As much as I love the Roman numerals of :Wumpscut: releases, it is some ways a lazy breath of carbon monoxide to know actually which CD I am looking at, and not relying on the artwork. One part always remembered is the sheer number of tracks possessed on the DJ Dwarf releases, that compile a variety of grinds and cuts from the holy butcher of gothic industrial.
‘That Was The Life That Was’ is a direct injection of percussion, perfect for applying dark lipstick, and clipping a knife above the thighs to the bass garter; as Rudy Ratzinger’s theatrical play is about to begin.
There are two things you need for a :Wumpscut: song:
1.Theatrical music of the old century Vs the new modern age of mournful brutality, which has turned into filth.
2.A combination of vocals that are brutally short, yet soft to the sweetest touch.
‘Rattengift’ takes a slower approach of these characteristics, falling into a melody of poison, then its remixed twin ‘2nd Face’ kicks in with a heavier work on the ear from the blade. ‘Gangraen (Reactor 7X Remix) gets’ the EP rolling into the 21st century dance grind. A harsh alteration of rhythm; nevertheless you can feel the trigger being stroked gently, as a throwback of vodka/met cocktail gets the ye olde reactor pumping again.
‘The Grim reaper’ takes you on a walk through Ratzinger’s trance smog violins, and carries you with disturbing rhythm. Slowly along that dance you’ll fall through the invisible wall of ‘iVardensphere’ where the old sound vanishes and a deep pound of bass brings you into a tribal industrial theme.
Advent Resilience bring some disturbing joy into this death dance, with ‘Oh Mein Kuemmerling’ pouring the blood from shoulders to hands, the beat reminds me accurately to recent project Blac/Kolor. Keeping in with that modernisation, ‘Kamerad Kapput’ is either going to make or break DJ Dwarf for you (thus put the disc in your mouth and let your teeth be the best judge!) I think to describe this song would be :Wumpscut: on snow freestyle.
After that setting on the delightful snow, ‘Wish I Was A Failure (Reactor 7x Remix)’ decides to stab you back to a place of sweat, black & tanzified dirt; that filth is a bit harder to rub out of the veins. ‘Advent Resilience’ provides another remix that brings the same joy on bloody skin in maniac fashion, however this time with cyber elements.
Piano keys introduce you to a stomp that picks up momentum quickly and becomes more electronic ‘Oh Mein Kuemmerling (Cynical Front Remix)’. Another immediate change in tone occurs into Electro swing. ‘Das Deutsche Schwert (Advent Resilience Remix)’ is an odd rhythm to dance with axe to put it frank, more unexpected than anything else it’s a bass thud ballad.
‘The Grim Reaper (Nigen Remix)’ begins its ascent strung chords of dark violin percussion, however this track swings into a ballad of dubstep, this being the softest of the compositions of the genre, and is a twisted way to end it.
This DJ Dwarf release is an interesting experiment. There are core elements of blood and witchcraft similar to previous, however a sheer amount of new genres have been added. If you haven’t resorted to compact disc in the throat; then you may get Rudy’s thoughts of implementing it into his music. Here are genres are growing into the alternative scene, and you shall either love it or hate it. Reviewed by Dominic Lynch aka DJ LX-E
"I believe there is a stagnation at the moment that many new bands are coming to scene, though the headliners are continuously the same at many festivals, after ten years and this is what I see when I go to festivals. But the main thing is the scene is still living."
Snuff machinery deals with a lower lax of German industrial. Slower vocals, that are easier for the body to break away with the main
beats beyond minute of the typical industrial EBM genre.[:SITD:] is as group that bring in vocals that reveal a
beacon of hope, from the thick sulphur fumes of Germany’s heartland. Only to be engulfed by the ignition of a coal burning thump from heavy
electronic drum machine tones.
2014 gave out Dunkelziffer into the atmosphere, a
composition of a typical [:SITD:] album. The tone is certainly a 2014 noise of the group with a much cleaner
detail of sound & vocals, though is this relief to listener’s electronic
eardrums? Or a clear sign of industrial technology making a harsh move.
Maturation of the group in comparison to the likes of
similar artists, is a strong resilience against the new norm of new genres entering the alternative scene.
Intravenous Magazine: Is there anything you would like to say towards Dunkelziffer
and what is embedded inside the tracks?
[:SITD:]: To describe it, we find it the darkest album by far! Due to
the themes within that enveloped through no pre meditation, we made our style.
We don’t consider the volume of electronics or lyrics in a song, it just is
created and the rest flows. We stop halfway and listen back and then we
discover which direction the song wants to take. Whether that is also in
Deutsch or English.
IVM: Are you together when the songs are being created?
Carlsen: Yes and no, sometimes at 3am we could have an idea and Tom will go
to his keyboard and he will send it, and I will think of lyrics that go with the flow.
IVM: Bauer Sucht Frau or
Come to dine with me?
[:SITD:]: Both of us love trash TV, so obviously Bauer sucht Frau.
IVM: Who is the best cook after the two?
Tom: Probably me!
Carlsen: No comment.
IVM: As [:SITD:]of 2014, have you had to become Graphic designers,
social media managers, video production as well as music producers, in order to
deal with the increase in technology & cost efficiency?
Tom: By ourselves, definitely not, we have our graphic designer
2- 3 months ago we produced our official video. This area is covered for.
IVM: With the way that the scene is going, do you think it is
down to the festivals, needing to mix-up the flavour with new blood?
Tom: The only thing I think I can say is that the amount of
festivals, especially in Germany is growing and growing and maybe this has a
negative effect on single concerts. As an individual person may see it as a
better to use his or her money if they can see multiple artists, instead of
attending a concert.
IVM: Have you as music artists seen the quality in how you are
treated at festivals or concerts gone down or up contract related?
Carlsen: It is difficult to say, as we play in multiple countries and
our status varies, as we are quite well known in Germany, but in North America
this differs. Overall we believe
Going back to the way the scene is going at the moment, do
you think is confused in which direction it will go?
Tom: I believe there is a stagnation at
the moment that many new bands are coming to scene, though the headliners are
continuously the same at many festivals, after 10 years and this is what I see
when I go to festivals. But the main thing is the scene is still living.
IVM: Were you aware of the problems tonight?
Tom: We didn't know what was the playback issue in the beginning, we had low volume, and we tried to fix this with the sound engineer; though he didn’t know the reason and after the 3rd song, it was better but only by the 4th song all systems were running.
