G.L.O.W. 'Emotions' /
'Myths And Legends' SELF-RELEASED
G.L.O.W. AKA General
Language of Oscillating Wisdom is the solo musical vehicle of South
African artist Richard Wheeler. With its feet firmly in the ebm
genre, G.L.O.W. is crammed full of melodic synth leads and big dance
friendly beats but maintains a darker electro-industrial edge
throughout. With two albums under his belt so far in the forms of
'Emotions' and 'Myths And Legends', Wheeler is steadily building his
presence not only in his native scene, but also further afield.
'Emotions' is Wheeler's first full length outing under the
G.L.O.W. moniker. Recalling acts such as Icon Of Coil, Grendel and
VNV Nation songs such as 'Anger', 'Find A Way Out', 'Levitate',
'Perpetuation' and 'Plastic' provide the album with a solid backbone
of strong rhythmically pleasing ebm. There is always an experimental
edge to the tracks as well with Wheeler throwing in industrial,
trip-hop, synthpop and even dubstep elements into the tracks to keep
things fresh.
It's a fairly solid album with some interesting
musical directions followed. But it is let down by the production,
which is flat and very rough. And that is a major shame as
'Emotions', as a first outing displays a lot of promise.
Fast-forward to 'Myths And Legends' and we see wheeler
pushing a far more polished product in order to solidify his
presence. Again the influences of Icon Of Coil, Grendel and VNV
Nation are plain to here across songs like 'Aigamuchab', 'Flying
Dutchman (Final Quest)', 'Impundulu', 'Mafeking Terrace' and
'Yisipoki'. There are even a few world music influences thrown in
that really elevate the quality of the song writing.
Again
the quality of the production is an issue. Although there is a
noticeable improvement over 'Emotions', it is still not as strong as
it could be. In particular the way the vocals are mixed doesn't sit
right and sometimes the top end of the tracks just swamps the rest of
the mix. However as a natural progression from the first album 'Myths
And Legends' is a step in the right direction with its stronger
song-writing and slicker execution.
G.L.O.W. may still be
making its first steps as an act, but across both 'Emotions' and
'Myths And Legends' there is a strong sense of the individuality of
Wheeler's sound and a noticeable progression in the quality of the
songs. Held back only by the limited production, there is a lot of
potential on display here that will hopefully be realised on a third
outing.
Electronic artist and producer Kyle
Michael Porter (The Walking Wounded) returns with a distinctly more
experimental experience than fans of his main project will be used
to. Taking his cues from the hey day of experimental electronica
'NeoNoir' is a burst of cyberpunk influenced atmospherics that recall
the likes of The Geinoh Yamashiro Gumi, Dogon, Tsuyoshi Kon, Keishi
Urata, and The Future Sounds of London.
With titles such as
'Dark Operator', 'Net Jack', 'Street Level', and 'Paradigm Shift' its
easy to form a conceptual narrative throughout the tracks into a
story arc that could have been penned by William Gibson or Bruce
Sterling. The hissing noisy glitches, ambient strings and simple
dramatic use of percussion build tension and add an overwhelmingly
cinematic feel across the seven tracks. 'Street Level' in particular
conjures up images of a dark decaying high tech cityscape straight
out of Bladerunner'. While the likes of 'Net Jack', and 'Countless
Wonders' evoke the physical and virtual components of cyberspace.
The album having been recorded in one day and played by hand,
creates a unified statement that really needs to be experienced in
one go. It's not the kind of album you pick a favourite track from or
dip in and out of. Rather it is a complete work in seven
movements.
The production is quite passable for something that
was the product of a single day's worth of recording. But therein
also lies its charm. It is the punk element of cyberpunk that is
being emphasised and it works really well.
If you are a fan
of ambient / experimental electronics then it's a pretty good bet
you'll like this album. Even if you can only claim to having Trent
Reznor and Atticuss Ross' film soundtracks, you'll appreciate the
cinematic quality of 'NeoNoir'. It's another great release from the
Unsound America label, and hopefully one Porter will follow up.
Eisbrecher – the post Megaherz vehicle of Alexx Wesselsky
and Noel Pix – over the course of a decade developed a strong discography of their own, putting them
firmly up there with Oomph!, Rammstein and their former bandmates at
the head of the Neue Deutsche Härte movement. And while Rammstein
maybe the international breakout stars, Eisbrecher have a
strong world-wide fanbase thanks to albums such as 'Eisbrecher',
'Antikörper', 'Eiszeit' and 'Die Hölle Muss Warten'. 2015 sees the
band's return with their sixth studio effort 'Schock' and an ever growing legacy to live up to.
The band have proved they have the
tools to stand the test of time, and 'Schock' is an exclamation point
to that effect. The band's electronically augmented heaviness is
preserved and in top form as tracks such as 'Volle Kraft Voraus',
'1000 Narben', 'Zwischen Uns ', 'Dreizehn ', 'Fehler Machen Leute '
and 'So Oder So' can attest to with their addictive mix of hard
guitars, memorable synth melodies and always resonant vocal
performances. While also mixing things up nicely with slower and more
ballad influenced tracks such as 'Rot Wie Die Liebe', 'Schlachtbank
', and 'Der Flieger' breaking up the relentless pace with a bit more
emotional depth.
The production is as you'd expect from a
band such as Eisbrecher at this point in their career. Everything
from the song-writing, to the performances and the final mix has been
a labour-intensive process to make this album sound as strong as
possible in order to stand shoulder to shoulder with the wealth of
influential albums their countrymen, and themselves have released.
'Schock' is another strong outing from Eisbrecher. It gives
fans of the band, as well as the wider NDH genre exactly what they
are craving. It's hard, heavy, and undeniably infectious. This album
not only shows that the band have the ability to live up to past
glories, but also that there is plenty more glory to come in the
future.
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.
The album begins in a
familiar way with the opening track 'Phlegmatic' utilising a simple
and prominent bass line over some distinctly witchy electronics for
an up tempo spooky dance track. 'Opportunistic' on the other hand
explores an take on the early electro-industrial sound of the 80s
with its mechanical rhythms and ambient synth layers. 'Thematic'
brings things back into witch house territory with its emphasis on
modern, lo-fi dance synths taking the lead backed up by a sinister
groove. 'Individuating' pulls things back to a more shoegaze tinged
dark post punk vibe with its psychedelic bass and distorted synths
cutting through.
