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Blood Pack Vol. 6.66 released!
It's that time of the year once again! A new year and a new compilation album celebrating our 6th birthday as a webzine.
Review: Various Artists – 'We're In This Together: A Tribute To Nine Inch Nails'
VARIOUS ARTISTS 'We're In This Together: A Tribute To Nine Inch Nails' TRIBULATIONS
Review: Various Artists – 'We Reject: A Tribute To Bile'
VARIOUS ARTISTS 'We Reject: A Tribute To Bile' TRIBULATIONS
Sunday, 30 December 2018
Blood Pack Vol. 6.66 released!
Tuesday, 11 December 2018
FOR WHOM 'THE BELLS' TOLL
The strange thing about the history of
the gothic movement in Britain is that this generally neglected and
often forgotten cultural current has roots which go back centuries,
crossing paths with other movements and art forms, many of which are
long lost, misrepresented, or misunderstood. The role of gothic
theatre in the formation of modern goth culture is one such example.
The second wave of British gothic
culture effectively began with the first production of 'The Bells',
at the Lyceum in London, in 1871. This single production was a key
event in both the renaissance and eventual respectability of British
theatre, but also indirectly laid the basis of twentieth century
gothic. The fact that it is generally ignored these days, then, is a
curious and unfortunate development.
'The Bells', a translation by Leopold
Lewis of the 1867 play 'Le Juif Polonais (The Polish Jew)' by
Erckmann-Chatrian, was first performed by Henry Irving in that
production. Irving had taken over management of a failing Lyceum
earlier that year. Irving, a renowned 'actor-manager' who took keen
(some may say overbearing) interest in the running of the theatre and
set the artistic direction of the productions, each of which would
invariably star himself, was a huge star in the theatrical world at
the time – but even he had his work cut out in turning around the
fortunes of the Lyceum. There were many empty stalls when 'The Bells'
made its debut. So the huge success of the production was, then,
extremely timely.
The play itself deals with a fairly
simple gothic trope: a wannabe Silesian Burgermeister who owns a
tavern who kills a passing Jewish trader for his money, only to tormented
by his guilt in the form of the sleigh bells of his victim. The
ingredients of the play – cursed ambition, petit-bourgeois avarice,
guilt, madness, and not a little anti-Semitism – were standard
fare. But what was more unusual was the powerhouse, barnstormingly
visceral performance that Irving's production gave. The histrionic,
hammy performance by the Old Man was so electrifyingly emotive that
it provided all the thrills and chills that a Victorian theatrical
audience were craving; the third act of the production was
essentially a showcase for Irving's singularly egomaniacial vision.
It was, as Garth Marenghi would say, “raw, balls-to-the-wall
horror”, and it was a smash hit. It ran for a spectacular 150
nights.
This production had a number of
repercussions. It had the result of making Irving's career, and
taking British theatre a massive step forward towards respectability;
Irving would later become the first actor to be Knighted. It also
rekindled the Victorian appetite for the macabre, and with it the
next generation of gothic.
But probably most importantly it
provided the basis for the figure that would dominate that next
gothic wave. Irving's theatrical manager was one Bram Stoker, who
would become so enamoured with the visceral performances Irving gave
that he intended his new character – one Count Dracula - to be
performed by him. Indeed, the first ever stage performance of
'Dracula' was a dramatised reading on stage at the Lyceum – and the
description of the Count in Stoker's original novel, with his grey
hair and 'aqualine nose', bears an obvious to the Old Man himself.
Where is that legacy now? Well, in one
of those curiously self-defeating things that characterise the goth
movement the Lyceum, after being derelict and then a bingo hall, is
now showcasing 'the Lion King' on a daily basis whilst we were busy
trying to get 200 bands in a small field in the midlands. Irving died
at the Midland Hotel in Bradford, just a few miles from Goth City,
although this fact in itself has also been largely ignored. 'The
Bells' today is just a footnote in the backstory of modern goth.
But that's not important to dwell on at
this time. What is important is to remember that ham pays, that
audacity pays off, and that things begin. All the time, they begin.
Merry Christmas, gothics!
Monday, 19 November 2018
ENOUGH TO WAKE THE LIVING
OK, stop that. Whatever you're doing.
Yes, that. Stop whatever it is your doing, and what's this.
