The uniting of Unwoman's Erica Mulkey
and Caustic's Matt Fanale promised to be something special from the
very beginning. Having originally joined forces for a track on
Fanale's 'The Golden Vagina Of Fame And Profit' back in 2011.
'Roughest Cuts' was the first material to surface under their
official moniker of Beauty Queen Autopsy in late 2013 hinting at a
stunning blend of electronic-heavy post punk and doomy pop.
Last year
they followed it up with the EP 'Good, Giving, Game' which showcased
a more polished presentation along with the brilliant cover of
Placebo's 'Pure Morning'. Finally though 2015 sees the official
unveiling of the anticipated full-length début from the pair in the
form of 'Lotharia'.
Combining simple mechanical post-punk
beats, minimalistic synthpop electronics, and prominently placing
Mulkey's seductive post-grunge vocals high in the mix Beauty Queen
Autopsy present a deceptively straight-forward but undeniably
infectious formula that is both intimate and dance-friendly.
The album includes the familiar cuts from the
previous EP and demo with 'Good, Giving, Game', 'Birthday Pony', and
'Lotharia' sounding strong in their final refined versions. While
new tracks such as 'Spread', 'Contaminate Me (Dirty Thoughts)',
'Methadone', 'Pumps', and 'Petit Mort' continue to show the depth of
the duo's song writing partnership with grunge, psychedelic, and
trip-hop elements coming through to create a diverse palette of sounds.
The album has a wonderfully
gritty 90s sound to it in so much as it evokes, the best elements of
the Nothing Records, Wax Trax! and Warp Records catalogues of the era
but maintains a modern dark sound that is both dark and strangely
pop-friendly.
'Lotharia' is quite simply a wonderfully strong
full-length début from the duo. One that should have people sitting
up and taking notice if they haven't done so already. This a subtle,
but varied album that leaves you hungry for more. If this offering is
anything to go by, Beauty Queen Autopsy are going to be a name to
watch over the next few years as they can only grow from here.
Ego Likeness marked their
first outing with Metropolis Records with the release of their fourth
full-length studio album, the excellent 'Breedless' back in 2010. The
duo of Steven Archer and Donna Lynch have released a slew of
impressive albums that blend sexy dancefloor beats with a darkwave
rock core. But aside from some classic re-releases the band have been
a bit quiet. Not that they have been away as they have continued to
delight live audiences in their native USA. However a new studio
release has felt long overdue. This year the band have answered with
their fifth album, the aptly titled 'When The Wolves Return'.
The
bands blend of dark danceable electronics and solid rock riffs
framing Lynches seductive vocals remains intact. But as with all good
bands they have continued to refine and polish their sound,
culminating with a strong and wonderfully executed collection of
songs.
The band's song writing talents are on full display on
tracks such as 'Darkness', 'New Legion', 'Crossed', 'Persona Non
Grata' and 'Treacherous Thing' which give the album a sexy
dance-friendly backbone. While the likes of 'Leave The Light On,
Thomas' and 'When The Wolves Return' bookend the track list with some
of the most accomplished songs the band have committed to their
discography so far.
The album is well produced with a
down-beat trip hop vibe running throughout that reflects the bands
earlier releases, but all the while favouring the big choruses,
addictive leads, and strong beats that made albums such as the afore
mentioned 'Breedless' so memorable.
'When The Wolves Return'
is a very welcome return from the Ego Likeness gang. Their sonic
formula remains intact but continues to be refined with vigour and
passion which is evident in each song. Hopefully we won't have to
wait five years for the next instalment.
The last releases from Jenn Vix to come our
way was back in 2013 and featured the Rhode Island based
singer-songwriter on good form with the singles 'Speed Of Light'
which featured former David Bowie guitarist Reeves Gabrels, as well
as 'Fuck.Rinse.Repeat' and 'Burn' both of which featured underground
electro legend Dirk Ivens of Absolute Body Control, The Klinik and
Dive fame. With a gradual wave of momentum building from these
releases, and EP or full-album looked like the next logical step. But
nothing appeared. Yet, 2015 sees Vix return with two more singles,
this time featuring drummer Andy Anderson (The Cure. Iggy Pop) and
Mark Montalto.
First up is 'Eyes Roll Back', which blends
post-punk guitars and drums with light and sensual synthesizers,
while Vix delivers a subtle but emotional vocal performance. It's
memorable, minimal, and quite effective. But it doesn't quite leave
you wholly satisfied.
The next single, 'I Don't Trust You'
opts for a dark synthpop meets trip-hop approach which frames Vix's
Annie Lennox style vocals very nicely. It is a much more complex,
intriguing and engaging track that more appropriately shows of the
depth of Vix's song writing skills.
In therms of production
the mix on the first single, 'Eyes Roll Back' sounds a little off in
regards to the drums which just seem to hit the ear wrong. However
the second single sounds nicely layered and more rounded.
While
these are both solid, memorable singles, without a doubt 'I Don't
Trust You' is the stronger of the pair. It sounds much more complete
than it's predecessor, and more importantly leaves you wondering what
else Vix has up her sleeves. Hopefully, a full-length release will be
able to answer that sooner rather than later.
Blush Response's last release,
2014's 'Desire Machines' was a stunning blend of avant garde
electronics and intelligent dance music that consolidated Joey
Blush's position as arguably one of the most exciting electronic
musicians around today. Utilising modular synthesizers, Blush blends
a mixture of influences gleaned from glitch, ambient, industrial, ebm
and electronica to create something truly fresh and modern. Fast
forward two years and the now Berlin based artist releases his latest
EP 'Future Tyrants' on Aufnahme + Wadergabe.
Where as his
previous album recalled the recent works of artists such as Alec
Empire, How To Destroy Angels, Aphex Twin and Squarepusher to name a
few, 'Future Tyrants' has a much more old school ebm feel that is on
the one hand dance friendly, but on the other nice and experimental.
Distorted glitch elements combine with subtle dance beats and
throbbing synth bass for a dark and satisfying sound that evokes the
early works of acts such as Front 242, Skinny Puppy, Die Krupps,
Cabaret Voltaire, and Front Line Assembly.
Opening with
'Civilian Slaughter' the album gets off to a near apocalyptic start
sounding like early Skinny Puppy writing the opening score for an
ultraviolent sci-fi film. The title track follows on with a more
dance-friendly and less abrasive execution, but it nonetheless keeps
its experimental core that is reminiscent of 'Twitch' era Ministry.
'Seven Rays' then opts for a relentlessly pounding rhythmic and
bass-heavy approach making this easily the most club friendly and
accessible cut on the album. The EP then finishes off with the
seven-minute long 'Fenix', which builds up into more complicated
rhythmic structures before fading out into droning synths.
The
EP has a rough, old school kind of vibe, but it is most definitely a
modern album. It has a definite early feel in atmosphere but the
instrumentation, mixing and overall production sound perfect. Even at
its most distorted and experimental points it doesn't sacrifice any
of its quality.
'Future Tyrants' is another feather in Joey
Blush's cap showing him to be a true master of his art. The album is
comprised of instrumentals, and that may turn off those who like a
nice lyric or two to get stuck into, but it doesn't hold it back.
These are four bold and forceful tracks that demand to be heard and
leave you feeling satisfied. Fans of the old school sound will
immediately dig it, while those newer to the classic ebm /
electro-indutrial scene will still find this an accessible point of
reference.
'Tonight You Die' is an audio-rich
first-person horror experience for Windows and OSX created by Jack
Squires of Duende Games in collaboration with sound designers /
interactive storytellers GRYPT. The game abandons players in a
desolate brutalist cityscape with only a menacing note as a clue:
“TONIGHT YOU DIE”.