IVM: When you were singing Carsten at the beginning do you find it frustrating to perform, that would lead you to wait until the problem is fixed?
Carsten: Every concert is a challenge, the problem was that we were under a strict time schedule, and we would end up having to shorten the show, we wanted to keep playing.
IVM: If live music isn't nearing a comparison to what it may sound like in the studio, is this adding to frustration?
Tom: It is always a different situation to a studio whether it be a small club or Blackfield Festival, it will never sound in comparison to the quality of a studio, but that is good quality in itself.
IVM: With platforms such as Soundcloud and the ability to analyse the statistics do you allow it to impact the song creation, from possible favourability over certain styles?
Tom: Absolutely not, of course we are looking at that for curiosity, though it does not really affect the creation of our work.
IVM: Who would you like to
be in Hannibal?
Carlsen: What we don’t like Hannibal! Ask us about Breaking bad!
IVM: You like Breaking
Bad??? Why?
Tom: It is the best, have you not seen what happens in the
seasons?
IVM: With the way that bands
in the scene are needing to change their model for cost reasons and revenue
stream, is there any way in which [:SITD:] has innovated itself to deal with the
challenges of keeping it alive?
Carlsen: Not really actually, from the beginning we found a way and
style to handle different situations whether good or bad, though we don’t have
any special models. In our band, I am responsible alone for the music and cost
and Carsten is responsible for the lyrics, so there is no special plan.
IVM: So with the emergence
of platforms such as Spotify, which obviously has negative affect on [:SITD:] CD
sales, not to forget file sharing. You haven’t consider Meth production as a
new source of income for Band?
Tom: The Interview is now over!
IVM: Billy Idol or Tokio Hotel?
Tom: Is that a serious question?
IVM: By this moment I believe I found out the secret to the industrial cooking pot of the band....Trash TV!
[:SITD:]'s most recent album 'Dunkelziffer' is available to buy now through Asscension Records. For more information on the band, including release and tour news, please visit their official website.
A body of one of the most infamous and reviled kings in British history, long thought lost in the mists of time, is discovered buried under concrete centuries after his death. Conspiracy? Cover-up? It sounds like the beginning of a Dan Brown potboiler. But no– it is England! Now!
The discovery of the body of Richard III and his ceremonial reburial in Leicester this week is a very rare and interesting event in British history. For one thing, it is an event in British history – when was the last time we could witness that? In the compressed, condensed multimedia dirge of modern British political culture this counts as Officially Interesting.
But why is it so interesting? The first thing we can point to is that it brought the ancient, bloodthirsty, violent and turbulent age of pre-modern Britain back to life; something happened that belonged to the middle ages but which actually happened in the twenty-first century. It's difficult to think now that the soil of England, which has barely seen anything but sporadic bloodshed over the past few hundred years, was the scene for waves of wars, coups, invasions and political instability. It's a culture shock which – removed by centuries – is escapist and almost romantic. Kings are buried beneath the car parks of provincial English cities – no, really!
It is also interesting due to the fact that it represents a development; it represents something new. What we thought were the circumstances surrounding the disposal of Richard's body were incorrect. It was a historical finding of great importance, and there haven't been many of those recently.
What is also fascinating is how the old links between church and state in England, having been secularised and modernised for much of the past decades, can swing back into action like a sleeping spy upon hearing the code word. Ceremonies of reburial such as we are seeing this week in Leicester are not things that tend to be standard fare for the state in 2015. It is also important to note how important is was considered not to skimp on the pomp nor circumstances for the reburial of a man who died over 500 years ago.
However, the two most prescient points are regarding Richard the man. The process of excavation, analysis and reburial have led us to re-evaluate the man who has been a byword for English villainy since his defeat. We have few genuine, universal hate figures of authority in England – Cromwell or Thatcher spring to mind, but even they divide rather than unite; we would have to look at a Chamberlain or a Richard III to find someone so universally reviled (and I can write that even as an avowed republican). The man we now see emerges as more complex and maligned, and the very patrician façade of classical British history appears to be de-stuffyfying as we speak.
And finally it shows us that these revelations from the past change nothing at all; the complicated process by which reality is created rolls on, regardless of whether we correctly judge what is happening. If the continuous narrative of British history was to change by dint of new evidence we would encounter nothing but mass shrugging of shoulders and washing of hands. That, though, is the risk of leaving others to make your history – so undertake your own archaeological dig, and discover what secrets you hold.
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. This one track
on its own encompasses everything to love about iVardensphere with
it's noisy intro, apocalyptic samples, deep bass, hard but danceable
beats and sheer ferocity setting the pace for the rest of the album.
Tracks such as 'Stygian', 'A Tale Of Two Wolves', 'It Is As
Blackness Is', And 'Yesterday's Giant' give the album a dark footing
with their groovy and rhythmic dance leanings and industrial
hardness. While the likes of 'The Woodsman And The Serpent', 'Papa
Legba', and 'Terra Sapian' preserve the tribal / world music
influenced side of the band's formula creating some more accessible
club appeal.
The album is completed by a series of tracks
featuring female guest vocalists that add a nice counterpoint to the
masculine overtones of the rest of the album with 'Tribes Of Moth'
featuring Mari Kattman and 'Disir' featuring Nymm in particular
really making an impact on the course of the record. 'Tribes Of Moth'
is a great trippy, rhythmic blend of experimentation and pure melody.
While 'Disir' layers up acapella vocals to create a tapestry of light
and almost mediaeval chorus.
Once again it is evident that
the band are pushing themselves harder than ever. The scope of the
song writing continues to grow and the production is always able to
match it. 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.