'Awakening' then progresses into a
proto-gothic cum darkwave creeping track that is perhaps the most
atmospheric and cinematic on the album. The penultimate track
'Neophyte' brings the album back full circle once agin returning to
the prominent simple bass, and witchy electronics, this time however
adding a bit more the dar psychedelic atmosphere of the previous
songs. The album is then wrapped up by the slow and atmospheric
'Adept' which displays the subtler side of the In Death It Ends
style.
Once again the production walks that fine line between
the lo-fi underground sounds it draws its inspirations from, and the
polished modern standard it deserves. There is always that
wonderfully underground feel to these albums but there is no denying
that they are even more enjoyable due to the fact they are mixed and
mastered with great attention to detail.
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.
The world famous Wave Gotik Treffen festival
has announced the first acts that will be playing the event in
Leipzig, Germany this year. Artists announced so far:
FIELDS
OF THE NEPHILIM (GB), SAMSAS TRAUM (D), UNTO ASHES (USA), AUTOMELODI
(CDN), SOROR DOLOROSA (F), SÓLSTAFIR (IS), POLAROID KISS (GB), ASH
CODE (I), EMPATHY TEST (GB), DUPONT (S), ANTIMATTER (GB) – acoustic
and electric performance, TROLLFEST (N), ACCESSORY (D), JO QUAIL
(GB), BLOOD AND SUN (USA).
The festival will take place this
year from 22nd May until 25th May. For more
information please visit the official Wave Gotik Treffen website.
Oooooo it's Friday 13th of February
and if you're not near any large bodies of water, you'll probably be
safe and going about your business as usual... if you are, you may be
due a visit from a guy in a hockey mask, holding a machete. In that
case you may definitely want to check out what we've had in store for
you this week... while you still can! MWAHAHAHAHAHAHAHAA!
*Ahem*...
Sorry about that...
We kicked the week off with an interview
with former Goteki mainman and electronic music wizard Ross Tregenza
as we got the lowdown on his first full-length solo album. We had a
live review of Savage Messiah in Stoke courtesy of Dokka. The reviews
had an Italian flavour this week as we looked at the latest releases
from XP8 and Dope Stars Inc. Before gorging on a HUGE compilation
from D-Trash Records. We then rounded things off with an Editorial
from me and a column from Joel Heyes where we get stuck into horror
movies... again.
Right that's it for this week. Next week will be a little
light on posts and the following week we'll be taking a break as I'm
off on holiday, so there won't be another compendium until March.
The story goes that
Hammer stalwart Jimmy Sangster, having written the screenplays of
previous episodes in their Frankenstein franchise, was offered the
chance to write the next instalment. Bored with the whole idea
Sangster turned them down, only to be offered the chance to produce
it as well. He half-heartedly replied that he only would do so if he
was also made director. Twenty minutes later Hammer rung him back
and, to his incredulity, agreed.
And so was 'The
Horror of Frankenstein' (1970) born, written-produced-directed by
Sangster, and released at a time when the Hammer hit machine was
starting to become decidedly shonky (and with a production process
like the above is it any wonder?). Despite having had a key role in
some of Hammer's finest moments Sangster was now bored by the
Frankenstein assembly line and as a result set out to –
deliberately or otherwise – shake up the formula.
This is evident right
from the opening scenes; rather than drown the film in stodgy
exposition, we see scene after scene of Victor Frankenstein's brusque
ascent through school and to medical college and eventually his
return to the family estate – murder, quips, expulsion, sex, all
follow in quick succession. Neither is there a remote sense of
portentous hamminess either, replaced instead by a mischievous tongue
placed firmly in cheek (and in Victor's case everywhere else too).
Even the young
Frankenstein himself, with his smirk & sideburns and portrayed
with snide perfection by Ralph Bates, has a sense of counter-cultural
rebellion about him. This Frankenstein was 'wild in the streets' (or,
at least, the estate grounds), and when his first attempt to
resurrect dead bodies leads to a dismembered hand giving the finger
then it's clear that the whole film is, in some sense, an 'up yours'
to Hammer tradition.
But this rebellious use
of his boredom by Sangster to creatively destroy is mirrored in the
characterisations in the film. Victor is a genius, and as such is not
stretched or challenged by his surroundings – we see him better
educated than his teacher, un-intimidated by the Dean, fearless with
the father and undaunted by women – and, being bored as he is, he
rebels against practically everything in a nihilistic and snotty way.
There is something almost punk rock in the way that Victor romps
through the empire leaving a trail of mayhem in his wake. The one
challenge and obsession that he has – to resurrect the dead -
actually gives him some focus away from being generally cruel and
indifferent; although, surely if he can combine the two then that
would be even more preferable (and, not so say, fun).
So although the tale of
the rebellious young Frankenstein may not be a classic (and bearing
in mind it's origins who can they they're surprised?) it is still a
robust example of snotty rebellion against stuffy orthodoxy, and is
full of appropriate disrespect. Isn't this how any revolution begins?
Bored young people rebelling, creating through destruction (or in
Victor's case creating through destruction through creation)? Even
the hammy world of Hammer is not immune from the Nietzschean
twitching of the bored, restless coming race. The lesson we can draw
from the film is that a little revolution is a good thing – and for
God's sake give evil genius a project to work on (and preferably one
that doesn't involve cadavers).
There's nowt so queer as folk... or so the saying
goes.
Well there's nowt so queer as folk horror. Throughout
the history of horror cinema, one of the constant characters has been
the British landscape and the strange people who inhabit the rural
areas. Paganism, devil worship, murderous villains and all manner of
monsters have inhabited bleak and foreboding landscape.
Films
such as 'Quatermass 2' (1957), 'Village of the Damned' (1960), 'The
Witches' (1966), 'Whistle and I’ll Come to You' (1968), The Beast
Must Die (1974), 'Witchfinder General' (1968), 'Blood on Satan’s
Claw' (1971), 'Dog Soldiers' (2001), 'Hound of the Baskervilles'
(1959), and 'The Plague of the Zombies' (1966) all provide high
points for this particular brand of horror film. Each one taps into
the wealth of British folklore, whether it is the changeling-like
children of Midwich or the demonic hound on Dartmoor, and links that
ancient collective memory to a modern audience via the cinema. But
for me it has to be 'The Wicker Man' (1973) and 'A Field in England'
(2013) that top the list.