A collaborative release between Duende
Games, Deathbomb Arc Records, and the games music trio Grypt.
'Tonight You Die' is a paranoid fantasy existing in the space between
a music single and a jam game, TONIGHT YOU DIE culminates with the
player's inevitable demise and Grypt's eponymous song.
Grypt's
ominous sound is paired with the furious drumming of Brian
"Charlemagne Lazarus" Kinsman (True Neutral Crew, ex-Foot
Village). The single also includes an authorized remix by Grypt of
clipping's 'Body & Blood' from their Sub-Pop début, and three
eclectic remixes of 'Tonight You Die'.
Bass music producer
Dmnslyr (Stylss), cello songstress Unwoman, and Open Mike Eagle
collaborator Signor Benedick the Moor (Deathbomb Arc) each provide a
unique variation on GRYPT's horrific theme.
The game an album
are available to download for free from the following link:
http://tonightyoudie.com
For more information please visit the
links below:
Chicago's Immortal Bird peddle a ferocious blend of
black metal, Thrash Metal, death metal and crusty grindcore that can
only really be summed up with the word... extreme. Scathing guitars,
blistering blast beats and demonic vocals power through their
full-length début 'Empress/Abscess', leaving scorched ears and
speakers in their wake.
With only five tracks to the album's
name, the band work hard and fast to establish their mission
statement. With nods to the likes of elements of early Satyricon,
Nile, Suffocation, and Venom within their technically proficient
execution, songs such as the opener 'Neoplastic', as well as
'Saprophyte', and 'Sycophant' exude a relentless brutality that still
keeps things nice and tight with some great memorable riffs thrown
into the mix.
The album's crowning glories though have to be
the final two tracks 'To A Watery Grave', which gives way from the
heaviness in favour of some beautiful piano work towards the end, and
the ten minute prog-tinged closer 'And Send Fire' that moves from
doomy riffs to blistering assaults with ease before fading out into
ambient drones.
The album is brilliantly mixed and the
production reflects the technical prowess at work on the recordings.
It is a strong, self-assured, tight, but most of all wonderfully
fresh and modern sounding album.
This album will have a lot
of people sit up and take notice. Although to call it a full-length
album at a total of 31 minutes long does seem to be pushing it, it is
nonetheless a complete and vehement statement of intent. What they
lack in running time they more than make up fore in song-writing
brilliance.
Netherlands-based ethereal gothic rock
act The Dreamside only released their last album, 'Sorrow Bearing
Tree', this time last year, but they have already returned with
another outing that sees them collaborate with a host of guest
musicians to add a different spin to their sound. The band asked
their fans and gleaned a veritable “best of” songs their 20 year
discography, and reworked them into acoustic and remixed versions.
The heavy leaning towards acoustic ballads see them return to
their folk-tinged roots, and songs such as 'Joyfire', 'Forsaken',
'Spin Moon Magic', 'Everlasting', 'Slay Your Dragons', and 'Above
And Below' sound quite simply stunning. While the remixed versions of
'Rain And Rivers', 'La Tempesta', 'Nuda Veritas', and 'Open Your
Eyes' inject a heavy dose of epic dance-orientated energy into the
album.
It is a strong collection that any fan of the band
will certainly have to add to their collection. It would have been
nice to see this as a double album with the acoustic tracks on one
disc and the remixes fully populating the other in order to get a
more balanced presentation. But what has been presented here is
certainly strong enough to hold its own with the band's already
impressive discography.
The acoustic tracks are very nicely
produced with an intimate, almost live atmosphere throughout that
sounds as though you are watching them in the studio. But it doesn't
sound like a rushed live mix, instead there is plenty of room to move
and the minimalist compositions have the space they need to create
maximum atmosphere.
This may be one that's more geared
towards the band's already established fanbase. And with only a few
remixes tagged on the end, there isn't much for casual dance fans to
take away from it. But as a minimalist deconstruction of their sound
to it's purest form it is a joy to listen to. Hopefully the band will
capitalise on the strengths of the intimate nature of this album and
play some acoustic shows in support.
The coming together of the musical maestro behind
Hypocrisy and Pain, and the vocalist and lyricist of Rammstein was
always going to yield interesting results. Peter Tägtgren's blend of
addictive industrial metal that he perfected over the years under the
Pain moniker melds perfectly with the twisted humour of Till
Lindemann who now treats, or subjects, his audience (depending on
your position) to every filthy lyric in English. With Rammstein Till
has used English sparingly, usually for comedic effect in songs such
as 'America' and 'Pussy', but with his Lindemann project he drops the
veil for the non-German speaking world to finally hear.
With
track titles like 'Ladyboy', 'Fat', 'Golden Shower', and 'Praise
Abort' there are plenty of clues as to what the pair have in store.
But the album has much more depth than the novel titles and Till's
full on Anglicised vocal performance.
Musically the album
calls heavily on Pain albums such as 'Psalms Of Extinction' and
'Cynic Paradise' with its hard, memorable riffs and industrial meets
symphonic synthpop electronics. All the while Till Lindemann's
distinctive vocals power through the tracks to whip up huge
sing-a-long choruses. It's a combination that simply works.
Tracks
such as 'Skills In Pills', 'Ladyboy', 'Fat', 'Children Of The Sun',
'Praise Abort' provide the album with its best heavy rocking and most
dance-friendly moments. While the likes of 'Home Sweet Home',
'Yukon', and 'That's My Heart' present themselves as twisted, heavy
power ballads that add a softer edge to the album and display the
true depths of the collaboration.
It's well produced and well
mixed and continues the kind of high quality we've come to expect
from the duos other projects. Again, drawing very strongly from the
execution of his Pain albums, there is a nice balance between the
heavy guitars, lusciously layered electronics and the deep, powerful
vocals.
Hardened Rammstein and Pain fans should find plenty
here to get their teeth into, though casual listeners may be turned
off by Till's explicit use of English, or perhaps the strong musical
resemblance to Pain rather than something drastically different.
However, that's not really the point of the album. It's dirty, it's
fun and it's most certainly memorable. And with news that another album
is already in the works it looks like the duo are going to be more
than a one time deal, though it would be nice if they would
capitalise on this with some live dates as well.
For the last thirteen years Japanese five-piece The Gazette have been storming forward with their own brand of harsh dark metal and silken electronic overtones, and now 2015 sees 'their most ominous year' with the release of their eighth full-length studio album, 'Dogma'.
Set for release in Japan for August, this new outing promises to be a change in creative direction, which sees them heading towards darker and more conceptual whole that includes art, photography, text and even the very appearance of the band.
With three different versions of the album set to drop, including a special limited edition featuring two DVDs of footage, 'Dogma' looks set to keep fans of the J-Rock act happy.
The band's label JPU Records have also announced this month that in addition to the new album, they are set to re-release two of the band's earlier works in 'Dim' and 'Stacked Rubbish' as western versions, complete with translation sheets.
For more information on The Gazette, and and their forthcoming album, please visit their official website. The re-releases of 'Dim' and 'Stacked Rubbish' in the UK come out July and August (respectively).
Since 1992 London's Inertia have been
keeping the flame of British electro-industrial alive. And in that
time they have amassed an impressive discography and shared the stage
with a range of internationally influential acts. With 2015 marking 20 years
since the band's first on-label release it is fitting then that they
commemorate it with perhaps their most accomplished album to date.