Three years ago Marc (Cubanate) Heal and Raymond (PIG/KMFDM) Watts teased us with "the first new PIG track in 8 years" with demos from their studio sessions together. Ever a perfectionist it took Watts another two years to finish fiddling with them, and added two more new songs and a sprinkling of remixes to keep us sated. Considered a split EP, the release is actually more of a collaboration piece, created all in the same sessions with the same team. Along with these British industrial heavyweights we also see Phil Barry joining his fellow Cubanate cohort, as well as Rhys Fulber (Front Line Assembly) providing a remix and Eden (Killing Joke) on the producing role. "In a way it's a Cubanate reunion" said Heal, what with Phil's remix and use of his guitar samples." With it's opening track 'Drugzilla' it is clear we are in for something special. The thick bassline and iconic guitar riffs are what we've been waiting nearly a decade for, and it doesn't disappoint. There is a modern twist to this classic industrial metal piece that rivals anything KMFDM, NIN and (sorry to say this) Godflesh have released in quite a while. 'Drugzilla' oozes a cool mentality with just a pinch of sleaze. Next is the more upbeat title track 'The Compound Eye'. With an obvious nod to Heal's previous work with Cubanate and as Ashtrayhead, this track is what Cubanate's last album 'Interference' should have been like. With it's polished production and Heal's voiced rage bubbling beneath the surface, it's a sure fire hit, and a perfect spring board for any new works he may have coming up. 'Shake' was one of the two demos and is a deep down and dirty jaunt that has a real 'join in' quality. It has a gritty Southern vibe that is sure to raise a smile to any Revco fans out there. The final original track is 'The Doll'. This song is unlike the others in that it's style leans more towards the alternative late 80's style. With a guitar riff that resounds a Sisters of Mercy anthem and a no nonsense attitude from it's vocals, 'The Doll' is a great departure from the faster more electronic heavy tunes on the EP. By far the greatest remix is the Fulbertron remix of 'Compound Eye'. Turning what was already a great track into a definite club hit, Fulber subtly adds electronic elements without totally masking the original material. This is by far the greatest remix of his career and it couldn't have been with a better set of artists. Watt's own mix of 'Drugzilla' takes us back in time to the 80's style of remixes. Chopping up the samples and drums yet keeping it's vocals in tact, it's the minimalist style that is appealing the most. Phil Barry's Tsetse mix of 'Compound Eye' is a loud and brash sound which won't be to everyone's taste but is a pleasing version non the less. Last is Marc Heal's more somber and simple mix of 'Shake'. Taking everything back a step and letting the vocals have centre stage, it's what you'd expect from the man who gave us 'C-Tec'. Both this mix and Watt's redux are what remixes truly about.These different interpretations of what a song can sound like creates a welcome return to the old skool style made popular in the 80's. In the years to come fans of the genre and the artists will look back on this release has the perfect precursor. With Watts stating that the new PIG album is near enough finished and Heal promising a retrospective of Cubanate's work within the year, as well as talk of a join tour between the two acts in 2016, it's clear that this is only the beginning.
VARIOUS ARTISTS
'Pistes Noires* (de préférence)' BOREDOM PRODUCT
The
third compilation release from French label Boredom Products, 'Pistes
Noires* (de préférence)' is an electropop tribute to the French pop
singer Etienne Daho, and sees seventeen bands taking on his expansive
back catalogue from his most recent single 'En Surface' all the way
back to his 1981 début 'Mythomane'. Daho may no be an international
name, and is best known in Britain for his appearance on the Saint
Etienne single 'He's On The Phone'. But in his native France he has
enjoyed a long and successful career as both a performer and producer
and has collaborated with the likes of William Orbit, Fischerspooner,
and Marianne Faithful among others.
Appearing on the album
are such names as Tourdeforce, Cyborgdrive, Electrosexual, Destillat,
Auto-Immune, and Celluloide who each bring different elements of
synthpop, ebm, electroclash, futurepop and new wave elements to the
already diverse range of Daho's work. Despite the differing styles,
and tackling a varied collection of tracks the compilation maintains
a fairly unified sound that works as a traditional album.
It's
one of those rare tributes that even if you don't know the originals,
the sheer quality of the contributions from the artists render that
unimportant. Instead you can look at it as a strong collection of
underground electro bands who deserve winder attention. The likes of
Tourdeforce's 'En Surface', Cyborgdrive's 'San Antonio De La Luna',
Phllox & Blue Belle Nonne's 'Le Premier Jour', Electrosexual's
'L'enfer Enfin', 360°'s 'Des Heures Hindoues', Destillat's '4000
Années D'horreur', Auto-Immune's 'Paris Le Flor', This Grey City's
'Epaule Tattoo', Celluloide's 'Le Grand Sommeil', and Polynomiq's
'Mythomane' are all great tracks and would easily be a centrepiece on
their own albums.
The compilation is mixed and mastered well
which helps to create the previously mentioned unified sound and
gives it more of an album feel as opposed to a collection of songs.
Each artist brings their best to the songs and it reflects well on
the label for the time and effort that has obviously been put into
every aspect of this release, even the packaging is great.
The
subject of this compilation might not be well known to many outside
of the French speaking world, but as a representation of the French
electropop scene it is a great advertisement for a number of bands.
'Pistes Noires* (de préférence)' is a strong album, let alone a
compilation and will surely open quite a few people's eyes.
Before this old school electronic act went off to tour with the mighty Covenant across the UK, they released this little slice of what they do best. Evolve is a 4 track EP of re-versions of some of their classic works. since starting in 1979 the group have been more concerned about the music and the ride than getting signed and releasing a back catalogue, and it's because to this that they have formed a quiet cult following. "We used to hate record companies" states lead singer Tony, "Back then it was hard to record and release your own work. Besides, songs will evolve as they get played frequently and we didn't want to get stuck with a sound once it was recorded".
Now with technology creating a more ambient and atmospheric sound, it seems that Naked Lunch are right were they need to be, while also enlisting the help of the smoking gun that is Jet Noir on synth and back vocals. "I've known Tony since I was a teenager; mused Noir "and when I heard his band needed a keyboard player I offered my services."
By the time Jet joined the group she was already doing quite well with her own solo project, and promises that she can easily flit between the two.
Beginning with 'Alone' the EP has a sombre yet effective start. Tony's vocals are deep and formidable, and Jet's backing is a mist upon the tracks landscape. It's follow up 'Glow' has vicious undertones in a light and spacious track and 'Slipping Again Again' sounds like an upbeat ballad for a paranoid man. Ending the release is the bands' live opener 'We Are'. With it's long set up and guitar-in-space sound, it is by far the greatest track.
In all this release is a great starter for new fans, showcasing a great new mix of their older songs (brilliantly produced by Yello's Carlos Peron). This band pre-date the majority of electronic and Industrial bands out there, and this EP throws down the gauntlet to any still alive. With a new album of material on the way this year along with a developed sound including more dance, bass and orchestral tones it is clear that the age of Naked Lunch has only just begun. "we're not part of this revivalist trend of 80's band" said Tony, we are constantly evolving and moving forward."