In the balmy summer of 1954 the prime
time variety showcase of American comedian Red Skelton boasted three
special guest stars in a spooky, elongated skit. Lon Chaney Jr,
firmly established as one of the few bonafide US horror stars of the
post-war era and still a much-loved celebrity; Vampira, at that point
still the macabre host of a horror showcase TV show; and Bela Lugosi,
his career at an all-time low, struggling to resurrect his career. As
a slice of timeless gothica, it is irreplaceable, uncanny, and
perfect.
Beginning with a scene of Lugosi
watching the start of the show on a small television, it moves on to
the then-standard format of a corporate sponsor introducing the show
(in this case, Geritol). Announcing that Red Skelton will be starring
in 'Dial B For Brush', it sets off into an opening gag where Skelton
is offered a job as a door-to-door brush salesman on wages of $12 a
week, with $15 a week deductions (“Sure I'll take it, I need the
money!”) and sent on the worst sales job purely to get him out of
the picture.
Cut to a spooky castle laboratory, and
Lugosi in lab coat singing jollily as he sharpens his tools. Examining
the sleeping girl on the slab, he laments “They don't make gurls
like dis anymooor!”. The wolfman (his 'half brother/half wolf') is
Chaney, gurning comically through oversized teeth. Mistreated, he's
keen to make it up to Dr Lugosi - “Didn't I get your lunch from the
blood bank?”. Lugosi explains his plan to place a 'new, unused
brain' into the body of a robot, to unlock the secrets of the
universe.
Skelton arrives at the door, and is
promptly mailed by Chaney. “This is going to be an easy sale!”,
he yelps cheerily. As they are sizing him up the slab appears
again, the woman screaming unprompted. “Don't ad lib, kid –
you're among stars!” Determined to make the sale, Skelton exclaims
“I never say die!”, to which Lugosi and Chaney reply in unison
“...but we do!”. Drugged, Skelton falls unconscious, Lugosi
dances and sings “It's so peeeecceful in de graaaveyaaard!”, and
part one of the skit is over.
The second part begins with dancing
skeletons, which look quite impressive even today, before Skeleton
awakes in a graveyard with Lugosi and Chaney. “Where am I?
Pasadena?” Then, stage left, enters Lugosi's 'half-sister' Vampira
who instantly lets rip a characteristic shriek. Spotting some new
blood in the water in the form of Skelton, she invites him to call
her 'after he's dead'. Skelton is unconvinced by her advances - “This
is a physical impossibility” (we've all been there). Subsequently
hypnotised by Vampira, Skelton is taken to the lab in the graveyard.
After the transformation, Skelton
behaves less like a wise god but as a small child – cue much
corpsing (no pun intended!) amongst the cast. Lugosi implores him –
“Give me the information! I must have the information!”, and when
he can't hear Skelton's reply Lugosi looks confused, misses his line,
and everyone corpses again. Skelton chases them around the lab,
amidst many groans and wails, and Vampira emerges from a slab in the
wall to exclaim “Be quiet! You're making enough noise to wake the
living!” And then, stage right, enters Geritol-man again to bring
proceedings to a close.
It's frenetic 20 minutes of chaos,
chills, and sheer joy. Not only are the characters smiling as they
perform their macabre work, but the actors are too – it's a
wonderful slice of spooky from the golden age of American gothic, and
after watching it this terrifying world doesn't seem so bad.
So, yes. Stop whatever it is you're
doing, and watch this. After all, it's so peaceful in the graveyard...
Saturday, 10 November 2018
Front Line Assembly To Release New Single featuring Robert Görl of D.A.F.
The legendary Front Line Assembly returns with the release of their crushing new single "Eye On You," taken from the forthcoming album "Wake Up The Coma” coming in early 2019. Featuring Robert Görl of the pioneering German band D.A.F. along with smashing remixes from Terence Fixmer and Orphx. This single will be released by Metropolis on November 16th.
https://www.facebook.com/front
http://www.frontlineassembly.c
Saturday, 3 November 2018
COSEY FANNI TUTTI ANNOUNCES NEW SOLO ALBUM, ‘TUTTI’
COSEY FANNI TUTTI announces the release of her second solo album, TUTTI, out on Conspiracy International on 8 February 2019.
TUTTI is comprised of eight soundscapes: an audio self portrait comprising of manipulated sound recordings from Cosey’s life, music and art: “It’s the only album I’ve made that is an all encompassing statement expressing the totality of my being. A sense of the past in relation to the present and everything in between.”