The band's second album on US label Metropolis Records,
'Existential' sees a band that are still continuing to build on their
legacy. Continually tweaking and polishing their sonic blend of
industrial, techno, synthpop and dark rock the band have created a
dark yet wonderfully accessible album.
Kicking off with the
sumptuously gothic tinged lead single 'Dark Valentine' the band break
out symphonic strings and synthpop melodies for a luscious opener.
While the likes of 'Stormfront', 'Feel Addicted', 'Hang Around',
'Metal Strike', 'Hiding' and 'Legacy' give the album a rockier, but
no less opulent backbone as the likes of Killing Joke, Depeche Mode,
Nitzer Ebb and John Foxx are distilled into some of the best darkly
danceable cuts in their back catalogue so far. However it is the stunning
symphonic strains of 'Slow Burn', which closes out the album, that
really shows off the true depths of the band's song-writing prowess.
The album is nicely produced and mixed with the kind of
polish befitting a veteran act such as Inertia. It has an ever
present element of rock grit to it, but the synths sound clean and
fresh throughout giving it a real top quality feel.
There are
no signs of slowing down or stopping Inertia at 20 years into their
run. They continue to push themselves hard with every release while
at the same time making sure the core of their sound is present to
keep their long-time fans happy. The band are producing some of the
best music of their career and 'Existential' really captures what a
formidable and clever lot they are.
Mixing cabaret, deathrock and
electro-punk Berlin's KatzKab's first album 'Objet N°1'
set the group apart from their previous incarnation as Katzenjammer
Kabarett and asserted themselves as a whole new beast. Fast-forward
two years and they return with another, albeit briefer, dose of
iconoclastic genre-hopping Dadaist pop that recalls the likes of The
B52s, Lene Lovich and Soft Cell.
Vik B. channels 80's
post-punk heroines through her quirky vocal performance while the
band blend catchy post-punk rock with kooky electronics and jazzy
retro elements to weave a rich, energetic and engaging whole that is
hard to resist.
'New Vision' kicks things off with a nice
punky guitar riff and surf rock organ accompaniment for a B52s meets
The Cramps sound. 'The Spell' follows on with a more modern
electro-punk flavour that drops in a little coldwave meets batcave to
keep things interesting. 'Boys' on the other hand is opens with a
nice mournful cabaret piano intro before jumping straight back into a
harder punk territory. The EP closes with 'Not My Home' which is pure
electro cabaret with it's creepy opener interspersed with bouncy
electro-punk.
The EP is nicely produced with a strong 80s
leaning throughout. But in terms of the mix and overall sound it is
bang up-to-date and preserves a nice pop appeal throughout, no matter
how off the wall the band get.
This is a short, but
nonetheless very sweet offering from the band. They've built upon the
themes from the first album nicely and have continued to develop what
was so enticing about their diverse approach. With this being the
first of a trilogy of EPs that will make up the whole of 'Objet N°2'
it hopefully shouldn't be long before we hear what else they have in
store for us.
The sounds contained within the bloodstained walls of Hekatomb were captured from a performance at the Cold Spring Records 21st Anniversary event at The Garage, London, March 2011. It is appropriate that the tracks are titled as acts 'I' through 'XIV', being a manifestation of an aural Grand Guignol. The relentless barrages of filthy white noise, grinding bass, manipulated beats and obscure vocalizations conjure in the mind macabre tortured puppets, still painfully alive.
What makes the whole of Hekatomb more effective is that it's not a monolithic barrage from start to finish, but subsides into melodic and spoken parts, as in the end of 'Act X', where a voice recites words in a looping fashion in a manner that accentuates the hypnotic effect. In 'Act II' the track is carried by an ominous riff played with a brass patch on synth with the notes doubled two octaves below. Around this structure the electronic noise creeps and oozes like an approaching storm of mechanical insects. 'Act XIV' is at points downright symphonic in a pulsing, ritualistic mode, other points pounding and throughout remains positively demonic.
There is a beauty in the way MZ. 412 create such dense sonic sculpture though a method if minimalism. Every sound is placed and directed with the sure hand of confident creators. Three malevolent beings gathered and concocted this magickal brew, managing to convey a glimpse into the Abyss that is crystal clear and precise even as what they illuminate is pure chaos. With feet planted in industrial and a spirit that goes back to the misanthropic aesthetic of the start of the second wave of black metal, these XIV Acts of cruelty should make you want to dance, damn you. The demons just beyond your sight surely will be when you play this release.
The death of
Christopher Lee is truly an end of an era. Whilst logically it was
always increasingly likely given his advancing years (he was 93 at
the time of his passing) many of us nonetheless firmly believed that he would be
around for years to come, or even that Christopher Lee would always
be with us. Few people alive in Britain today can remember life
without him.
Lee's death also
represents the passing of the last stars of the golden age of postwar
horror, joining Peter Cushing, John Carradine and Vincent Price in
macabre rest, and it is apparent that we have lost more than an
incredible actor but also part of our collective cultural heritage.
In a way we can be
forgiven for imagining that he would always be with us – a man
who fought in WW2 and was a member of an elite special operations
unit and became an international film star, singer, raconteur,
cavalier and elder statesman of hard rock. It is obvious that they
don't make 'em like that anymore.
Why do we adore him so?
Other than his undeniable talents, his great body of work and the dry
wit and open candour of his pronouncements it is due to the fact that
his career and life spans the entirety of what would became
'alternative'/'geek' subculture in the UK. Recoiling like many others
from wartime experience he found refuge in gothic horror escapism, and
with Hammer and others embarked upon a canon of work which runs
through alternative culture like a name in a stick of rock. From
'Dracula', 'the Mummy', 'Frankenstein', to 'the
Devil Rides Out' and 'The Wicker Man', to James Bond and
Captain America, to 'Gremlins 2' and 'Police Academy',
to Terry Pratchett, to 'Lord of the Rings' and 'Star Wars',
to many films with Tim Burton, and finally to operatic power metal.
That represents the bulk of what is represented by 'alternative'
popular culture in Britain in the postwar era, and without
Christopher Lee it is pretty much unthinkable.
How can we follow that?
Well, we will always have his seminal films, that wonderful voice and
the half-life of his vast powers of awesome. With his films he will
always be immortal. But what other qualities can we deride from his
legacy? His professionalism, wit, breadth of interest and sense of
class are things we can all aspire to; we are all artisans ploughing
our own retrospective furrows, and maybe we can learn to take some
joy and dignity in our work.
But finally, one thing
we can learn is that we are all on our own now – the grown-ups of
horror have all gone, leaving us to carry on the tradition. There are
no Christopher Lees, Peter Cushings or Vincent Prices now – where
are their equivalents? It is time for us all to pick up the gauntlet,
the mantel, and the bloodstained ring which bears appalling occult
resurrectional power; the actors, writers, producers, musicians,
artists – it is now our turn. Rise up like legions of the undead
and build the empire of British horror for the 21st
Century!
As Christopher Lee
himself might put it...”It is my will.”
Last week the world of cinema lost
arguably one of it's greatest actors with the passing of Sir
Christopher Lee. His career is one unmatched by any actor living or
dead, spanning nearly seventy years and saw him appear in over 250
films. Lee was at 6'5” one of cinema's tallest lading men and he also held
an impressive record of the most on-screen sword fights.
His
imposing stature, deep booming voice and chiselled exotic features
made him an instant choice to play some of cinema's most memorable
villains, including the best James Bond villain in the series as
Scaramanga in 1974s 'The Man With The Golden Gun', as well as the
sinister Comte de Rochefort in the 'Musketeer' films between 1973 and
1989. Lee's portrayal of Rochefort featured him wearing an eye-patch,
which isn't mentioned in Dumas' book, but the role was so iconic it
has nevertheless been embraced by film-makers ever since.