'The Wicker Man' is quite simply the
quintessential horror film wrapped up in a mystery. The film has some
serious acting power behind it with Edward Woodward, Christopher Lee,
Diane Cilento, Ingrid Pitt, and Britt Ekland turning out great
performances. The soundtrack may seem rather dated, but it
nonetheless works incredibly well against the visual backdrop of an
isolated community engaging in ancient rites. But best of all is its
plausibility. 99% of the film is set out as a “who-dun-it?”
mystery as Edward Woodward's character Sargent Howie attempts to
track down a missing girl while the locals try to evade his
investigations. It isn't until the final moments of the film that the
true horror of the situation is fully realised and the shocking image
of the burning wicker man seers itself anew into the collective
psyche of the nation.
Ben Wheatley's 'A Field In England' on
the other hand may be a fairly new film, but it perfectly distils
everything great about folk horror into one gloriously psychedelic
nightmare. The monochromatic cinematography, the dark ambient
soundtrack, rich use of period dialogue, and the excellent acting
courtesy of the small but tight cast of Julian Barratt, Peter
Ferdinando, Richard Glover, Ryan Pope, Reece Shearsmith, Michael
Smiley makes this a simple but effective film. The fact that it is
set in open rolling countryside seemingly in the middle of nowhere
and it conveys an unrelenting sense of claustrophobia as the
protagonists navigate each bizarre twist in the tale. Again this
isn't a straight horror tale instead it's part historical drama, part
arthouse, and liberally experimental utilising subtle horror elements
to underscore the occult themes of the story.
Perhaps they're
not everyone's cup of tea, but these films and folk horror in general
hold a special place in my estimation for their often simple but
brilliant stories and resonant atmospheres.
Finally, in case
you haven't seen it yet, we launched our second free digital
compilation on 1st January 2015 to coincide with our second birthday
as a website.
You can download all fifteen tracks for free at
out bandcamp page.
Once again, make sure you have these
links in your favourites:
There are compilation albums... and then
there are compilation albums. 'Trash The World' courtesy of Canadian
label D-Trash Records is one of those that comes along every so often
with just a brilliant selection of artists within its ranks that you
can't help but take notice. Celebrating fifteen years and 200
releases, the album contains a massive 45 tracks by a variety of
international artists that cover genres such as Ambient, Digital
Hardcore, Speedcore, Rhythmic Noise, Breakcore, Doomcore, Industrial,
Broken Beat, Experimental, Grindcore, Alternative Rock, and Noise.
With a list of artists as long as your arm, you'll be spoiled
for choice as to what to listen to first. And of course we can't list
everyone for individual analysis. However, names such as 64Revolt,
Babylon Disco, Bossfyte, CPUWAR, Disbreakz, Drugzilla, Evestus, No
Brigade, Oxygenfad, Phallus Über
Alles, Sangre, Schizoid and The Phoeron provide some undeniably
strong tracks to the proceedings.
Clocking in at nearly three
hours in length you'd be forgiven for thinking its a lot to take in
all at once. But that's not the case. Even though it is an A-Z list
of the bands, there is still so much variety on display that you're
never quite sure what the next track is going to unleash. One minute
you've got a quiet ambient track with a drum 'n' bass beat breaking
it up, the next you've got full on noise. It's a long roller-coaster
of an album, but one that celebrates the diversity of hardcore
electronic music.
The compilation is mastered really nicely
and has a unified sound that often lacks on a lot of label samplers.
The production varies track by track depending on the artist and
genre, but as the album progresses there a few noticeable drops or
jumps in the levels between them, which makes for a much smother
listening experience.
This is a great compilation that shows
of not only the diversity of the label but also the strength of each
individual track as they hold their own against each other. It
doesn't matter what price you put on this album, its a bargain for
the sheer volume of talent on display. 'Trash The World' is a defiant
exclamation mark on fifteen years of supplying the underground
electronic scene with a platform for exposure, and here's to another
fifteen years of doing the same.
Italian electro-rockers Dope Stars Inc. return with
their fifth full-length studio album 'TeraPunk'. The band's core
formula of hard punk vocals, scathing guitars and dance-friendly
electronics is firmly front and centre. The band's first outing for
four years hasn't dulled their edge in the least. 'TeraPunk' presents
a reinvigorated Dope Stars Inc. recalling the passion and drive of
their '://Neuromance' and 'Gigahearts' days.
The album is
pretty relentless as tracks such as 'It's Going To Rain On You',
'Many Thanks', 'Take It', 'You Have No Chance', 'Dressed Inside Your
Fear' and 'The Believer' syphon the best of the bands past work and
repackage them ready for the 2015 audience. It could be argued that
it is more of the same, but Dope Stars Inc. are a band who make brash
and punky electro-rock, and that's what they do best. So why change?
The big choruses are there, as are the memorable riffs and the
club-friendly electronics, all of which will transfer to the live
circuit very nicely. What more do you need?
Just to play
devil's advocate. Yes, the synth sounds are very familiar, as are the
guitar and vocal effects. There's also not been that much progression
in terms of production from the band's last album 'Ultrawired', and
those truly experimental flourishes that endeared the band to so many
on their first few releases are in short supply. Instead you get the
best of the band's full on attacks. But that's kind of the point. The
band give their fans what they want and 'TeraPunk' provides that in
droves.
The album shows Dope Stars Inc. doing what they do
best. Their riotous blend of industrial rock feels streamlined and
direct in its focus, and the end result is a crop of songs that can
easily stand beside the stronger cuts in their back catalogue. The
band might not be reinventing the wheel on 'TeraPunk' but they've
certainly set it on fire and rolled it down a hill.
The third and final instalment of XP8's alchemy EP
trilogy signals not only the closing of this chapter in the bands EP
cycle representing the final step in the alchemical process, but it
is also the final ever release from the duo. Over a decade since they
first emerged from their native Italy, XP8 have gone on to become a
regular fixture of the alternative dancefloor with their original
blend of ebm, edm, dubstep and trance. But if you're going to go out,
it may as well be on a high.