“The
main fact is the following: to provide music for free does NOT mean
you are harming your record label or that you can’t have any kind
of deal with a record label. We decided to close our previous deals
because that record labels didn’t want or accept this model, which
makes an immense difference.”
Italian
cyber-rock outfit Dope Stars Inc. led by multi-instrumentalist and
producer Victor Love have been around for over a decade honing a
blend of heavy but dance friendly rock. Never ones to play by the
rules the band have released their last two albums, including their
latest offering 'TeraPunk' for free to their fans. A bold move in a
world where major labels hound illegal downloaders and many
independent bands struggle to see a return from their art. We
caught up with Victor Love to discuss the new album, the band's free
music policy, and their fiercely independent and DIY attitude to
their craft.
Intravenous
Magazine: Your new album 'TeraPunk' was released recently. How has it
been received so far?
Victor Love: I
can say that the album is getting a really good feedback, almost
unexpected, both by fans and critics. So far most of the magazines
are giving 'TeraPunk' a very high rating and also the fans seem to be
really happy about this release. This time we also hired promoters
and publicists in different countries that are helping us a lot and
doing a very good job. Considering it is being released for free as
for the previous album and looking at the first statistics of sales,
streams and downloads I can say that it’s all very promising and
exciting.
IVM: Been four years since last album,
'Ultrawired' was released, what has the time between been like for
you as a band?
VL: We have been
doing a lot of things in the recent years especially about touring.
We could make our first full tour in Russia and full tour in North
America. After that we took a 1 year break and then in April 2014 I
started to write the new songs for 'TeraPunk'. Every experience you
do is always influencing what you are doing next and sometimes also
having a little break helps you to make up your mind and think better
for what you are planning to do stylistically and professionally. The
step of 'Ultrawired' has been changing a lot of things on the
business side too since we left our labels to become independent and
for 'TeraPunk' I could finally think about what kind of deals to make
for the best of the album. In particular what I wanted this time is
to have a real indie label supporting, producing and distributing the
physical release considering that doing it directly is a lot of work
and I could not manage it anymore having also a real day job and a
personal life. So what I thought is to make an improvement to the
model of distribution of 'Ultrawired' and offer on top of all the
other options (free download, torrent, soundcloud, legal digital and
so on) also the option to get the CD trough regular channels in the
physical form (local stores, mailorders and so on).
IVM:
You've been the driving force of the band since its inception
writing and recording thealbums. What are the benefits and
drawbacks of this for you and how open to collaboration are you?
VL: There are
all benefits from it cause it is just the only way to express the
music I write with the sound I like. I have been also working with
other producers in the past but I was never totally satisfied to be
honest. That is not because this or that producer was not good,
instead they were all very professional and with a great taste, but
simply there is nobody else that can understand the sound you want
better than yourself. As simple as that. Also doing it always this
way helped me to increase my skills and experience, not only working
for my albums, but also for other bands. To get more experience as
producer is also a way to have more tools and ideas for production,
hence for songwriting and arrangement. The sound, production and mix
is something that is strongly connected to the songwriting. To make
you understand I will make an example. The music is made of waves,
frequencies and all that physics stuff. There are some passages,
arrangements or simply some mixture of instruments that just does not
work good for the mix, others are instead working better. Whenever a
songwriter is forcing these things is basically confusing the
listener because actually the average listener just have a different
perception of the song compared to the one the songwriter have. This
happens for example also when you work with a band in studio.
Sometimes what you hear is different from what the band hear, most of
the time it is just a psychological thing. For example many bands
have this issue, and this happen also to me, that demos sound better
than the super-produced album. That is basically cause they are used
to “that” sound which they listened hundreds of times, and they
just can’t get used to the new one even if super produced, perfect,
crystal clean and louder. That is why the only best way to solve this
issue is to do it yourself.
IVM: There has
always been a strong cyberpunk connection to Dope Stars Inc.'s albums
and imagery. What specific themes and influences informed the writing
of the new album?
VL: Yes in the
past we had many songs inspired by Cyberpunk novels and the Cyberpunk
subculture as well as the whole Sci-fi world. This time instead I
wanted to have some lyrics that are more connected to anyone of us,
to their inner self, to life experiences, emotions, positive and
negative. I thought that it was time to have an album with more
personal themes instead of another album inspired by cyberpunk
novels. Of course that doesn’t mean I have lost my inspiration from
that kind of world that is and will always be part of me, as well as
all the other sub-cultures that influence and influenced me. However
as most of our fans know I always like to experiment new styles for
what matters the production and music and this time I just did the
same concerning the lyrics. I also did it cause I noticed that most
of our past songs that got an international acclaim were indeed the
ones such as 'Make A Star' or 'Bang Your Head' that have indeed some
personal or raging themes. So I also wanted to experiment and see
what would be the outcome of a lyrical concept like that. That is
always cause I am a really curious kind of person and I mostly do
anything I do for curiosity and experimentation.
IVM:
What kind of gear did you use for the recording and do you
typically use the same equipment live?
VL: I basically
used no gear. Just a crappy usb audio card, my headphones (bayer
dynamics) and my computer and few mics here and there to record in
different places where I have been doing recordings. The production
this time in fact was a real challenge I did with myself with the aim
to see what could be the quality limit I could reach using just basic
equipment and limiting the most possible the use of professional
gear. What I can tell now is that almost no one noticed that and
instead most of the critics said the production is great. So I guess
I won already.
IVM: On 13th
February you held an online event where fans could listen to the
album and ask questions. How successful was it and how important is
that level of interaction with fans?
VL: Actually
that was just an event on facebook and what happened is that I was so
damn busy doing so many stuff that I could not really follow it. I
had to stay behind also a lot of different little “technical”
problems that some content aggregators had. However the general
outcome of the release on SoundCloud and digital (itunes, Spotify
etc) was really good and we received a lot of positive
feedback.
IVM: The previous album was released
for free by torrent, which is a gutsy move in this day and age. What
led to that decision and how successful was this for you as a band?