In
memory of Sir Christopher Lee we return to the genre that made him...
horror. And look at his most terrifying roles that scarred our
collective consciousness and propelled him to international infamy as
the silver screens most identifiable bad guys.
The
Creature – 'The Curse OF Frankenstein' (1959)
'The Curse Of
Frankenstein' was the role that put Lee on the first rung of
international stardom. Playing a damaged marionette-like creature in
opposition to his friend Peter Cushing's diabolical Baron
Frankenstein, Lee simultaneously imbues a melancholy as well as a
malevolence into his character. Lee's creature is simultaneously the
dark side of his creator's psyche as well as the result of his
genius. Lee sees the creature stripped of his humanity and filled
with only the base compulsion to kill. Add to that the grotesque
Technicolour visage and the imposing frame on the cinema screen and
it makes for a performance you won't forget in a hurry.
Lord
Summerisle – 'The Wicker Man' (1973)
'The Wicker Man' is
perhaps the finest example of folk horror in British cinema,
especially seeing as there is no real horror until the end of the
film. Lee's charming a suave Lord Summerisle is calm, reasonable and
unshakeable in his conviction. Just as most maniacs think they are
doing good, so does Summerisle as he and his people enact their age
old rites at the expense of Edward Woodward's Sargent Howie. The plot
is a strange one, but unfolds like an odd murder mystery until the
final frames when Lee reveals the true nature of Howie's visit to the
island. Chilling.
Count Dracula – 'Dracula' Film Series
(1958 – 1972)
Of course if there is one character the image
of Lee will forever be tied to, it's Dracula. Lee played the count in
other films outside of the Hammer franchise, but it is for these
titillating and blood-splattered outings that he will always be
remembered. And although the film series would see a pronounced drop
in quality towards the end of its run, Lee never gave a bad
performance. He remained dignified, deadly and always scary. The
first instalment though is easily the strongest, and worthy of
inclusion on it's own, and features the best death scene in the
series. One that is truly the stuff of nightmares!
Saruman
– 'The Lord Of The Rings' Film Series (2001 – 2003)
This is
the most recent, and the highest grossing series in the list. One
that saw Lee draw on a lifetime of villainous roles as well as a
life-long love of Tolkien's works. Although this isn't strictly a
horror series, the very inclusion of Lee's scenes in the films
quickly alter their tone. Lee channels both Dracula and Lord
Summerisle into his depiction of the treacherous Saurman The White as
he joins forces with the legions of Mordor, breads the demonic
Uruk-hai warriors, and duels with Ian McKellen's Gandalf. Despite
playing the Wizard in his later years, Lee still brings a gravitas
and energy to the role that is captivating
Dr. Fu Manchu –
'Fu Manchu' Film Series (1965 – 1969)
Dr. Fu Manchu has
been depicted by many different, and usually white, actors over many
different decades. But Lee's full colour films in the late 1960s
brought the role to a new generation and subsequently did the round
on television for years after. Again, not strictly horror, but the
imposing Christopher Lee with his diabolical plans for world
domination and destruction are just as unnerving as his final
appearance as Dracula where the count attempts to unleash a plague
upon the world. Political correctness, notwithstanding, Christopher
Lee's turns as Fu Manchu are easily the most memorable in cinema.
Grigori Rasputin – 'Rasputin, The Mad Monk' (1966)
Turning the very real historical character of Russian priest
and mystic Grigori Rasputin was easy for Lee. His natural stature,
booming voice and fierce eyes brought Rasputin back to life and
turned him into a supernatural villain with powers gifted him by the
devil. Lee also had a very real connection to Rasputin having met on
of his assassins as a child. In the film Lee is wild, and at times
seems on the brink of a frenzy, but will suddenly return to a calm
and composed demeanour that is rather creepy. This is another
character that has one of the most memorable deaths in cinema
courtesy of the power of Lee's performance.
Father
Michael Rayner – 'To The Devil A Daughter' (1976)
By 1976
Lee was looking further afield for acting opportunities and Hammer as
a cinematic powerhouse was on the way out. However, there was still
time for one final collaboration. 'To The Devil A Daughter' was the
second novel by Dennis Wheatley to be adapted by Hammer after the
successful 'The Devil Rides Out'. The film suffered greatly by
succumbing to the latter-day formulaic Hammer production and
dispensing with a lot of the source material. However Lee as Father
Michael Rayner is at his Satanic best with another charismatic but
disturbing shadow cast over the entire length of the film.
Count
Regula – 'The Blood Demon' (1967)
Whatever name you may
have seen this film under, it is one of Lee's most underrated roles.
This German production loosely based on Edgar Allen
Poe's 'The Pit And The Pendulum' sees Lee as a bloodthirsty black
magician/murderer returned from the dead to complete his plans to
become immortal. Lee is chilling as he brings elements of Dracula and
Rasputin to the role all the while retaining an aristocratic dignity
to the proceedings. It's a shame it isn't more widely appreciated for
the atmospheric mix of gothic and gore that it is with Lee's
performance tying it all together.
Dr. Charles Marlowe /
Edward Blake – 'I, Monster' (1971)
'I, Monster' is another
fine pairing of Lee and his friend Peter Cushing, this time set
against an adaptation of Robert Louis Stevenson's 'The Strange Case
Of Dr. Jekyll An Mr. Hyde'. Lee takes on the role of the renamed lead
characters and draws on his strengths in portraying the man and the
monster. Again as Lee adopts the heavy make up of Edward Blake he
easily suspends disbelief as he descends into a murderous rampage.
Although the film performed poorly on its initial release, it remains
as a testament to both Lee and Cushing as they craft fine gothic
presentations throughout the film.
Kharis – 'The Mummy'
(1959)
'The Mummy' was the third iconic horror role that Lee
took on with Hammer films. Although it wasn't as shocking as 'The
Curse Of Frankenstein' and he didn't have the dialogue of 'Dracula',
Lee nevertheless captivated as Kharis, and ancient Egyptian priest
brought back to life as a tool of death. Lee shows his true stock as
a great actor being able to convey everything he needs to with just
his eyes for the majority of the film. Although he wouldn't reprise
the role in any of the subsequent 'Mummy' films by Hammer, his
performance left a high bench mark that has yet to be surpassed.
That was our run-down of favourite terrifying outings
from the late and very great Sir Christopher Lee. It's by no means
exhaustive and certainly doesn't begin to touch on his other roles as
both a villain and good guy, whether in horror or not. But these are
certainly classics that any fan should watch. And we hope you do.
US record label Cleopatra Records have a legacy tied
to the darkside since 1992 and have worked with some of the biggest
names in gothic, industrial, electronic, deathrock and a whole lot of
other genres. Perhaps the label's most interesting and relevant
compilation release in its history with past luminaries, contemporary
heavyweights, and the sounds of the future coming together to
celebrate ritual music no matter what the genre.
The box set
is beautifully put together with a high-quality box, matching glossy
booklet, promotional postcards, a cheesy but nonetheless nice
pentagram necklace, five individual CDs in slipcases, and a nicely
textured 7” vinyl featuring two recordings by the master Therion
himself Aleister Crowley.