The previous EPs in this trilogy
have all been strong releases that keep the band's dance credentials
at the fore, but also brought up the deeper and darker side of the
band's sound with slower tracks such as 'Primitive' and 'Heatwave'.
The band follow a similar structure on 'Three Of Three:
Rubedo', with the opening track 'Dancing, Dying, Dreaming' leading
the charge with its big room-filling dance presence. The heavy bass
of 'XP8 Is Dead' follows on with an addictive groove and the band's
tongue-in-cheek humour making a welcome return.
'Egotism'
brings in a more electro-industrial vibe with hints of dubstep
recalling the cyberpunk atmosphere of the bands excellent
'Adrenochrome' album. 'Rust' continues this atmosphere through
another slow and groovy dark electro piece. The band then forgo the
remix that has rounded off the previous albums in favour of another
big club-friendly anthem in the form of 'Your Love' to sign off in
the best way possible.
The EP continues the exemplary run of
well produced music that the band have continued to put out in recent
years. Each track, no matter its approach, sounds big and confident
in its execution.
'Three Of Three: Rubedo' is a fitting send
off for a band such as XP8. The band have an enviable back catalogue
of intelligent electronic music and have let their work have the
final word. It's been a great run and it's sad to see them go. But
XP8 have made their mark and this EP trilogy is the full stop on a
great career.
It's been a busy last twelve months for Savage Messiah. On top of their third album (second release by Earache Records) they have also been blessed with a solid fan-base and even back from the government for all their hard work. The band got off to an early start this year by doing a 28 date tour alongside Viking Metallers Amon Amarth and US boneshakers Huntress armed only with Noodles and Trooper beer to keep them going. Aided with money given to them by the British Phonographic Society (and being the first metal band to have been offered this) they have been making their way across the British coast and also around Europe.
Silver plays with madness going without guitar.
"We couldn't believe it" said guitarist Joff Bailey "We just got a call from the label, next thing you know we're trending on twitter and on C4 news about how 'Metal is taking over'."
The set itself was a little short. Given the opening slot will always be difficult for a band this established, but the boys managed to keep the energy going from the start with 'Iconocaust' and kept with tracks from the latest album 'The Fateful Dark'. By 'Hellblazer' singer Dave Silvers' guitar had started to cause problems which led to the set being one track short, but the crowd did not care a jot, as it lead to him taking on the guise of his metal idol Bruce Dickenson. Plowing through 'Scavengers of Mercy' with all the brovado and confidence to floor a walrus Silver was then offer a now fixed axe for the final number 'The Fateful Dark' to which he responded "fuck it, I don't need it. I'm having too much fun."
Joff Baily cranks it to 11.
The band made for a great start up, getting the room ready for the hailstorm that were Huntress and Amon Amarth. This band surely are a work of art and if they can pack that much punch into 5 songs then a headline gig would clearly knock your rock sox off!
Later in the evening there was the news that guitarist of Huntress Eli Santana was attacked and then arrested outside of the Sugarmill and released the next day without charge. It seems a group of passing drunks had decided to pick a fight and although Santana was not one to throw the first punch was carted away while police decided on what happened. For more information on the matter head to The Huntress tour blog. Lets just hope it doesn't stop either them from coming back to the UK.
“To
be honest, the final Goteki album ‘Santa Muerte’ was a transition
into Tregenza – I’ll perform some of those Santa Muerte tracks
when we take the Tregenza show out live.”
Since putting
Goteki on ice, composer, vocalist and sound designer Ross Tregenza
has been forging ahead with his musical vision under the banner of
his solo project Tregenza. After five EPs that encompassed everything
from classical to modern dance influences Ross unveiled an impressive
full-length début album in the form of 'Into The Void'.
We
caught up with Ross to talk about leaving the Goteki name behind, his
process and a certain other band he spent time in.
Intravenous
Magazine: You've just released your first full-length studio album
under the Tregenza name, 'Into The Void'. What has the reaction been
like so far?
Ross Tregenza:
It’s been hard to let it go! I’ve been working on it for over
three years, and letting it out into the world is like ejecting it
into space. It’s probably my least immediately accessible album –
it’s dark, complex and emotional, so I’m please to be getting so
many messages about people enjoying it. I’m incredibly proud of it,
but you never know what other people are gonna make of it.
IVM: Prior to the
release of the album you opted to release a slew of EPs. What led to
that decision and how has that helped in the creation of the album?
RT: It was
essential really. The album developed very slowly, which is never a
bad thing. Each of the EPs I released shaped the sound, aesthetic and
overall vibe of the project in a new way. It was like before the EPs
the album was a lump of rock, and each EP was a barrage of chisel
hits, shaping it into the final sculpture. It’s an exciting process
watching it take form.
IVM: You'd had a
very productive run with Goteki after reactivating the band. What led
to the decision to finally put it to rest and continue on as a solo
artist?
RT: Yeah the
last days of Goteki were prolific! I think the change was primarily
because the new project is so different. Anybody that knows my Goteki
work will hear similarities, but in terms of instrumentation and
tone, it’s darker, slower and more cinematic. To be honest, the
final Goteki album ‘Santa Muerte’ was a transition into Tregenza
– I’ll perform some of those Santa Muerte tracks when we take the
Tregenza show out live.
IVM: How does your
writing process typically work? Outside of your musical work
you've had a long career in sound design. How has this affected the
way you create music?
RT: I know a lot
of musicians who jam or create loops to kickstart a new song. I find
it impossible to write anything until I know what a song’s gonna be
called and what it’s about – that defines the first steps of
writing the song.
These days I write
primarily on piano to start, then expand out to my ‘new song
toolset’ after that – normally violin, two-three synth lines,
two-three drum sets and then go from there. Even though I get a
little experimental here and there, I like to try and write songs
that could easily be played purely on guitar or piano – it makes
them more durable.
My career in sound
design has had a massive impact on my music. For the first few years,
my music and sound design were different avenues and god knows why,
but it never occurred to me to mix them. Now I see almost no
difference – my sound design informs my music and vice versa. Crazy
to think it took so long. You’ll hear in the new album a lot of
cinematic design, dramatic scoring, big impacts sounds etc. – all
stuff I’ve learnt from my crazy, awesome day job making video
games.