VL: That was a
real success and that’s why also 'TeraPunk' is free. We could not
manage this time to have it on TPB home page or stuff like that for
obvious reasons but however what happened with 'Ultrawired' is that,
even if it was downloaded by millions of people, the results of our
digital sales, streams on Spotify and stuff like were much better
than all our other albums. The reason is simple and mathematical. We
are billions in this world and there are basically different kind of
fans you can reach. The fans that will just listen, download and
stream your stuff and share it with your friends. The fans that would
prefer to buy it legally. The fans that would prefer to get the CD.
The fans who just won’t care about where they get your music but no
matter what they will send you a donation. The fans that comes to
your show and eventually buy a CD or a T-shirt they previously didn’t
buy. Now it is really pointless in this scenario to “limit” the
free downloads simply cause you will just limit the amount of fans
you can reach of ANY of the kinds listed up here. What you are doing
is basically trying to forbid access to your music to the big part of
them in order to let few others to pay for it. The stupid thing is
that your album will be anywhere anyway and eventually will also be
on Spotify were anyone can just stream it for free basically. So
there is really no point in doing this. You will just be considered a
narrowhead and dickhead and you are just hurting yourself and your
career.
IVM: This
time you've chosen to release 'TeraPunk' through the labels
Distorsion Products (US) and Subsound Records (EU). How did that come
about?
VL: That is the
part of improvement of the distribution model we had before
'TeraPunk'. The main fact is the following: to provide music for free
does NOT mean you are harming your record label or that you can’t
have any kind of deal with a record label. We decided to close our
previous deals because that record labels didn’t want or accept
this model, which makes an immense difference. A record label is no
more no less than a person or a group of persons helping and
supporting you. A record label can also just press your physical CD
or merchandise or whatever else and you can still keep all your
rights on the masters, on the songs and on digital in order to
support your project. Most of the labels around though will not
accept that cause they want everything, worldwide for five or ten
years and want to give you just a small percentage on it. Which is
basically a way to rip you off and get the most possible money they
can from your project, together with another hundred of other
projects like yours, in change of a promotional campaign you have no
control over costs and benefits. Instead what I decided to do with
this album is to keep the digital in order to invest in promotion and
have two record labels to take care of distribution and marketing of
the physical copy. Of course one can say, not every band is able or
willing to manage all this, to follow all these things and so on.
There are bands that just want to sit and let others do all the work,
which is OK, I mean, anyone can do what they want yes. In fact anyone
can also decide to get ripped off by their label in change of
commodities but that’s just what I didn’t want for me.
IVM:
The band has previously recorded videos for tracks 'I'm
Overdriven' 'Better Not To Joke' and 'It's Today'. Are there any
plans for tracks on new album?
VL: Yes, we just
release one lyrics video for Many Thanks but in March we are going to
shoot the official videos for Dressed Inside Your Fear and Along With
You. Stay tuned on our website and once ready you will see it on our
site and youtube channel.
Photo by Yury Timofeev
IVM: Dope Stars Inc. has always been a fiercely independent band. How has this helped you in your musical career? VL: Thing is it
helped me not only as an artist but also on the personal and
professional level. What really matters after all is that you know
that whatever you achieved you did it with your hands and with your
forces. In other words you really deserved it. When I see other bands
that are doing debts over debts on advances from major labels in
order to push their promotions, pay their $50.000 videos and so on
and yeah of course they have a lot of fans, they do a lot of shows
and they are basically on tour all the year in order to pay back what
their label invested, I think it’s all a bit sad and not fair both
for the fans and for the bands. That is not they way it should be I
think. These bands are basically slaves of a corporate system that is
using them. They basically fake and exaggerate the costs of just
anything they do for the band, from the studio to the video clip
production till promotion, while we all know how much a studio or a
clip cost nowadays. That is basically an huge waste of money, or
better I should say, an huge amount of fake invoices. It is a big,
enormous fiscal fraud too in my opinion. But that’s how the
business work after all, not only in music.
IVM: The
band has been around for over a decade now. How has industry changed
for bands like DSI since your first album released?
VL: Industry
didn’t change so much. Majors are still complaining for piracy,
still enjoying for thirteen years old kids condemned for jail or even
paying millions for a free download, exactly following a fascist kind
of ideology: to punish one to educate one-hundred. There are few
indie labels that understood, barely, what is happening and are
trying to understand how to move ahead. There are other labels
instead, like Subsound Records or Digital Productions that understood
it already and do not give a shit about free downloads and stuff. The
real tragedy is some labels just do not understand technology and its
potential and advantages However a change is inevitable. That is why
who created the universe made us mortal: to give us a way to
inevitably evolve and change.
IVM: Looking back
at your career, is there anything you'd change or advice you'd give
your younger self?
VL: Sign the
less possible deals, only if strictly necessary. Do it yourself.
Distribute your music for free. Let the people choose if you are
doing it right or not. Eventually change and try again. Find
yourself.
IVM: Touring and playing live is still
a necessity for independent bands. How do you find the touring
process these days and do you still enjoy playing live?
VL: That is a
necessity not only for indie bands but especially for big bands in
order to pay their debts, as said before. That is a thing that really
few people mention around. You have no idea how many bands there are
around that are blocked in this circle. However of course touring is
the most important and definitely the real dimension of a band. After
all the production, music and song writing has as main target the
live show that is the real playground where a band can express
itself.
IVM: Can we expect to see Dope Stars
Inc. back in the UK any time soon?
VL: I really
hope so because UK is a very important country for us and we always
had a lot of fans. However I can say that for our kind of music UK
has become a bit harder than other countries, not only for us, but I
have been told by really a lot of bands the same thing. That is a
pity cause UK has always been a “legend” in our teenager’s mind
as a place for alternative people. What we have all noticed in the
scene however is that there has been a bit of a downer in the latest
years for Alternative music. I personally love the UK and have great
memories, friends and there are so many bands I love from UK but I
would like to see that kind of UK of the 70’s-80’s-90’s that
made the history of Alternative music worldwide and changed the life
of so many people. It’s still great but I can’t see that kind of
mood any more which I feel instead in other, unexpected,
countries.
IVM: Finally, is there anything that
you would like to add?
VL: I would just
like to say that we have a new website now and you can start
registering to it. Soon I will upgrade it with some special features
that will be available only for registered users but in the meantime
you can already create an account and get signed automatically to our
newsletter too. That would be the best way to stay in touch and get
all our updates in a world were social networks also started to be
boring, repetitive and stinking like daily spam.