These eight pieces were originally conceived as the soundtrack to the autobiographical film ‘Harmonic Coumaction’, and performed live in February 2017, part of a series of events that accompanied the COUM Transmissions retrospective which opened Hull UK City of Culture 2017. Later that year, ‘Harmonic Coumaction’ was presented as an audio-visual installation for Cosey Fanni Tutti’s solo exhibition at Cabinet Gallery, London.
Cosey Fanni Tutti explains: “Working on the COUM Transmissions exhibition also coincided with writing my autobiography - collating archive material and re engaging with my past. My work is a continuum, the past feeding the present and vice versa. The album is an interpretation of my past and present, of my understanding the shifting perceptions of how they inform one another. One form creating another through a metamorphic process.”
On TUTTI, the music has been updated and enhanced with elements of the original tracks re-recorded and further processed specifically to create a unique stand-alone document, separate to the live performance and installation.
Recorded at Cosey Fanni Tutti’s studio in Norfolk, the album, as on her debut release, Time To Tell, merges Cosey’s art activities with her exploration of sound: The album’s autobiographical theme is not locked into any specific time or place, the ‘voices’, instruments and sounds together span decades of my life, music and art. In this context my name 'TUTTI’ shifts from its role as a noun to perfectly represent the concept of the album, also acting as sign for me the artist.
TUTTI is Cosey Fanni Tutti’s only solo album release since 1982’s Time To Tell. Time To Tell was recently given its first release on vinyl, on a long awaited official deluxe edition. The interim years between solo releases has seen a blisteringly prolific output as an artist and musician. Renowned for her art, her work in the sex industry, as co-founder of Industrial music and Throbbing Gristle, and her pioneering electronic music solo and as Chris & Cosey, Carter Tutti and Carter Tutti Void, she has created throughout with the motto “my life is my art, my art is my life”.
Cosey’s autobiography ART SEX MUSIC was published to worldwide acclaim by Faber & Faber in 2017, a Japanese edition has just been published with further translations and an audio book to follow.
TUTTI TRACKLISTING
Tutti
Drone
Moe
Sophic Ripple
Split
Heliy
En
Orenda
SEER signs with Artoffact Records.
Formed in the Autumn of 2014, doom metal outfit Seer have curated an eclectic sound across three EPs and a full length record, punctuating traditional doom and glacial sludge with both clean and harsh vocals, folk passages and ambient meditations. The five-piece, Vancouver-based quintet comprises vocalist Bronson Lee Norton, guitarists Peter Sacco and Kyle Tavares, bassist Josh Campbell, and drummer Madison Norton. Seer cite bands like Black Sabbath, Candlemass, Blue Oyster Cult, and King Crimson as the pillars of their sound.
As with any strong music scene, the one Seer finds itself in draws its strength from the musicians who inhabit multiple projects, often diverse in genre and atmosphere. Seer members also play in Wormwitch, Empress, and many others, making for a brimming cauldron of creativity.
The current Seer sound incorporates black metal and NWOBHM influences, venturing into territory occupied by groups like Judas Priest, Queensryche, Taake, Bathory, The Ruins of Beverast, and Dissection. In 2018, the band recorded their latest, a record dubbed simply Vol. 6, and signed with Toronto-based Artoffact Records (Dead Quiet, Xandria, The Sorrow, Front Line Assembly). The album was produced by Jordan Koop (Wolf Parade, Lié, The Courtneys), with stunning cover art by Caué Piloto (Un, Jupiterian), and mastered by Joel Grind (Toxic Holocaust).
Kyle Tavares expands on the album’s themes: “Vol. 6 tells the story of a monk who belongs to a monastery built upon the tallest mountain on the planet. This monk has been chosen to make pilgrimage to the peak of the mountain where lies the power to return their world to a golden age long past. This pilgrimage is taken once each decade, and no monk has ever returned from his journey and completed the quest. The main theme is dogma and the consequences of accepting rigid principles one must not stray from.”
SEER:
ARTOFFACT:
Engram release debut album 'Das Kapital'
Martin with Attrition and John mostly under his own name. Together they have concocted an atypical mix of minimal wave, body music, soundtrack tonalities and lush melodies, bound with washes of dark electronics.