IVM: There are a lot
of influences at work across the album and EPs. Musically where do
you draw your inspirations?
RT: I’ve
always had two sets of influences – a classic core set and a more
current set. My classic core set has been the same for most of my
life – Bowie, Johnny Cash, Leonard Cohen, Cat Stevens, The Beach
Boys, Simon & Garfunkle, The Beatles, Willie Nelson, Kris
Kristopherson. Mostly Bowie though. Good god to I love a bit of
Bowie!
My current set of
influences are kinda diverse, but you can hear influences on ‘Into
The Void’ – it’s all in there. The list would include Crystal
Castles, Kavinsky, The Supremes, Creedence Clearwater Revival, Japan,
Justice, M83, Hot Chip, Hurts, IAMX.
On top of that I’ve
been heavily influenced by film scores over the last few years.
Primarily the work of Nick Cave and Warren Ellis (although obviously
the phenomenal ‘Push the Sky Away’ had a big influence too).
Also, Clint Mansel, M83 & Joseph Trapanese.
IVM: One of the most
interesting tracks featured on the initial Tregenza EPs is the '86
Stadium Remix of 'Snowdrift', where did that idea come from and how
did you execute it?
RT: Ha-ha yeah
that was ridiculous. Kinda worked though! I always think it’s nice
to let my sound design skill set bleed into my music stuff. I figured
it was such an introverted, gentle song that it’d be funny to
re-imagine it as a massive cheesy stadium rock song. Dumb fun, but I
love it! It was just a case of building a reverb that had that
massive stadium feel and then redesigning all the elements to make
them feel like they’re coming from a huge stage. Hey ho, keeps me
busy!
IVM: This time last
year you released a cover EP, 'Stolen Thunder'. Is this going to be a
regular series, and if so what songs are considering covering?
RT: Yep! Yep yep
yep! I love Stolen Thunder, and I plan on doing a zillion others. I
start cover version ALL the time – 80% of them will never see the
light of day – they just don’t work (you don’t want to hear my
cover of 'Ride On Time' – spoiler alert – it’s SHIT. ) So when
I get five covers that get to a certain point – when I can sit back
and think – fuck yeah, this is actually pretty solid – then I
complete them and bundle them as a release. I hope to do 10, 20
collections as many as I can do before I get hit by a car or a meteor
hits the planet.
IVM: As a solo
artist, will you be more studio based from now on or will there be a
chance of live performances in the near future?
RT: Yeah this is
primarily a studio project now – studio music, video performances,
music videos, etc. BUT I am starting to plan a tour. I need to figure
out what how we’ll take it out live – what instruments, how to
present the material. I’ll sing obviously, but I need to decide if
I also want to play guitar, synth, or anything else. Difficult but
exciting questions! On top of that, I want the shows to have a more
organic, unpredictable edge – a little chaos. It’s make each show
more unique, and more fun the crowd and us.
IVM: You've
continued to give your releases away for free. What led to this
decision and would you entertain working with a label again?
RT: Yeah it’s
a tricky one. I’m lucky enough to have a day job that’s a
creative outlet that I get paid for. With that in mind, I’d figured
I’d launch each release for free, to try and get people to grab it.
I would be happy to work with a label, not really for the money but
more for the support. It’s hard work and time consuming promoting
my stuff, and more people helping me would always be a good thing.
IVM: In addition to
your own past projects you've previously been a member of synthpop
pioneers Visage. How do you look back on your time with the band and
how is your relationship with them today?
RT: It’s like a weird
dream now. A really weird dream. For example – the first band
practice I ever had with Steve Strange involved him going off for
lunch, and not coming back for several hours. Eventually he
re-emerged, and with no sense of irony said ‘Sorry guys just had
lunch with Terry Wogan. He left me with the bill, the bugger!”. It
was a great time, and I had the opportunity to play stadiums of 20 or
30 thousand people, and chill backstage with all manner of legendary
bands from The Human League to The Exploited. Really great
experience. As I’m sure you know, Steve passed away very recently,
and it’s been harder to deal with than I’d have anticipated. I
think that while we’d kind of drifted as friends, the idea of him
not being out there somewhere, doing his crazy Steve things makes me
very sad. He was a mischievous and chaotic character, a pain in the
ass at times, but a powerful force of creativity, a happy and
unforgettable character and he’s left an astonishing musical
legacy. I’ll miss him.
IVM: Finally, what
are your plans for the rest of 2015?
RT: I’m
starting to get a few ideas together for the first songs of the next
album, but I’d love to release some more covers and EPs before
that. My next big project is definitely the live shows though, and
I’m already talking to people around the UK about shows. I also
want to release my first instrumental collection of more film score
inspired work. After that, there’s some plans for music videos –
kinda long format ones with cinematic elements. I also want to make
two concept albums – one sci-fi and one zombie themed, with
accompanying short stories. And another animated music video. Jesus.
If I had the ability to freeze time, I still wouldn’t get
everything done. I’ll do what I can, stay tuned!
Tregenza's
full-length début album 'Into The Void' is available to purchase now
through his bandcamp page. For more information on Tregenza including
upcoming releases and live performances, please visit the official website.
French electronic trio Celluloide have been kicking
around for over a decade now honing their particular take on synthpop
across albums such as 'Naïve Heart' (2002), 'Words Once Said'
(2004), 'Passion and Excitements' (2007), and 'Hexagonal' (2010). But
as their fifth album 'Art Plastique' proves, they can still bring in
new and unexpected elements into their established formula.
'Art
Plastique' favours a more minimalist synthpop style that recalls the
likes of Kraftwerk in particular. It's sound is as angular and modern
as the album's artwork. But that doesn't stop the band from throwing
in a little ebm and light ambient elements too.
It's a short
album but it is one that makes a mark. Especially with songs such as
'Le Baiser Géométrique ', 'Gris ', 'Le Salon Noir ', 'La Guerre De
Cent Ans ' and 'L'Amour Est Clair ' which provide the album with its
strongest moments. Each track utilises clean, crisp melodies in order
to frame the soft vocals of Darkleti and drive the forward with a
strong pop-orientated undertone.