This
transatlantic trio spearheaded by French electronic composer Stephen
Marty, and rounded off by vocalists Sebastian Elliott (Braindance)
and digital artist Salandre. Combining a strong dance-leaning the
band combines deep house elements with ebm, darkwave and synthpop to
create relentless and infectious electronic anthems. The band's début
self-titled album is a manifesto of moody, dark and emotional
song-writing that is reminiscent of BlutEngel, Avarice In Audio and
Cryogenic Echelon.
The album opens bravely with a full-length
instrumental 'Cyberia' that is full of energy and great addictive
beats, but seems a little long to be the opening track where a
shorter intro would have had more punch. The album is more than
equipped to hold your attention though with big anthems such as
'Surrender', 'Monolith', 'Awake My Senses', and 'Out Of the Ashes'
that will no doubt get a lot of play in scene clubs. While the likes
of 'Desire', 'The Sentinel' and 'Eternity' slow things down and
provide a sensual and more feminine gloss to the album.
The
album's use of male and female vocals is great and really serves to
bring out different elements of the music and there are a few
occasions makes you wonder if the roles were reversed and how that
would effect the atmospheres of the songs.
The album is really
well produced. The songs are richly textured and the vocals flow with
mix to create hypnotic atmospheres while the dance appeal is always
preserved. It doesn't sound like a new project. It has a sense of
experience to it that most bands need to be together for ten years to
achieve. But for Sentinel Of Eternity, it seems to have come together
instantly.
This is a strong début with a lot of potential.
The dance appeal is always front and centre, but it still flows like
an album should, and as such can be easily enjoyed in a more intimate
environment. Hopefully this project will be an ongoing concern for
all involved and they will follow this up with more in the near
future.
After nearly a decade in
Development, Braindance's third full-length album in their 20+ year
career finally emerges. Mixing gothic, metal, industrial and a strong
middle eastern slant, the concept album – complete with an
accompanying sixteen-page comic book – crams everything the band
possibly can into it. It's an ambitious undertaking and shows the
band are reaching for new heights.
After a short atmospheric
intro the band kick off with the album's lead single 'Lost', a
sprawling monster of a track that sets the scene well, but feels a
bit cumbersome in its execution. 'Eye Of The Storm' fairs a lot
better though with a more straight-forward and focussed approach.
Tracks such as 'Hunter And Hunted', 'More Than A Moment', 'The
Silence', and the 'Valley Of The Kings Trilogy' follow suit providing
the album with highlight moments and a strong backbone of hard riffs
and decadent electronics.
The shorter tracks 'Dysphoria' and
'Dystopia' that break up the album with a heavy use of vocal samples
are an interesting idea, but the execution doesn't quite live up to
it. On the other had though is the sumptuous dark and ambient closer
'Entombed' which more than makes up for these two stop-gap tracks.
It's undeniable that a lot of effort has gone into this
album. The song writing is strong and the concept is surprisingly
easy to follow throughout. But the production does tend to let it
down. In way too many of the songs they sound too cluttered,
especially with the unnecessary vocal samples liberally sprinkled
throughout. One or two set the scene but the others tend to detract
from some otherwise great performances. Couple this with an uneven
mix and the album comes off as a little bit dated. The end result is
like taking a great, atmospheric black and white photo and putting it
in the wrong frame.
However, underneath that there is a really
good album full of great riffs, strong vocals, entrancing electronics
and memorable lyrics that is sure to play well on the live circuit.
It just seems like a less is more policy may have helped streamline
the sound and help the album keep its focus. Hopefully though we
won't have to wait nearly ten years again for the next instalment
from Braindance.
Wave Gotik Treffen festival has kept
the announcements coming hard and fast with a lot of names released
that will be playing the event in Leipzig, Germany this year. Artists
announced so far:
.com/kill (D)
- Accessory (D) - Agent Side Grinder (S) - Antimatter
(GB) acoustic and electric performance - Ari Mason (USA) - Ash
Code (I) -Ashes You Leave (HR) - Ashram (I) - Astari Nite
(USA) - Automelodi (CDN) - Birdmachine (D) - Black
Lung (AUS) - Blood And Sun (USA) -Captain Reckless & The
Lost Souls (AUS) - Centhron (D) - Cromdale (D) - Deine
Lakaien (D) - Die Kammer (D) - Dupont (S) - Eisregen
(D) -Empathy Test (GB) - Esa (GB) - Escape With Romeo (D)
- Evi Vine (GB) - Faey (D) - Fields Of The Nephilim
(GB) 30th anniversary show -Fixmer/McCarthy (F/GB) - Ghosts Of
Dawn (D) - Grendel (NL) - Harmjoy (D/USA) - Hezzel
(LV) - Jo Quail (GB) - Keluar (D/GB) - King Dude (USA)
- Klutae (DK) - Koffin Kats (USA) - L'ame Immortelle
(A) - Last Dominion Lost (AUS) - Lisa Cuthbert (IRL)
- Majdanek Waltz (RUS) -Minuit Machine (F) - Mono Inc. (D)
- Morthound (S) - Mushroom's Patience (I) - Nosferatu
(GB) - NZ (A) - Orphx (CDN) - Otto Dix (RUS) -Polaroid
Kiss (GB) - Rabbit At War (D) - Rezurex (USA) - Roma
Amor (I) - Samsas Traum (D) - Sólstafir (IS) - Seasurfer
(D) - Skyforger (LV) -Snog (AUS) - Soko Friedhof (D) - Sol
Invictus (GB) perform the album "In The Rain" - Soror
Dolorosa (F) - Spencer (CH) - Stoneman (CH) -Substaat (N)
- Sweet Ermengarde (D) - Terrorfrequenz (D) - The
Exploding Boy (S) - The Other (D) - The Present Moment
(USA) - The Saint Paul (D) - Two Witches (FIN)
- Unterschicht (D) - Unto Ashes (USA) - While Angels
Watch (GB) - Wrangler (GB) -
The festival will take
place this year from 22nd May until 25th May. For more
information please visit the official Wave Gotik Treffenwebsite.
London-based quintet Zoax may only be on EP
number two with the release of 'Is everybody Listening?' but the
bands subtly groovy heaviness has been making a few ripples. They
have already got two appearances at Download festival under their
belts as well as scoring support slots with the likes of Cancer Bats,
Polar, and Architects. You might be forgiven for thinking that's
enough of a statement to adequately sum up the band. But you'd be
wrong.