In 2018 a wheel turns full circle and a partnership forged 22 years ago is finally fulfilled.
Back in 1996 the original version of What Am I? was released in demo form on US label Silber Records compilation, Alleviation.
In 2013 the project was consolidated with a remodelled version of What Am I?
c/w the compelling atmospherics of Law of Betrayal and Hi Teikei No.
In 2015 the next single arrived and Karl Marx was given a new platform on the electro dancefloor.
'Leninism, Stalinism, Revolution...'
An 80's influenced political marriage of minimal synth wave and dark electronic rhythms & textures.
'Invasion, Infiltration, Intimidation...'
"A crisply chilling political observation..." Hot Music Live
Produced by Martin Bowes & John Costello
Mixed and Mastered by Martin Bowes at The Cage Studios, Coventry, England. 2013 – 2018
Cover image by Rainer Ganahl
ENGRAM Photos by Antony Weir.
A limited edition, signed numbered digipack...
https://engrammusik.bandcamp.
Wednesday, 31 October 2018
SHADES OF HELL
When does horror become horrific? This
a question that has been on my mind recently. When do the conceptual,
primal horrors of the word and the film become the kind of horror that
actually keeps us awake at night?
The culture of terror has always been
concerned with the demons of our subconscious, or their
manifestations in modern society. So when we talk about monsters, we
are actually talking about science, and passions, and fear, rather
than actual beasts. A dragon itself isn't as terrifying as the
emotions and projections behind it. The witch, the wizard, the ogre,
the ghost, the dungeon; these are all expressions of other ideas. By
expressing them we exorcise our own negativities, either by catharsis
or by turning them into thrills, chills, or laughter.
The horror is the horror; but it is not
horrific. The horrific relates to the real pain of real people the
actual movements of power and experience that render us powerless. We
can all probably recount many examples of the horrific from our own
lives, where the reality of pain and suffering makes the memory hard
to withstand. These horrors are not entertainment; they are
sobering, disorientating, and without comfort.
Furthermore, there is an increasing
amount of the horrific in the world today. From the separation of
families, the uncovering of abuse on a massive scale, the rise of
extremist street violence, and the election of authoritarian
misrulers the world over, we are seeing an invasion of the horrific
into the world on a massive scale. Fear of disorder, oppression,
violence are filtering through into the collective subconscious of
society. What can Pennywise or Jason Vorhees do that Donald Trump and
Jair Bolsonaro would not?
It is no wonder, then, that Halloween,
that evening of escapism and the macabre, has turned into a
month-long festival of spooky: as the horrific grows, horror becomes
all the more important. As the real world becomes more and more
horrific, the exorcism of our personal demons becomes the preferable
alternative to misery. And often, a pretend hell is preferable to a
hell on earth.
So, get carving those pumpkins;
practice your hexes; and sharpen your scythes. We may be needing the
cast our own spells soon enough. And, Happy Halloween!
Monday, 29 October 2018
CALL THE SHIP TO PORT: THE AMPHI FESTIVAL OPENING EVENT 2019
The seventh edition of our famous opening event "CALL THE SHIP TO PORT" sets off on 19. July 2019. Aboard Europe's biggest domestic eventship, the MS RheinEnergie, we invite you again to start the Amphi-weekend with an enchanting evening cruise along the Rhine.
No matter if you choose to enjoy the relaxed atmosphere at the promenade deck with cocktails, snacks and various other refreshments or to rock out to the concerts at the fully air-conditioned main hall, CALL THE SHIP TO PORT remains the ultimate overture to the Amphi Festival weekend.
Speaking of the bands, we once again focused strongly on presenting you a well-paired selection, to make you bust a move instantly! As headliners expect nobody less than the British synthpop-veterans MESH. Also look forward to masterclass electropop with SOLAR FAKE as well as the ever impressive DIORAMA, whose songs unleash an electrifying energy on stage.
Strictly limited to only 1333 pieces, the highly coveted CALL THE SHIP TO PORT 2019 tickets are now exclusively selling at the Amphi Shop at www.amphi-shop.de. As always the CALL THE SHIP-TICKETS are delivered together with an Amphi Festival 2019 weekend-ticket!