Musically there is a hell of a lot
to get your teeth into. Classic tracks such as Rozz Williams' 'The
Beast (Invocation), Front Line Assembly’s 'Assassination', Joy
Division's 'Leaders Of Men', Laibach's 'Dieliebe', and Switchblade
Symphony's 'Gutter Glitter' get a welcome airing and add a little
familiarity to the track list. However the real gems are the live and
remixed cuts from the depths of the Cleopatra vaults such as Die
Krupps remix of 1000 Homo DJ's 'Supernaut', the Apoptygma Berzerk
remix of Nico's 'All Tomorrows Parties', and a powerful live version
of 'Surrendered' from Peter Murphy.
Best of all though, there
are plenty of strong contributions from contemporary names like Mater
Susperia Vision, Sidewalks And Skeletons, Gravediggaz, The Soft Moon,
and Ritualz to name but a few that highlight the strength of the new
school sounds. Throw in a nonstop DJ mix from model/DJ Tamara Sky and
you have something for everyone.
The collection is well
produced and mastered and great attention to detail has been paid to
the running order to ensure each track flows nicely into the next
one. Despite the different styles, recording budgets and the times in
which they were recorded, it flows as well as any contemporary
compilation.
OK, there may be a little bit of a “spooky-kooky
marketing ploy” air about it, especially with the pentagram
necklace included. But nonetheless this is a very strong collection
of songs that bridges genres and time to create a sustained and
engrossing listening experience. It may not be the most suitable
collection for actual ritual use, however this is easily the highest
quality and most well-thought out compilation since Rhino
Entertainment's 'A Life Less Lived: The Gothic Box' collection.
“I've
always acknowledged my debt to Hammer. I've always said I'm very
grateful to them. They gave me this great opportunity, made me a well
known face all over the world for which I am profoundly grateful.”
- Sir Christopher Lee
Sadly on Sunday 7th June 2015 the
world lost the most prolific and recognisable film icon in the
history of Cinema. Sir Christopher Frank Carandini Lee amassed over
250 film appearances as well as many television and voice over roles
in a career that started in 1946 and lasted until last year. With a
linage dating back to Charlemagne, the first Holy Roman Emperor, and
a six-foot-four frame, Lee brought a quintessential sense of
aristocratic dignity, and imposing physical gravitas to his work
which left its mark on popular culture around the world.
Born
in Belgravia, Westminster,London, on 27th May 1922, to
Lieutenant Colonel Geoffrey Trollope Lee (1879–1941) and his wife,
Contessa Estelle Marie (née Carandini di Sarzano) (1889–1981). His
parents would divorce when Lee was six years old and he would move
with his mother to Switzerland, before returning to London. Lee would
begin his passion for acting at school, and would regularly perform
in plays until his teenage years. After a brief time working as a
clerk, he would join the RAF during World War II. After initially
training as a pilot, but having to stay grounded due to developing
headaches and blurred vision, Lee joined RAF Intelligence and moved
through several theatres and campaigns, being promoted several times
before finally being seconded to the Central Registry of War
Criminals and Security Suspects, which saw him tasked with tracking
down and interrogating Nazi war criminals. Lee retired from the RAF
in 1946 and after a brief stint ac a clerk once again, joined the
Rank Organisation to begin his acting career.
Though the
majority of his film appearances were in dramas, his legacy will be
forever tied to the studio that launched his international career,
Hammer. It was with Hammer Films that Lee, after 10 years of bit
parts, received his first big break playing the creature opposite
Peter Cushing in 'The Curse Of Frankenstein' (1957). It was the
intimidating presence of Lee and a thoughtful, yet terrifying
performance that led him to his most iconic role the following year
in 'Dracula' as the titular Count, a role that he would reprise
several times before finally walking away from it in the 1970s.
Lee's Hammer years saw the actor take on a number of classic
roles including Grigori Rasputin in 'Rasputin, The Mad Monk' (1966),
Kharis in 'The Mummy' (1959), Sir Henry Baskerville in 'The Hound Of
The Baskervilles' (1959), Nicholas, Duc De Richleau in 'The Devil
Rides Out' (1968), and Father Michael Rayner in 'To the Devil A
Daughter' (1976).
Outside of Hammer, Lee appeared in many
more horror films for companies such as Amicus and cemented his place
among the great horror icons of the 20th century. Starring
roles alongside luminaries Vincent Price, Boris Karloff, and Peter
Cushing made Lee a household name and the go-to guy for sinister and
villainous characters. 'The Oblong Box' (1969), 'The Wicker Man'
(1973), 'I, Monster' (1971) the 'Fu Manchu' film series, 'Horror
Express', and continental horrors such as 'The Blood Demon' (1967) as
well as reprising his role as Dracula in the German/Italian/Spanish
produced 'Count Dracula' (1969).
In the 1970's Lee began to
take on more drama and action roles appearing Comete de Rochfort in
the Musketeer film trilogy, and as arch assassin Francisco Sacramanga
in the James Bond film 'The Man With The Golden Gun' (1974) –
though he'd initially been asked by Ian Flemming to play the
Character of 'Dr. No' in the spy's first outing, but was beaten to it
by Joseph Wiseman. But Lee wasn't a stranger to comedy either as
roles in '1941' (1979), 'The Return Of Captain Invincible' (1982),
'Gremlins 2: the New Batch' (1990), and 'Police Academy: Mission To
Moscow' (1994) can attest.
Lee would later continue his
career, long past the point where many of his fellow actors have
chosen to retire, with recurring roles in major film franchises 'The
Lord Of The Rings', 'Star Wars', and 'The Hobbit', as well as
appearing in a variety of capacities in the Films of Tim Burton. This
served to not only see him break various records as an actor, but
more importantly he was introduced to a whole new generation of
cinema-goers.
Alongside his acting, Lee was an avid golfer, a
proficient swordsman, spoke several languages fluently, as well as a
couple conversationally, and embarked on a musical career releasing
several albums that showcased his distinctive operatic style. He
found an unlikely kinship with Heavy Metal releasing the concept
albums 'Charlemagne: By the Sword and the Cross' (2010) and
'Charlemagne: The Omens of Death' (2013), as well as appearing on
albums by Manowar, and Rhapsody Of Fire. Between 2012 and 2014 he
also released three EPs of Heavy Metal christmas music. This earned
him the place of the oldest Heavy Metal performer in the world to
make it onto the Billboard 100 chart at the age of 91, and saw him
receive the 'Spirit Of Hammer' award at the Metal Hammer Magazine
Golden Gods Awards in 2010.
Sir Christopher Lee died on
Sunday 7th June 2015 after a bout of respiratory problems
that saw the veteran actor hospitalised shortly after his 93rd
birthday. His death was announced on 11th June. He is
survived by his wife of over 50 years Birgit, and his daughter
Christina. Christopher Lee left a legacy as an actor that will never
be surpassed and a presence that will never be forgotten.
Deadspace was founded by
Australian Chris Gebauer (Earth Rot/Sensory Amusia) as a solo
vehicle, but after one split release has quickly blossomed into a
full band. The result of this is the bleak but rather beguiling début
album 'The Promise Of Oblivion' which blends, depressive black metal
with death rock, gothic, ambient and noise elements to create a
tapestry of disturbing yet strangely accessible songs.
The
35-minutes of the album is divided up between eight tracks that keep
their feet firmly in the depressive black metal genre, but are still
full of experimental genre blending to separate them from the crowd.
Tracks such as 'The Promise Of Oblivion', 'I'll Buy The Rope', 'The
Clouds Won't Shade The Pain', and 'Pain's Grey' do this with ease as
the ambient elements and more gothic melodies are preserved and
despite the dissonance at work, they still manage to keep a level of
accessibility that is quite refreshing. But it is the subtle
instrumental 'Oblivion' and the near eight-minute long closing track
'In The Coldness Of Darkest Night' that the band really come into
their own.