Yes, the band base their sound in a post-hardcore
formula, but they find themselves at the artier end of the spectrum
by infusing quiet and discordant – almost jazzy – interludes as
well as an ever present groove that underpins the tracks and which
recalls the likes of Glassjaw and Thrice with hints of Deftones
brooding.
Aside from the quiet curve-ball of the untitled
intro, the album proceeds with speed through tracks like 'Lonely
Soul', 'Zero Point Seven', and 'Innocent Eyes', which thrash and
writhe under the emotional strains of the lead vocals that switch
from screams to thinly melodic at the switch of the hat.
The
band are striving for their own identity, and they certainly have the
talent to do it... but the fact remains that their less aggressive
side is more expressive than the post-hardcore heaviness that is
their obvious selling point. They have a strongly progressive, even
experimental potential that serves to set them apart, but is still
stifled by an unnecessary reliance on fashionable heaviness. The band
have skill and depth and would really benefit from pushing themselves
in a less formula-driven direction.
There will be many out
there who will cry out that with a confident display of power and
emotion such as this, that the band have sprung from the Earth fully
formed. True, they sound like they could be on their third album
already.... but therein lies the crux of the problem. It's still too
familiar. Too safe. There are the potential elements here to really
make themselves stand out from the crowd, but as of now they're just
rudimentary quirks to their sound. They could stick with this formula
and with the backing of a label like Century Media sell some
respectable units. Or, they could go for broke and really push
themselves beyond what everyone else is doing and break new ground.
Time will tell.
Comprised of former members of Stabbing Westward,
LA-based dark rockers The Dreaming already have a lineage that
creates certain expectations for this new endeavour. However, as
their last album, 'Puppet' showed, the band have all the tool they
need to solidify their name in their own right. Last year's lead
single 'Alone' was a good indicator of where the band were looking to
take their third album 'Rise Again', and it sounded very promising.
Fast-forward and the album is here, and the band are
definitely living up to that promise. The album kicks off with the
explosive 'Alone', which is just as strong as the bands, new
wave-meets-darkwave style gets. It's a great song that sets the album
up nicely and is built upon by anthemic numbers such as
'Painkillers', 'Empty Promises', 'Throw It Away', 'Blink Of An Eye'
and 'Rise Again'. The album is heavy on sing-a-long choruses,
emotional lyrics, dance-friendly electronics and great guitar riffs
which makes it instantly accessible to anyone hearing them for the
first time.
There is a set formula that the band don't really
deviate from too much. But they do manage to bring things in for the
odd slower and softer number. But ultimately it doesn't break ranks
with the up-beat electro rock that informs the majority of the album.
And while that creates a strong unified sound, it does leave a
question mark as to whether this is their comfort zone and whether
they will throw any curve balls at us, as they have the talent and
musicianship to do it and still be great.
The album is
extremely well produced and could easily hold its own against a
bigger budget, major label band on the radio. The synths and guitars
never swamp each other and vocals soar through the mix with ease.
With this level of song-writing the band have upped their
game on 'Rise Again' and will safely put to rest any comparisons to
Stabbing Westward. The album is strong, accessible, memorable and
relevant. And with a label like Metropolis backing it should be a
firm footing from which the band can establish themselves
internationally.
Wednesday
13 has enjoyed a level of longevity that can only be mentioned in the
same breath as the likes of Alice Cooper and The Misfits. But unlike
Cooper and The Misfits, since his international breakthrough with the
Murderdolls on their 2002 début 'Beyond The Valley Of The
Murderdolls' Wednesday 13 has been consistent in the quality and
frequency of his releases. Even before this, he laid the groundwork
for his psychotic horror inspired blend of punk and metal with bands
such as Maniac Spider Trash, as well as the now legendary
Frankenstein Drag Queens From Planet 13, and this formula has carried
through into his solo discography, finding a willing audience with
every release.
Looking at the crowd tonight its easy to see
that despite being a 20+ year music veteran, Wednesday 13 still finds
favour with a young audience as well as keeping his long-time fans
happy. His latest UK tour in support of his sixth full-length solo
album, 'Monsters Of the Universe: Come Out And Plague', sees
Wednesday on perhaps the strongest form of his career so far.
First
off though, we have support act Rival State. This New Zealand formed,
now UK-based quintet seem like a good fit on paper. Their punk-tinged
grungy metal formula complete with mosh-friendly riffs and
sing-a-long choruses arouse the interests of a few members of the
audience. Their energetic performance, especially that of their
frontman, is a by the books exercise straight from the pages of rock
'n' roll 101. But despite all of this they seem rather generic.
The
songs are pretty standard, and even the band's “black jeans + black
t-shirts + frontman in a leather biker jacket = RAWK!” presentation
just comes off as totally derivative. It's one of those situations
that, while there is nothing wrong with their set, it just doesn't
stand out in any way from a myriad of other bands. As a result you can't help
but list in your head all the other domestic bands who would have
complimented the headliners more.
When it comes time for
Wednesday 13 and his band to take the stage you know you're in for a
real show. From the opening bars of the intro 'Death Arise' the
band embark on a furious and theatrical set that compliments the
conceptual charge of the new album. Complete with masks, makeup
changes and mood lighting Wednesday 13 holds the audience's
attention through every song and shows just what a performer he is as
he creeps about the stage like a twisted monster from outer space.
The set is heavy on new cuts from the band's latest, and
heaviest, album with the likes of 'Keep Watching The Skies', 'Astro Psycho – Galactic Blood Drive', 'Serpent Society', 'Bombs, Guns, Gods – This Is A War' and 'Monsters Of The Universe' getting a
welcome airing. But he also makes plenty of room for fan favourites
such as 'Look At What The Bat's Dragged In', 'Skeletons', 'Hail
Ming', 'Get Your Grave On' and 'Scream Baby Scream'. The encore also
gave a rare airing of the Frankenstein Drag Queens classic 'Scary
Song' as well as the undeniably brilliant 'I Walked With A Zombie'
and ' Bad Things'.
The band were tight throughout the set and
Wednesday's vocals sound as good as ever with only the lead guitar
sounding a little high in the mix in places, but not enough to swamp
the rest of the band. It's a very strong outing befitting a performer
of Wednesday 13's calibre and one that proves he is the king of
schlock 'n' roll... and long may he reign too.
