recalling the likes of The The, Pop Will Eat Itself, Muse, and the Young Gods in the process

Opening with 'Waste', Porter blends the emotional slant of Radiohead and Muse with gritty guitars and plenty of distortion to give it a far more savage edge that recalls 'NakedSelf' era The The with the grunge turned up. 'The Math' follows on nicely with its steady pace that shows of the guitars nicely and brings the industrial edge to the fore a little more and unleashing a damn addictive chorus.

The title track 'Dead Gods' again has that savage emotion of The The crossed with the electronic and guitar flourishes of Pop Will Eat Itself that again puts the emphasis on the big chorus. 'After' has a really nice synth bass intro that almost swings into old school ebm territory before the new wave guitars and vocals hit to take things into a Young Gods direction. 'Monsters' finishes the EP off in nice way again recalling The The, PWEI and The Young Gods with it's gritty but accessibly new wave approach to song writing that drops just enough industrial electronics to give it atmosphere.

The production is top quality and while the songs have late 80s/early 90s influences running through, it remains fresh and modern by maintaining a deep and clear mix that shows off the substance of each track without relying on trying to get that “retro for the sake of it” sound.

This is another strong release from Kyle Michael Porter that shows off the depth and scope of his songwriting and production talents. The EP is approachable, catchy and keeps your attention from start to finish. The songs have a classic edge to them, but sound bang yup-to-date. It is a strong release that fans of the high tide era of alternative rock will find very easy to get into.  

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Review: Jet Noir – 'A Cold Day In Hell'

JET NOIR
'A Cold Day In Hell'
EVOLVE OR DIE

If you're not familiar with Jet Noir you soon will be. The synth player for electro goth act Naked Lunch has struck out on her own this year with two previous singles 'The Scarlet Woman' and 'The Circle' which have created positive rumblings. With an EP round the corner Noir has released a third single showing off her mix of progressive gothic rock and trance in the form of 'A Cold Day In Hell'.

Whereas the previous two singles showcased a decidedly more electronic leaning, 'A Cold Day In Hell' is an exercise in big gothic rock. Throbbing bass, subtle electronics, heavy guitars and the ever present sensual vocals come together to create a powerful combination that flips expectations around. It displays strong blends of melody, atmosphere and arrangements that hint at a lot more to come.

The single is completed by three remixes from Attrition, Dean Baker (Cloak) and Ruinizer who all add aq different spin to the original with ease. Attrition add a nice old school darkwave veneer to it that is wonderfully addictive. Dean Baker delves into ebm and trance territory which ups its dance appeal. Finally Ruinizer knock it into leftfield with a deconstructed blend of aggrotech and urban appeal.

The production is strong and walks the line between a classic gothic atmosphere and modern sheen. It is a combination that works really well and is able to switch between sultry and scathing with ease.

'A Cold Day In Hell' is perhaps the most exciting single so far from Jet Noir. It's blend of genres, progressive elements and atmospher is executed perfectly. The song is strong throughout showing great writing and performance and it should hopefully have a lot of people sit up and take notice.

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