This is a raw and gritty album. But it isn't
un-listenable The emphasis on emotion, ambience and gothic melodies
come across in the production nicely to counterpoint the bleak black
metal streak that is ever present. Add the emotional strain on the
vocals and it is a hard to take but nonetheless effective formula.
This is a promising début from the Australians. It balances
light and dark, heavy and melodic with ease. It threatens to spiral
into utter insanity before steadying itself once again. But most of
all it is a strangely addictive listen that compels you to stick with
it until the end. It may be dark and dissonant, but if you're willing
to go there, it may surprise you.
The Necrofuturist P.
Emerson Williams returns with his critically acclaimed Veil Of Thorns
project – a multimedia assault of art and music that has been
pushing boundaries for over 20 years now. His latest release under
the moniker sees Williams joined by ex-Swans member and avant garde
music queen Jarboe for 'Sun Falling'. After a successful world tour
together in 2013 it seemed inevitable that the pair would at some
point have to join forces and the result was worth waiting for.
The
album may only feature three songs, but with the shortest cut
weighing in at twelve minutes in length its obvious this is going to
be more of an exercise in substantial musical exploration.
The
title track opens the proceedings with a surge of droning guitars and
rolling industrial meets tribal rhythms through which the distinctive
feminine counterpoint of Jarboe's vocals cut with grace and ease. The
song blends a firm rhythmically pleasing grounding with a
minimalistic avant garde execution that uses the repetitive nature of
the backing music to from the evolving vocal line to create a feel of
a ceremonial incantation being performed.
'Atmospheric
Conditions' delves into a psychedelic dream scape that makes use of
more definable instrumentation, if still undefinable in it's use.
There is a wonderful 60s jam feel to this track and once again there
is a very tribal nature to the percussion although with the addition
of a classic trip-hop beat evoking the likes of Enigma and early Juno
Reactor. Meanwhile Jarobe channels the spirit of Grace Slick becoming
the psychedelic priestess, guiding the listener through track and
eventually back to reality.
'Dust Storm' rounds the album off
with a big dose of ambient industrial. The bleak soundscape drones
and swirls with dark synth noises and metallic sounds to create a
huge but altogether crushing atmosphere akin to being dragged through
one of H.R. Giger's biomechanical nightmares. Everything, including
the vocals sound alien and foreboding as the track circles ever
downwards towards its event horizon and slowly silence envelopes.
If you thought previous Veil Of Thorns releases were diverse,
then prepare to re-evaluate your position. There may only be three
tracks here, but each one is a colossal statement of intent by two of
the most accomplished experimental musicians at work today. Long time
fans of both artists, as well as those with a sense of curiosity,
should be more than happy with this monolithic recording.
Blending the traditional folk local
instruments with a low-fi black metal malevolence, Twilight Fauna
continues to innovate and perplex with every release. The follow-up
to last years 'Hymns Of A Forgotten Homeland', multi instrumentalist
Ravenwood returns with 'Shadows Of Ancestors' to continue to explore
his Appalachian home. Ambient, cinematic, hypnotic and still
wonderfully savage. 'Shadows Of Ancestors' is an introspective and
genuinely moving album that transcends it's black metal roots and
builds on the foundations of its predecessor.
Songs such as
'Helical Rising', 'Boring The Augur', 'Meadows Afire' and, 'Cave of
Kelpius (Women Of The Wild)' walk a fine line between ambient
apocalyptic folk and depressive black metal malice with ease. The
traditional folk elements give the tracks a warm underbelly while the
hissed vocals and static-spewing guitars wrench them into the modern
world kicking and screaming.
While the likes of 'Purging Of
Spring' invert the formula somewhat bringing the folk guitar right to
the fore. And the final track 'Coffin Nails And Apple Trees' crafts
and epic slice of ambient metal meets black metal across it's ten
minute length to perfectly distil these elements into a fitting album
closer.
With it's roots in low-fi black metal this obviously
hasn't got the slickest production job, but what has been done is
nonetheless effective. Atmosphere is king despite whether the folk or
metal instruments take the lead and even though it is rough and ready
it is still a very evocative album.
Twilight Fauna will
undoubtedly continue to split opinions with its experimental nature
and low-fi style, which is a shame as a more succinct and polished
production would still keep the core atmosphere alive but make the
end result more accessible. But that's not the point. The point is
that Twilight Fauna continues to improve as a project and is crafting
some very interesting music that is begging to be explored.
Belgian quartet Deuil may only have four songs across two
releases to their name, but what they choose to unleash says more
than enough about their intentions. Blending the bleak atmospherics
of black metal and the heaviness of sludgy doom, as a bass, the band
embark on long crushing explorations of heavy but always ambient
orientated metal. Bringing in elements of shoegaze, dark electronics,
and drone in order to weave winding monolithic music.
Beginning
with ambient samples over a slow hissing funeral doom riff weeping
distortion, the band erupt into a thunderous barrage of blackened
doom that bludgeons the speakers as it escapes them. The band bring
things back into faster black metal territory briefly before
resorting back to drowning in slow sludgy riffs before slipping back
into ambient waters to round the song off.
'Deny' follows
with a long Electric Wizard-like intro of feeding-back guitars and
bass before unleashing a mournful opening riff. The song unfurls at a
methodical pace until the halfway point where the blast beats are
unleashed and it's ferocity is kicked up a notch before ebbing back
into the dark.
This may technically be a double a-side single
on paper but in two fifteen minute tracks Deuil have still clocked up
an impressive half hour of dark and disturbing music that should more
than satisfy any listener.
The production walks a fine line
with it's emphasis on classic black metal elements such as the
jangling guitars sound and rasping vocals while the bassier elements
take their cues from analogue-rich doom acts such as Electric Wizard
and Sleep. But it works. The end result covers all the basses and
every frequency hits your ear with force.
This is an
impressive second release from Deuil. One that shows an
uncompromising and fiercely unique streak that is greatly needed
these days. Hopefully they will keep their releases frequent and long
to give us something to get our teeth into.
If your only exposure to electro-swing
was the UK's lacklustre entry for this year's Eurovision Song
Contest, then you'd be forgiven for outright. But before you do allow
me to educate you a little. The genre of electro-swing is a diverse
and interesting beast that incorporates classic jazz samples and
swing beats and mixes with elements of hip hop, edm, house, punk,
techno, and even a bit of industrial that has been setting
underground dance floors on fire for a number of years.
One
artist that has been making a name for himself with his particular
take on the genre is Chicago USA based DJ Joseph C.R. Vourteque whose
first single 'Whiskey Drinker' was a searing blend of blues, jazz and
gritty industrial that saw instant acclaim. His subsequent EP 'The
Swing Mechanical EP' further cemented his credentials continuing the
industrial-tinged formula.
Fast-forward to 2015 and we see
the first full-length release from Vourteque in the form of 'The Iron
And Jazz Age', which sees the DJ and producer embark on a much more
ambitious and diverse collection of retro dance anthems.
The
album blends big band, jazz, gospel and blues, with techno, edm, and
industrial liberally spreading samples liberally throughout and
throwing in a touch of fire and brimstone to counteract the up-beat
music to add an apocalyptic prohibition atmosphere to the
proceedings.