It's just over a month until Record Store Day
arrives again. A day where lovers of physical formats can grab
bargains and a slew of limited edition vinyl, CD and cassette
releases for one day only. Record Store Day came into being in 2007
when over 700 independent stores in the USA came together to
celebrate their unique culture. The UK followed suit and 2015 will
see the eighth celebration of the UK's unique independent sector.
There are over 200 shops across the UK participating in
Record Store Day 2015 and the official website has a handy store
locator so you have no excuse from visiting your nearest shop and
grabbing yourself a bargain.
But with hundreds of releases
slated to go on sale on Saturday 18th April there's too much choice
to get your head around. With this in mind we've made a shortlist of
recommendations that will hopefully tempt you to part with your money
and keep our beloved record shops open.
ROSE MCDOWALL “Don't Fear The Reaper” 12” Vinyl ROXY MUSIC “Ladytron (Previously unreleased unedited vsn) / The
Numberer (Steven Wilson Stereo Remix)” 10” Vinyl
VENOM “From The
Very Depths” Double Vinyl THE YARDBIRDS “Rarities EP” 7” Vinyl
We hope that makes your choices a little easier for you. A full list of releases is available to download
HERE. Keep an eye on the official Record Store Day website for new
release updates, and follow them on Facebook and Twitter to make sure
you don't miss anything.
Following on the wings of their previous two EPs, Je$us Loves Amerika finishes up their '3 Colours Trilogy' with 'Falling'. Unlike it's predecessors, this EP is a sombre and fitting end to the band's latest opus, with it's title track being more of an industrial ballad. With synth samples taken from The Beatles 'Lucy in the sky with diamonds', it creates a dreamscape of euphoria that gives the listener nostalgic pangs of lost love. What starts as a moment of clarity fast becomes anger within hidden emotions.
Remixes come in the form of label mates Paresis, Digicore and i!. Paresis turns the song sinister and menacing whilst Digicore makes it a stealth fuelled masterpiece and wouldn't be out of place on a trailer for a thriller flick. i!'s two mixes are a combination of the avant garde and the down-right odd (which is what you'd expect from them).
The real gem in this record though is it's finale. Called the 'vocal mix', this nine-minute dub track of 'Falling' takes on a mind of it's own. It is more evenly played out than it's original counterpart and is reminiscent to the Killing Joke remixes back in the 90's. It's only downfall is the fat synth that lands on top of it two-thirds of the way in, creating a wall of noise that simply does not work for this song, but you can still enjoy the track as an experience.
In all it makes for a good set of tunes in the '3 Colors Trilogy', if you were to put them together you'd have good enough tracks for one EP. You probably won't like all the stuff you hear, but you can easily pick and choose your favourites.
It is hard to believe that thirty years into his
career as one of the most recognisable names in industrial music,
that En Esch is only on solo album number two. With fifteen years
service with KMFDM, as well as tenures in Pigface, Slick Idiot and
recent collaborations with Mona Mur, the German multi-instrumentalist
only dropped his, until now, one and only solo offering back in 1993
in the form of 'Cheesy'. It may be a little overdue but En Esch's
body of work speaks for itself with fans successfully funding a
Pledgemusic campaign to make this album happen. And their faith is
definitely repaid.
Kicking off with a stomping single in the
form of '12345', which sees him collaborate with former band-mate and
Ex Marilyn Manson member Tim Skold, he sets the album up to be a
strong mix of heavy guitars and catchy electronics that recalls the
heyday of the 90s Wax Trax! Scene of which he was instrumental.
Songs such as 'Give The People What They Want', 'Do Me', 'We
Love To Hate', 'No Guts No Glory', 'Ich Bin Ein Berliner', 'Spaenk'
and 'This Party Ain't Over' cover everything from dance-friendly
electro-industrial, through to hard and heavy NDH. He even throws in
a curve ball with the annoyingly addictive and demented 'I Hop'. The
album presents a full cross-section of En Esch's strongest
song-writing styles and some memorable collaborations with the likes
of Guenter Schulz, Erica Dilanjian, MMTM .
The album doesn't
throw up anything particularly different or controversial in its
content compared to what we are used to from En Esch, and as such it
feels instantly familiar. But at the same time when you consider the
number of artists he has collaborated with over the years, there
isn't a style he hasn't touched on at some point and has made its way
into this album.
The album does have one or two points that
need raising. Firstly is some of the intros to the songs,
particularly in the first half of the album can be a little weak in
places and repetitive. And secondly, it is a long album – the full
80 minutes on a CD. Now personally I think this is great when a lot
of artists struggle to give you an hour of music, but in the digital
age it may be too much for some people's attention spans.
At
the end of the day though, 'Spänk!'
Is everything we hoped it would be. It is a well written, diverse and
well produced album that shows off the full extent of En Esch's
skills and experience as a songwriter. Hopefully we wont have to wait
twenty years for solo album number three!
Neofolk can be a divisive genre for some.
For others though it is a a pure expression of of emotive songwriting
that is simple in its construction, but heavy on its atmosphere. A
natural bedfellow of, doom, black metal and industrial, there has
been much cross-pollination over the years, so its no surprise that
the man behind Appalachian atmospheric metal band Twilight Fauna has
chosen to build his other project Green Elder around the genre.
'Offering' is a two-track EP built around two sides that
musically conveys the atmosphere of the brief Summer months. The
first side contains 'Mountain Storms' a track built around a simple
repetitive guitar riff augmented by flourishes of samples and
accordion, with very soft vocals occasionally rising up before fading
back into the mix.
The second side, 'Cairn Of Starlight'
builds upon the guitar lead for a more complex but ultimately lighter
traditional folk framework that keeps the soft vocals the blow
through like the wind. This then fades into a a delicate extended
outro that captures the atmosphere of looking up at the stars on a
clear Summers night.
The EP may be a completely self-produced
and self-funded exercise, but in terms of its production you wouldn't
know. It's light and delicate construction has been mixed down with
care so as to yield the maximum atmosphere, and it shies away from
any glaringly low-fi elements that can crop up in recordings of this
type.
Green Elder captures what good neofolk is all about. It
is simple, haunting, beautiful and inspiring. It conjures images and
narratives in the listeners mind with only the most basic of tools.
Fans of the genre will undoubtedly enjoy this. And hopefully there
will be more to come from this project in the future.
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