The production is excellent
with every layer of every track executed with precision and
intelligence. The album gets the kind of high quality finish that it
deserves and brings out the best of its pop flavours.
'Art
Plastique' is a strong and intelligent pop album that harks back to
the more artistically inclined efforts of 80s synthpop but explored
in a very modern style. It might not fill the dance floors due to its
lack or overt bass lines and hard beats, but this album is a definite
for synthpop fans who appreciate a pure melody and strong hook.
Joseph Nadek's 'Bluatig Hårt'
(Bloody Hard) is a grim album. An ambient tinged-blend of industrial
dissonance and outright noise, its four tracks explore the Tyrolean
folklore of central Europe (which was a heavy influence on the work
of the Brothers Grimm). That might instantly conjure up thoughts of
albums such as 'Dauði Baldrs' by Burzum, but
this is an entirely different beast.
Aside from the opening
track, 'Wåldgeischta', and it's samples of birds and woodland noises
and the almost wild boar guttural noise of 'D' Bluatig'n' the album
could be just as science fiction as folklore inspired. But what is
easy to hear is a strong conception for dark, noisy ambience with
plenty of atonal experimental flourishes thrown in for good measure.
It's not easy listening and it certainly won't be for mass
consumption. However it is nicely structured and definitely draws the
listener in.
In terms of production it is pretty raw and
abrasive, as you'd tend to expect from these kinds of releases. But
that isn't anything that works against it though. It makes good use
of melodic sounds throughout the tracks in order to counterpoint the
noise which works nicely and gives it a more rounded finish.
'Bluatig Hårt' is
a nice experimental release that makes good use of noise and ambience
in equal terms. For a conceptual piece the narrative of the
soundscapes is somewhat lacking, but it is a nicely executed album
that fans of dark ambient noise will appreciate.
Norwegian synth-rockers Apoptygma
Berzerk have announced the release of two LPs through Artoffact
Records.
The band will release their third live album,
'Imagine There's No Lennon', as a deluxe 2LP vinyl set. The album was
originally released as a CD+DVD European-only issue in 2010 and
includes a vinyl-sized booklet, complete with band and live photos
from 2009's Rocket Science Tour. The LP will also be available in two
different colours.
The band will also be releaseing a 2LP
vinyl version of the 'Unicorn EP'. The collection contains eight
remixes of Unicorn, by the likes of Hocico, T.O.Y., Freezepop, No
Comment, and Airlight Children.
Track Lists:
'Imagine
There's No Lennon'
A1 Weight Of The World
A2 Eclipse
A3
Mercy Kill
B1 Asleep Or Awake?
B2 Lost In Translation
B3 In
This Together
C1 Shadow
C2 You Keep Me From Breaking Apart
C3
Until The End Of The World
D1 Shine On
D2 Starsign
D3
Non-Stop Violence
'Unicorn'
SIDE A
1 Unicorn
(Video Version)
2 Unicorn (Fairlight Children Remix)
3 Unicorn
(T.O.Y. RMX)
4 Unicorn (Killin' RMX By Freezepop)
SIDE B
5
Unicorn (Hocico Remix)
6 Unicorn (Alon Cohen Remix)
7 Unicorn
(Drugwar Remix)
8 Pikachu™ (No Comment Remix)
SIDE C
9
114 BPM
10 A Strange Day
11 Non Stop Violence (Live In Tel
Aviv)
SIDE D
12 Suffer In Silence (Icon Of Coil Remix)
13
Suffer In Silence (Electro Version)
14 Until The End Of The World
(Dark Club Remix)
15 Kathy's Song (Green Court Remix)
Both
'Imagine There's No Lennon' and 'Unicorn' are available to pre-order
via the Artoffact Records shop. For more information on the band,
please visit their official website.
En Esh
(KMFDM, Slick Idiot, Pigface) has announced the release of his second
solo album titled, 'Spänk!'
The album, which will be released on 10th February 2015
through Distortion Productions is the long awaited follow up to his
previous solo record, Cheesy (1993). The album will feature guest
appearances by Tim Skold (KMFDM, Marilyn Manson, Skold), Guenter
Schulz (KMFDM, Slick Idiot), Jim Marcus (Die Warzau,Go Fight), More
Machine Than Man, Trixy Reiss (Crystal Method) and many more.
BROKEN LINKS 'Divide/Restore' DEVIL THORY RECORDS
Broken Links have been making a stir in the
indie scene for a few years now. After a series of self-released demo
EPs they unveiled their full length début on Devil Theory Records to
strong reviews. Fast-forward and the band's sophomore offering and
their biggest challenge is now upon us. The second album is always a
challenge for any band, but Broken Links meet expectations head on
with 'Divide/Restore'.
The trio keep close to the sound they
perfected on their début and continue to refine their song writing.
The result is pretty impressive. There are the now familiar nods to
Nine Inch Nails, Killing Joke, Joy Division, Manic Street Preachers
and even a little Depeche Mode throughout the album as they blend
electronics, raw-post punk and an ever present melodic undertone into
every song.
Tracks such as 'Submission', 'Dead Embers',
'Blood On The Motorway', 'Asphalt', 'Transient/Fourth Planet' and
'What You Want' provide the album with a solid backbone that keeps
not only the energy up, but also the interest as they keep trying
different things from one song to another, causing you to second
guess everything you're anticipating. While 'Unnatural' closes the
album in exemplary fashion as the band pull out all of the stops for
a a big emotional swansong.
The production is spot on and has
come on dramatically from the first album. Broken Links are a complex
and intelligent band with a lot of influences at play, and this is
reflected in the mix with every track feeling open and large enough
to accommodate everything that's going on.
'Divide/Restore'
is another excellent outing from the band who really have all the
tools to make it big. The album contains some of their strongest song
writing yet and the performances are without fault. If you missed
them first time around then this is an album you shouldn't be
ignoring.
“[...] no one wants
to be the old guy in a room full of kids looking at you like a
dinosaur: I remember vividly making fun of those old goths that
simply didn’t want to get the fuck out of MY clubs a decade ago,
and the last thing I wanted to become was one of them.”