In case you already bought an Amphi Festival 2019 weekend-ticket earlier, we then give you the alternative to buy the CALL THE SHIP-UPGRADE. The upgrade provides only admission to CALL THE SHIP TO PORT and not the Amphi Fest itself. A small hint: the shop also allows to combine the CALL THE SHIP-UPGRADES with Amphi/E-Tropolis 2019 combi-tickets!
In any case we recommend to get your tickets soon. Last time CALL THE SHIP TO PORT was booked out after just a few weeks.
In case you already bought an Amphi Festival 2019 weekend-ticket earlier, we then give you the alternative to buy the CALL THE SHIP-UPGRADE. The upgrade provides only admission to CALL THE SHIP TO PORT and not the Amphi Fest itself. A small hint: the shop also allows to combine the CALL THE SHIP-UPGRADES with Amphi/E-Tropolis 2019 combi-tickets!
In any case we recommend to get your tickets soon. Last time CALL THE SHIP TO PORT was booked out after just a few weeks.
For more info on CALL THE SHIP TO PORT please head over to www.amphi-festival.de/
CALL THE SHIP TO PORT 2019
19.07.2019 - MS RheinEnergie | Cologne
(The Amphi Festival Opening Event)
Line-Up: MESH + SOLAR FAKE + DIORAMA
Boarding: 7:00 pm | Departure: 8:00 pm
SUE HUTTON (EX-RHEA'S OBSESSION) TO RELEASE DEBUT ALBUM WITH INDARRA
Indarra is the brand new project from the sensual and gifted Canadian vocalist Sue Hutton (Rhea's Obsession) that includes a mandala of players: Producer/instrumentalists Kevin Laliberté, Chris Gartner, percussionist Deb Sinha, tabla by Ed Hanley, Heiki & Scott M2 on synths and backing vocals on "Turn The Light Within" by Athan Maroulis (NØIR). Indarra brings together touches of the haunting mystical qualities of Rhea's Obsession along with activism, social issues, and empowerment into a timeless sonic tapestry. Indarra will release their exotic debut album entitled 'Walk On Fire' on Metropolis on November 9, 2018. Indarra will also make their live debut on Saturday, October 27th 2018 at Cattivo in Pittsburgh, PA.
https://metropolis-records.com
Metropolis Releases Cabaret Voltaire Tribute Compilation
Occupying the middle ground between punk and industrial, there was a British music group from Sheffield, England called Cabaret Voltaire. While their earliest performances were Dada-influenced performance art, Cabaret Voltaire went on to blend pop with dance music, techno, dub house and experimental electronic music, evolving into one of the most prolific and important groups of their time. While their tenure was short, their impact was no less profound and influential to the bands they would help to shape in the future.
It is with this in mind that, "WHY KILL TIME (WHEN YOU CAN COVER CABARET VOLTAIRE)", was conceived. Bringing together bands such as: AkA, Bestial Mouths, Bioassay, Black Agent, Canter, Elegant Machinery, God Module, Having Issues, Kriistal Ann, Maleagant, Manufactura, Microchip Junky, Mirland/Larsen, Missing Witness, NØIR, PulseWidthMod & Databomb, Snowbeasts and SØLVE. Eighteen bands with different approaches to music, joined by the common thread of paying a respectful homage to one of the progenitors that they all owe a small piece of their sound to. "WHY KILL TIME (WHEN YOU CAN COVER CABARET VOLTAIRE)" is available digitally through Metropolis.
Saturday, 13 October 2018
MUTE 4.0 (1978 > TOMORROW) NEW ANTI-VERSARY EVENTS AND RELEASES
MUTE have announced updates to MUTE 4.0 (1978 > TOMORROW), a series of special events and releases continuing through 2018 with plans for 2019 and beyond, ahead of this weekend’s Rough Trade Easttakeover on Saturday 13 October where Mute will host a whole day of performances, including a lunchtime modular set from Chris Carter plus shopscapes from Simon Fisher Turner. In the evening, A Certain Ratio and Lost Under Heaven will play live, and Maps will be DJing. Online tickets are now sold out for the evening event. There will be a small amount available on the door, and everyone is welcome during the day when Chris Carter and Simon Fisher Turner will be performing.
A series of Pitchblack Playback events marking MUTE 4.0 (1978 > TOMORROW), launches on Tuesday 16 October, with Yazoo’s Upstairs at Eric’s. At these unique events, listeners are invited to enjoy the album in full without distraction, in a pitchblack room (blindfolds are optional!) on The Lexi’s immersive cinema soundsystem.