Tracks such as 'Hot Sinner', 'Saturday Night
Service', 'Firelighter' which features chap-hop/steampunk rapper
Professor Elemental, 'Dust Rhythms', 'No Teeth' and 'Go Along Now'
epitomise the best of this approach with their strong hooks,
memorable leads, and easy to dance to beats that will blend in with
industrial, steampunk and even more mainstream modern speakeasies
clubs. But the biggest selling point of the album has to be the
brilliant re-imagining of David Bowie's 'Magic Dance' as a chirpy
1940s Hollywood musical number.
The production is strong with
the whole album having a great sound that is fresh and modern despite
the use of vintage flavourings. It's a solid dance record that has
all the pit and polish it needs to make it a contender with any
modern dance album regardless of its genre.
If you're feeling
adventurous and esoteric, Vourteque's 'The Iron And Jazz Ages' is a
very rewarding listen. It blends darker genres into it's dance
friendly mix making it an easy go to for ebm and industrial fans
dabbling in electro-swing. Hopefully, Vourteque will be quick to
capitalise on this album and continue to raise his profile
internationally.
Ben
Watkins, AKA Juno Reactor has enjoyed an enviable career releasing a
slew of genre bending dance albums that have gone one to fill dance
floors and inspire artists all over the world to secure his legacy
and an innovative electronic artist. It has been two years since the
release of 'The Golden Sun Of The Great East' – the first studio
album since the acclaimed 'Gods & Monsters' – and 2015 finally sees Watkins
return with the remix companion to the 2013 full-length, and it is
safe to say we're overdue another visit to the reactor.
OK, so it
is only a remix album, but even Juno Reactor remix releases have a
strong fanbase and often show of a range of approaches to the source
material that is just as varied and interesting as Watkins'
originals. And 'The Golden Sun... Remixed' is no exception... it's perhaps the strongest one yet.
The
original album was a solid and methodical exploration of world music
and body moving electronics that worked as a whole, but sadly lacked
that one lead track that reached the heights of 'Navaras', 'Mona Lisa
Overdrive, or 'Conga Fury'. But the remixes displayed on 'The Golden
Sun... Remixed' more than just extends the club potential of the
original songs. It completely revitalises them.
Tracks such
as the GMS remix of 'Zombi', Bliss' version of 'Guillotine', the
Zeologic reworking of 'Tempest', Modus' remix of 'Shine', and 'Tanta
Pena' as re-imagined by Mickey Noise all illustrate the power and
integrity of Watkin's songwriting with each track still sounding
overwhelmingly like Juno Reactor rather than becoming vehicles purely
of the remixing artists. The album still feels like a proper Juno
Reactor album rather than a quickly put together extra to set up an
excuse to tour.
'The Golden Sun... Remixed' is a strong album
in its own right that returns to and preserves the psychedelic,
ethnically infused trance formula that fans crave, and throws in just
enough interesting additives to keep it fresh. This is an extension
of the original that sees the artists complete Watkins' vision rather
than totally reinterpret it. For long-term fans of Juno Reactor, this
is exactly what you have been waiting for.
It's June, we're halfway through the year and it's time
to reveal the artwork for the next Compilation due to be released on
01/01/2016 to celebrate our third birthday as a webzine!
As
you can see it follows the new look of the website with a similar, albeit more bloody, grungy background and a festive looking seal of baphomet within.
The response to the first two compilations has been
overwhelmingly positive and I'm grateful to everyone who has
downloaded them so far. If you're new to this site and haven't
downloaded them yet, please click the album cover in the sidebar and
download yourself a free copy of both of them from our bandcamp page.
These releases presented us with a steep learning curve. But in both
instances we got it together in good time and I'm proud of the final
products and how they flow as an album.
Once again we'll aim
for a shorter and more concise album that will probably be about
sixteen tracks in length maximum rather than trying for a double
album as we did with the first compilation. I'm thinking about going
for a theme with this one given the devilish style of the artwork,
but I sometimes find those a bit cheesy... but if one were to
naturally evolve as the submissions come in then that would be fine.
With this in mind I'll be personally sending out invitations
to some bands and artist later this month before I open it up to
other submissions if there are slots left. That being said, feel free
to leave a comment on our Facebook page if you're interested in
contributing anything.
As with the first two compilations
we'll be looking for exclusive new songs, demos and remixes from new
and exciting acts from around the globe. And again we'll be including
a PDF booklet with the album that will feature biographical
information and hyperlinks for every band and label featured.
Like
I said last month, these compilations are a big job, and I put them
together on my own. B it is done out of a belief in this website and
over the past few years I've been humbled by the bands, artists,
labels, promoters and most importantly the readers who believe in it
and keep coming back to it.
I hope you'll all continue to
download, share and recommend the 'Blood Pack' compilations and most
of all support the artists, bands, and labels that submit new and
exciting music to them.
Anyway, that's where we are with it
this month. I'll be sending out requests to bands myself. But if
you'd like to be considered, please feel free to message us.
And
finally, make sure you have these links in your favourites:
London's Biomechanimal may have only had a solitary
EP and remix companion to their name so far, but this hasn't stopped
them from making a name for themselves on the UK industrial scene.
The duo have scored support slots with a number of big name acts and
have been remixing just as many. So it isn't a surprise that they
have opted to dive headlong into a full-length studio release rather
than continue to test the waters with another EP release.
Their
self-titled début is a heady mix of industrial, edm and neoclassical
embellishments that come together to form a catchy and complex dance
floor assault. They mix a classic industrial flavour with modern
ingredients such as dubstep bass, hard trance leads and a myriad of
subtle hooks to push the club-orientated agenda of the album
hard.
Songs such as 'Ov Glory', 'Wasteland', 'Desekreator'
(featuring Ruinizer), 'Commonwealth' (featuring Cryogenic Echelon and
Studio-X), 'Monster', and 'Catching Sparks' (featuring Lauri Black)
drive the album forward with a unique style that doesn't pander to
genre conventions. They are making strong dance music that is complex
and ambitious in its scope.
There are one or two places where
it doesn't quite work though, such as on 'Broken Wings' which as on
the previous EP falls flat compared to the rest of the tracks on
offer. And in the occasionally unnecessarily long intro. But the last
one is a matter of personal preference.
In terms of
production, there has simply been a big improvement since 'Renegade
2.0' which really changes the landscape of their sound. The final
touches have given the songs that push to match the band's ambitions.
Biomechanimal's self-titled début is a strong offering full
of intelligent design and mass dance appeal. It's unashamedly club
fodder, but at the same time doesn't take its cues from anything else
that's going on right now. This will definitely mark them out as one
to watch.
If
it hadn't been for the last minute replacement of American Head
Charge with London's The Defiled, you'd be forgiven for thinking it
was 2001 all over again. Thankfully though it isn't, and despite the
periodic desperate gasps of Fred Durst's Limp Bizkit it's the
underrated stars of the “nu-metal” movement are coming back and
hitting harder than in their heyday. Tonight is primarily about Coal
Chamber and their mighty new album 'Rivals', but it's also special
for the fact that the reformed and revitalised Dope are making their
first UK tour in their history.
The 5pm doors opening is a
little unusual, especially as it isn't until 6:15pm that Dope finally
take to the stage. But soon the wait is a distant memory as the band
launch into a fast and frantic set. The music was tight and the
adrenalin was high as they reeled out classics such as 'Violence',
'Fuck Tomorrow', 'Die Motherfucker Die', and 'Addiction'.
Interestingly though there was no sign of their most recent release
'Everything Sucks' and the dropping of their cover of Dead Or Alive's
'You spin Me Right Round (Like A Record)' in favour of Billy Idol's
'Rebel Yell'. But nonetheless the crowd were into it and the band
could hold their head high.