XP8
have been a staple of the alternative electro scene for well over a
decade now. But with the release of the final part of their Alchemy
EP series in the form of 'Three Of Three: Rubedo', the band will
come to an end, leaving an impressive body of work and the odd bit of
controversy in their wake.
Intravenous Magazine caught up with
Marco Visconti for one last interview about alchemy, the band's
career and why the time was right to pull the plug on XP8.
Intravenous Magazine:
You released two new EPs last year, 'One Of Three: Nigredo' and
'Two Of Three: Albedo'. What has the reception to them been like so
far?
Marco Visconti: It has
been very good, as it seems both fans and critics liked them a lot,
often mentioning the fact that we are seemingly releasing our best
music ever. I am definitely quite happy with it, since both me and
Marko wanted to leave on a high note and it seems like we are being
successful at that. In retrospect, I don’t think the EP-vs-Album
idea did work the way I wanted though, since despite the way music is
actually consumed these days (streaming, streaming and more
streaming) it seems like the average music fan still want to get an
album loaded with tracks every one or two years as opposed of a
constant stream of new material: I thought to try that model, taken
from the dance scene, but clearly did not work the way I wanted it to
work. The industrial fan’s attention is extremely fickle.
IVM:
The EPs follow the theme of the alchemical process of turning base
metals into gold. How do the EPs reflect the stages of this process
and how does this tie into the XP8 philosophy?
MV: The idea of giving
these EP an alchemical backdrop was entirely mine, as Marko is not
interested in these subjects at all: he didn’t object about playing
along with it, and so here’s the Alchemical Series. The idea behind
is simple: as we approach a huge change in our lives, leaving behind
a project that so defined us for fifteen years (a long period of
time, I tell you), I felt the need to ritualise it, to give it a
certain gravitas you seldom find in music these days – especially
in dance music, however “alternative” you want it to be. In doing
so, we are effectively going back to the true roots of industrial,
with Psychick TV and Throbbing Gristle and Coil constantly bombarding
their listeners with esoteric sigils, glyphs and hidden meanings.
It’s up for our listeners to decode the actual message there: I
dropped plenty of hints in the music and Marko did the same with his
lyrics. Possibly knowing gematria might help.
By all means, this trio
of EPs are a true, living hyper-sigil, the same way the whole run of
'The Invisibles' was one for Grant Morrison back in the 90s: and I
should have known better than embarking into this trip because, like
him, I had a very rough nine months due to it. But the birth pangs
are almost over.
IVM: Last year you ceased
playing live. What led to that decision?
MV: Playing live was
what I loved the most about being a musicians, so that decision did
not come easy, and yet it was one we just had to make because, simply
put, there’s no space for a band like XP8 in the touring circle
anymore. Not sure if there IS a touring circle anymore at all, due to
the fact most people save up to go to festivals and avoid local
shows. But we are at the point where the usual big names can somehow
still tour (to an ever-dwindling crowd), supported by no-names who
play for free, always the same three or four “bands” becoming
nothing else than “that band that always open for tours”, before
disappearing into nothingness while another take the same spot.
On top of that, two
events last year further cemented the decision: the first, a tour
with Surgyn and The .invalid which never saw the light of day due to
the impossibility of making it work after crunching some numbers –
despite all bands involved having either a solid fancies or a
promising future, promoters quite simply weren’t sure they could
recoup the budget requested (and we are not talking thousands…).
Incidentally, The .invalid now is on hiatus and looks like Surgyn are
going the same route, with one of them moving abroad to follow a
different career. Second, the whole Alt-Fest debacle, which I
discussed a lot on our website and not going back to it now, but
really made me open my eyes on the true state of things for this
scene.
IVM: After the announcement that XP8 would
no longer be a live entity, you then declared the last three EPs to
be the final releases from the band. Why have you decided it was time
to bow out?
MV: I guess the reasons
can be already glimpses from the reply I gave above, but there’s
more to that… music genres have life cycles, and I simply realised
the time for “industrial dance”, that weird mix of dancefloor
beats with a more gritty approach, was simply over. I said it
elsewhere and I repeat it here, we had it good for fifteen years,
that’s a long period of time: I went from being in my early 20s to
the gates of my 40s, that’s a huge chuck of everybody’s life
right there. Nothing stays forever, surely not a super niche genre
like ours. And it is always wiser to understand when it is time to
move on, because no one wants to be the old guy in a room full of
kids looking at you like a dinosaur: I remember vividly making fun of
those old goths that simply didn’t want to get the fuck out of MY
clubs a decade ago, and the last thing I wanted to become was one of
them.
I strongly suggest all
the people of my generation to consider doing the same, because this
scene was supposed to be young and vibrant, while nowadays anytime
you walk into a goth/industrial club or festival, everywhere in the
world, the average age is 35 and that’s simply wrong.
IVM:
You've been a presence in the alternative electro scene for over a
decade now, how has it changed for bands like yourself?
MV: In more ways I can
possibly tell here. The most important one is that a decade ago we
all still believed we could make it to the next stage, in a way or
another. But between the worldwide recession and the end of the life
cycle of the scene (see above) pretty much no one did it: bands like
Aesthetic Perfection or Faderhead – and I obviously talk from
direct experience here – are more or less the only two of the mid
00s generation who somehow made it, and still both aren’t headliner
material at the big festivals. That kinda speaks volumes on itself to
me.
IVM: What advice would you give to young
musicians cutting their teeth today?
MV: The usual – don’t
do it. There is really no space left to make music your career
nowadays, unless you have a huge budget to invest in it, all the
right connections, and the will to eat so much shit you’ll drown in
it. You could argue it was always the case, but I noticed how it just
got more and more difficult each year for a decade now. So don’t
quit your day job, and in fact just make a true career out of it. The
days of rock and roll are over, the new rockstars are the programmers
of the Silicon Valley.
Photo: Imago Mortis Photography
IVM: Are there any acts
around today that get the XP8 seal of approval?
MV: 3TEETH, due to
their clever use of aesthetics and symbology, along with providing a
solid album. Mr. Kitty, Trust, and Alter Der Ruine in their new
electro incarnation. Rave The Reqviem seems interesting, despite all
the trite “evil blood gore” clichés. For the rest, I’ve been
listening to music from other sources, and what’s actually heavy on
rotation here are acts like Chelsea Wolfe, King Dude, Ben Howard,
Damh The Bard.