Mute also announces a collaboration with 1 of 100, a specially designed t-shirt based on the The Normal T.V.O.D artwork which will be available in a strictly limited edition of 100, each shirt made to order in your chosen size, numbered and printed on organic, climate neutral cotton. The t-shirts will be available to order in the coming weeks from https://weare1of100.co.uk/
Forthcoming releases that tie in with Mute 4.0 include artists from across Mute’s catalogue as well as newer signings to the label.
Today, 12 October will see the release of special vinyl editions for Mute 4.0: “probably the world’s first teenage electronic pop group”, Silicon Teens, and their one and only album ‘Music For Parties’; Mute’s first signing, Fad Gadget - ‘Fireside Favourites’; Josh T. Pearson’s lauded ‘Last Of The Country Gentlemen’, Apparat - ‘The Devil’s Walk’; Vince Clarke and Martin Gore’s project, VCMG - ‘Ssss’ and A Certain Ratio - ‘The Graveyard & The Ballroom’. Pearson will be released on gold vinyl, Apparat on violet and the rest will be on very limited Mute 4.0 orange vinyl.
In addition, A Certain Ratio’s ACR:SET is out on today and features two new tracks from the band and Barry Adamson’s Memento Mori Anthology 1978-2018 – which includes a brand new track - is out on 26 October. Those releases will be followed in November by brand new albums from Irmin Schmidt (Klavierstucke 5), Mick Harvey & Christopher Richard Barker’s opus The Fall and Rise of Edgar Bourchier and the Horrors of War plus Laibach’s long awaited The Sound of Music. January 2019 will see the release of Lost Under Heaven’s second album, Love Hates What You Become and Mark Stewart has recently announced the definitive reissue of his debut solo album, Learning To Cope With Cowardice, available with newly discovered unreleased tracks.
Mute / BMG releases include Yazoo’s Four Pieces vinyl set and Three Pieces (CD set), both collating their two albums alongside the BBC sessions (available for the first time in full), remixes and rarities (out on 26 Oct); Grinderman’s debut album, released on limited edition green vinyl on 26 October and Nick Cave and Warren Ellis’ soundtrack for The Proposition, available on vinyl for the first time on 2 November.
Further releases include Mute Synth 4.0, the third handheld analogue synth collaboration between Mute, Adrian Shaughnessy and Dirty Electronics.
“From The Port To The Bridge”, a retrospective exhibition of the work of Thomas Leer and Robert Rental, is at the Beacon Arts Centre, Greenock until 28 October. The exhibition will include a new film about Leer and Rental featuring interviews with Daniel Miller, Chris Carter, Cosey Fanni Tutti, JD Twitch (Optimo), family members and more. Their groundbreaking work was a huge influence on early 80s synth pop and the independent music scene in the late 70s. Daniel Miller met Robert Rental at a Throbbing Gristle performance and then went on to work with Rental (releasing Live At West Runton Pavilion, 6-3-79 on Rough Trade in 1980) and release music by both Robert Rental and Thomas Leer. Robert Rental's classic double a-side single ‘Double Heart’ / ‘On Location’, was Mute's 10th single in 1980.
Mute and Thames & Hudson recently worked together on Mute: A Visual Document, a visual history of the label. One of Uncut and Rough Trade’s Books of the Year, it was described by the shop as “Beautifully bound, this book is as iconic and dynamic as Mute's musical past”. Learn more about the publication here: http://smarturl.it/MuteBook
MUTE 4.0 (1978 > TOMORROW) acknowledges the launch of a label that started out of necessilty rather than design (to release the 7” single by The Normal, ‘T.V.O.D.’ / ‘Warm Leatherette’, recorded by Daniel Miller on a KORG 700S keyboard with a TEAC four-track recorder), and marks the past 40 years, but crucially, looks forward to the label’s many years to come as it travels unapologetically into tomorrow.
New Mute merchandise will be launched in the coming months, and future announcements will include a specially commissioned release well as unique events and evenings.
Visit the recently relaunched MuteBank site: https://www.mutebank.co.uk/
Pre-order the Mute 4.0 special editions - http://smarturl.it/MUTE4.0
SOLAR LODGE - C O N V E N T I O N
An extraordinary convention of Berlin based Label SOLAR LODGE!