Next up were The Defiled. The
electronic tinged metal of the London quartet seem like a good match
on paper. But despite the few hardcore fans that had pushed their way
to the front, and the crazy shenanigans of keyboard player The AvD;
their efforts fall flat before the majority of the crowd. Perhaps it
was the aftermath of Dope's heartfelt madness still buzzing in the
minds of those who had waited over a decade to see them. Or perhaps
it was their lack of stage presence. But either way it wasn't really
the band's night and they come of a superfluous to the rest of the
line-up.
Soil were next to hit the stage to a sense of
anticipation. It's a strange choice of support as the Illinois
natives are no strangers to headline performances in the UK. The
post-grunge meets nu-metal purveyors of the overplayed 'Halo' whipped
the crowd into a frenzy despite not really doing anything at all. The
return of original vocalist Ryan McCombs following a stroke late last
year obviously made it a special tour for the band and their hardcore
fans. But objectively it was a lacklustre outing that would have only
satisfied long-time fans. They reeled out the fan favourites such as
'Pride', 'Breaking Me Down', 'Unreal', 'The Hate Song', and of course
the inevitable rendition of 'Halo' that saw McCombs wander through
the crowd, with the set rounded off with a cover of Ram Jam's 'Black
Betty'. The fans were evidently loving it, but it was hard to see
why.
Finally after a decade away it was time for Coal Chamber
to return. Dez Fafara, hardened by years on the road with Devildriver
slips comfortably back into his role as frontman for the nu-metal
pioneering band, and brings the fury. The band open the set
unexpectedly with arguably their best known cuts 'Loco' and 'Big
Truck'. It's a ballsy move that leaves you wondering where they can
go from there as the crowd collectively loose their shit from the
off. The band answer the speculation with a heavy and aggressive set
that sees classics like 'Fiend', 'Dark Days', 'I', 'Clock', and 'Not
Living' with new cuts 'I.O.U. Nothing' and 'Rivals. They don't bother
with leaving the stage for a rest before the encore and play straight
through to get as much in as possible... it has after all been a
while... before closing out the night in style with 'Oddity' and
'Sway'.
Coal chamber have matured, and are just as tight and
crazy as ever. Even those in the crowd who had primarily come for
other bands on the bill found it hard to resist the mayhem as pits
opened for every song and crowd surfers poured over the barrier. For
long time fans it ticks all the boxes and for new fans it was a
perfect introduction as to why they had such a cult following in the
90s and early 00s. Let's hope they stick around long enough to come
back.
"There is a lot of talk about 'the scene is dying' or 'musicians are losing out' with regards to file sharing, streaming services etc. I am much more excited about these times than 20 years ago. Back then I would never have had the opportunity as an independent artist to reach fans all over the world as I can now."
Name of Band: nTTx
Year Formed: 2015
Location: Toronto, Canada
nTTx is the new solo project of
Gord Clement who was the former singer/songwriter for the band
Atomzero (AnalogueTrash Records). His new sound is described as 'EBM
with synthpop and disco influences'. The songs feature a strong vocal
delivery of intelligent lyrics.
A single 'Falls
Beautiful' with a b-side (Depeche Mode cover) was released in May
2015.
It is available as a
FREE download via nttx.bandcamp.com. It is also available on iTunes,
Amazon, Spotify, and most other streaming services.
This song is from his
upcoming début EP to be released in the fall of 2015.
Live shows with custom
programmed lighting will begin with the EP release.
Intravenous Magazine: Who are you and how did
the band/project come to be formed?
nTTx is just myself,
Gord Clement (occasionally my cat helps). Up until a few months ago I
was the lead singer and song writing partner in the band Atomzero. My
original intention with nTTx was to be a side project and do some fun
cover songs and a few originals as an outlet for my own creativity
aside from my main focus which was Atomzero. However, my partner and
I had some unresolvable issues so I made the difficult decision to
leave. nTTx then became my full time project.
IVM: How would you describe your
sound/style, and how did you arrive at it?
This project is going to be more of an EBM theme
with a little bit of synthpop and even disco elements! I don't like
to pigeon-hole myself into one sound, so some songs may be more
synthpop whereas others may be more aggressive EBM type stuff.
My vocals will also vary, as I like to do both soft/emotional runs
along with some harder stuff. I really enjoy listening to albums that
vary in style. I don't like when every song sounds the same. I'm also
making a return to a more basic form of writing and production as I
did back in the '80 when I wrote electronic music in my bedroom
(because there were limits with gear back then). Recently, technology
has allowed us to compose with unlimited tracks and effects, I've
made the decision to keep nTTx as simple as possible, returning to
the way I did things years ago. It's a more stripped back way of
writing than what I've been doing in the last several years.
IVM: Who and what are your primary
influences both musical and non-musical?
The first time I heard Kraftwerk (a glow in the
dark 12" of The Model, Trans Europe Express and Neonlights) I
knew that this was my calling. My friends in the auto-industry blue
collar town I was raised in would make fun of me for always talking
about "synthesizers" when they talked about Camaros and
dirtbikes and beer. I eventually was pulled into the punk scene as a
drummer, but always retained my true robotic soul underneath it all.
When I heard Der Mussolini and Alle Gegen Alle by DAF, I knew the
future path I needed to take. Song writing inspiration strikes in so
many different ways. Sometimes it's an update to any one of the many
bits of software I use, learning a new feature... sometimes it's a
bit of random chaos as I happen upon by absolute user error.
Generally I let all things flow through and onto a recording and then
later figure out how they need to sit together. Almost like
channelling an unknown force that writes through me.
IVM: Do you perform live and if so
where can we see you perform in the near future?
Performing live is what I look forward to the
most. It's a major reason why I do this. I come from a family of
performers and it's in my DNA (I have photos as a toddler performing
in front of my family). I have my line-up set: keyboards will be
Lance (The Grey Disorder) and Mike (previous live drummer for
Atomzero). We are starting rehearsals soon and will start playing
when the EP comes out this fall. I always put everything into my live
shows and strive to give a stadium worthy show even if it's in a
small club. I have my own lighting rigs which I've programmed to flow
with the music.
IVM: What is your current release and
where is it available from?
The first single 'Falls
Beautiful' from my début EP is out now and available as a free
download from nttx.bandcamp.com. It also includes a b-side cover of
'New Dress' by Depeche Mode. I've modernized the lyrics to reflect
the current times. It's also available on iTunes, Amazon, Spotify and
all the usual streaming services.
IVM: What have been the highlights of
your career so far?
The highlights of my career so far
have been playing Edgefest in Toronto (large outdoor music festival)
with my previous band 'Riddle Me This'. It was a more alternative
rock outfit in the mid '90s. Also, last year after releasing our
debut album 'Symbiosis', Atomzero was signed within 3 months to
Analogue Trash records out of the UK. We put a lot of work into that
album and spent a lot of time doing promotion for it. It was nice to
get the recognition for our work.
IVM: What are your plans for the
future?
I'm presently finishing up the final tweaks and
mixes for the upcoming debut EP which should be out this fall. I'm
also doing some remix work for other artists which should be out soon
as well.
IVM: Finally, is there anything that
you would like to add?
There is a lot of talk about 'the
scene is dying' or 'musicians are losing out' with regards to file
sharing, streaming services etc. I am much more excited about these
times than 20 years ago. Back then I would never have had the
opportunity as an independent artist to reach fans all over the world
as I can now. It's been very rewarding to get the feedback that
someone in a far off place is enjoying my music. Unless you were a
big name band back then, that wouldn't have happened. This is a great
era we are in now, being able to reach a global audience on our own.
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