IVM: You were
originally based in your native Italy before moving to the UK. How
did that effect the band?
MV: We moved here
mostly because Italy is a sinking ship and no one really has a future
there. We thought being London-based would help the band with getting
more gigs, but as we already discussed, that wasn’t the case. No
hard feelings, we should have done it ten years earlier to really
reap some benefits.
IVM: Do you have any individual
plans for future projects in the pipeline?
MV: Nothing music
related at the moment.
IVM: There is just one more
EP to go in your release schedule. When can we expect it and how do
you feel it compliments the previous two?
MV: You will have to
listen and then tell me. To me, the three EPs are a single story and
flow perfectly one into another, but it’s not up to me to judge if
we were successful in it or not.
IVM: Your recent
albums and EPs have been released through your own label, 2393
Records. What led to this decision and how successful has it been?
MV: The decision was
made back in 2010 when we ended our five year contract with Infacted
Recordings and I generally got fed up with having to deal with poor
communication, lack of commitment, absence of sales statements and
all the horror stories you always hear from every band who had to
deal with labels at every level. There are exceptions, but they are
very few and far between. Up to this day I have no clues how many
actual units of those albums we actually sold. 2393 Records gave me
the chance to actually monitor it closely and in that regards it has
been absolutely successful. I never really developed it though, and
so I can admit we did lack the extra media push, especially in
Germany, where you either you buy your way into magazines or you are
just not on the radar: but since the German market was never
particular warm to our music, I don’t think in the end we lost that
much.
IVM: As you've ceased live performances as
XP8 and have announced your final releases, are there any special
plans to mark the end of this chapter?
MV: We played a very
successful gig here in London last August, at Slimelight, to a sold
out venue. That was our swan song, and I have some very nice memories
of it I will forever treasure.
IVM: Looking back
over the course of XP8's existence, what do you feel are your biggest
achievements and is there anything you would have done differently?
MV: I keep thinking
that if I sucked up to Ronan Harris’ monstrous ego during my days
of playing for VNV Nation, back in 2007, possibly I could have had
some help from him or his contacts in further progressing my band.
But as I will forever remember those months are an absolute
nightmare, having to deal with this fascist idiot every day, I also
realise it was simply not meant to be. This scene is also already so
full of hypocrites and sycophants that I would have just gone and
join their ranks.
XP8’s history is my
biggest achievement already: we started with nothing, from Rome,
where there was simply no infrastructure of any kind to support this
musical endeavour, and we went on to leave a mark on this scene’s
history, playing all over the world, hitting every major festival,
magazine, and leaving as a legacy a string of hit songs people still
listen to every day.
And that’s more than
most ever achieve.
IVM: Finally, what are your
personal plans for the rest of the year?
MV: I will play one
last DJ set at Resistanz 2015 and then I will be done with DJ sets
too. I will make sure to make it count!
The alchemy EPs, including 'Three Of Three: Rubedo', are available to buy from the 2393 Records bandcamp page. For more information on XP8, please visit the band's official website.
It’s still January of this writing! It was so very difficult to select top picks from the previous year yet it was finally narrowed down to these chosen few. Read on to see how these music picks highlighted the previous year, and maybe what to look forward for 2015. Track down these amazing albums & songs to give your music library that extra boost:
Noisuf-X – 'Invasion' Any Noisuf-X album guarantees all feet to the club floor, but with 'Invasion' Jan (producer) just seemed to REALLY cut loose. Knowing what you really want to hear from this project, he takes Noisuf-X’s strengths and amplifies them in every single track of this album.
Chainreactor – 'Mass Driver' 'Mass Driver' sees an evolution of Chainreactor; while retaining that irreplaceable & distinctive sound that’s keep you stomping in the 2000’s, Jens Minor added vocalist Kay Schäfer and now presents some anthems that will grab you. Check out every single track on this release!
HarmJoy –'Silver Lining of the Mushroom Cloud' This artistic project hit me unexpectedly at a time when distinctive melodic and textured synthpop was starting to become a bit too common, too bland – this album puts light on music with depth. I put this album right up there with the best Synthpop staples.
The People’s Republic of Europe – 'Course Oblivion' TRPOE’s output is always prolific and this release is a MONSTER. Cranking up the hard & noisy to the limits, all tracks on this album will destroy your sound system!
Hearhere – 'Shadows of the Ones We Love' It’s been awhile since hearing such a great fusion of styles in electronic music- electro, synth, trip-hop, there is fantastic work in Hearhere’s album. It’s one of the most loveliest albums I’ve had on repeat play in recent years. Top Songs/Tracks:
E-Craft – 'Book of Anger V1.0' Damn, when I first this track, my instant reaction: “WTF. Hello E-Craft!” This is an anthem track of your year.
Noisuf-X – 'The Typical “Fuck You” Song' Stompy, aggressive, straightforward club track. This has made the rounds around North America & beyond during my last tour and radio mixes.
Iris – 'Phenom (Club Version)' I’ve enjoyed Iris’ early works so much, perhaps among the best in indie electronic/Synthpop productions & remixes (who hasn’t danced to 'Annie, Would I Lie to You?'). Not hearing much from them for a few years, I had started thinking the worst. And then THIS track hit us. Mind blown! This is my personal best track of the past year and among the best Iris has ever created. Love the lyrics, love the club version’s melody!
Neuroticfish – 'Silence' Welcome back Neuroticfish, we missed you very much! From the 'Silence EP', this track is but a taste of what we’ll have from the project in 2015. Check out the EP with some awesome remixes!
HarmJoy – 'Pain Decay (Ashbury Heights Remix)' A wonderful remix of one of Harmjoy’s many well-done tracks from the latest album. Hunt down any version of this track.
END: the DJ is a U.S. based DJ and artist with releases on Infacted Recordings, Nilaihah Records and CircuitHeads Digital. END tours internationally, supporting many dark electronic artists and labels plus has live mixes on radio, Industrial Club Sessions. Look for the latest mix album Infactious Vol. 4 available now on Infacted Recordings.
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