Date: 10.11.2018
Place: Bahnhof Langendreer, Wallbaumweg 108
44894 Bochum (Germany)
Doors: 19.00
La Scaltra: 20.00-20.30
Your Life On Hold: 20.50-21.30
Aeon Sable: 21.50-22.40
Merciful Nuns: 23.00-00.15
+ Lost Sound Aftershowparty
limited, 324/500 sold!! Max tickets per person is 6.
Tickets under: www.SolarLodge.de
or https://shop.positive-records.
Date: 10.11.2018
Place: Bahnhof Langendreer, Wallbaumweg 108
44894 Bochum (Germany)
Doors: 19.00
La Scaltra: 20.00-20.30
Your Life On Hold: 20.50-21.30
Aeon Sable: 21.50-22.40
Merciful Nuns: 23.00-00.15
+ Lost Sound Aftershowparty
limited, 324/500 sold!! Max tickets per person is 6.
Tickets under: www.SolarLodge.de
or https://shop.positive-records.
CHRIS CARTER - 'Blisters' Radiophonic Workshop Remix
Chris Carter has shared the Radiophonic Workshop’s remix of ‘Blissters’, taken from the forthcoming EP, Chemistry Lessons Volume 1.1 Coursework. The new EP, out on 19 October 2018, also features remixes from Daniel Avery and Chris Liebing, plus a rare track, ‘Bongo Glow’, previously only available on the Japanese edition of the album.
Radiophonic Workshop have remixed very few artists but for this EP the recently reactivated pioneering electronic experimenters have reworked ‘Blissters’. Listen to the track here:
Chris Carter, talking about the remix, explains: “To say I felt honoured the Radiophonic Workshop wanted to remix one of my tracks would be an understatement - they are so highly regarded in the field of electronic music and have been such an influence on my work. But when I heard it I was blown away... it's everything I thought it would be and more.”
Chris Carter recently shared the first details of a new box set of his early work, collating remastered (and mastered for the first time) solo albums alongside a disc of unreleased archival recordings from 1973-1977.
Chris Carter’s Miscellany will be available as a limited - 1000 - 6-piece vinyl box set with 24-page 12” sized booklet featuring rare and unseen images, synthesiser schematics and ephemera from Chris Carter’s archive. Both Disobedient and Small Moon will be available here for the first time on vinyl. The CD box set will contain 4-CDs and a 24-page booklet.
Each edition will contain the following solo albums:
Mondo Beat (1985) – clear vinyl
Disobedient (1998) – double purple vinyl, includes new track 'Disobedient Redux'
Small Moon (1999) – double white vinyl, includes new track 'Small Moon Redux'
Archival Recordings 1973 to 1977 – blue vinyl – unreleased
Chris Carter joins the Mute takeover at Rough Trade East on Saturday 13 October for a lunchtime modular performance. The event also features performances from A Certain Ratio, Simon Fisher Turner, Lost Under Heaven and a DJ set from Maps. Full details of the event, part of Mute’s 4.0 anti-versary, can found HERE.
As a founding member of Throbbing Gristle alongside Cosey Fanni Tutti, Peter ‘Sleazy’ Christopherson and Genesis Breyer P-Orridge, Chris Carter has had a significant role in the development of electronic music - a journey which has continued through his releases as one half of Chris & Cosey and Carter Tutti and a third of Carter Tutti Void - as well as with his own solo and collaborative releases.
He is also credited with the invention and production of groundbreaking electronics - from the legendary Gristleizer self-built effects unit through to the Dirty Carter Experimental Sound Generating Instrument and the sold-out TG One Eurorack module (designed with Tiptop Audio, these modules can be heard during Carter’s set at a recent Rough Trade event) and the Future Sound Systems Gristleizer modules - Carter has created the means to make sounds as well as making the sounds themselves.
Chris Carter’s Chemistry Lessons Volume 1.1 Coursework EP is out on 19 October: Pre-order: http://smarturl.it/CC-
Daniel Avery’s remix of Uysring: https://youtu.be/29WBZTecFEw
Chris Carter’s Miscellany box set (vinyl and CD editions) is out on 30 November:
Pre-order: http://smarturl.it/CC-
Chris Carter’s Chemistry Lessons Vol 1 is out now and a limited edition cassette of the album will be released soon: http://smarturl.it/CCCLV1
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