American musician, singer, and songwriter Myles Kennedy released a lyric video for “Devil On The Wall,” the third track from his upcoming debut solo album, "Year Of The Tiger," which can be seen at the end of this entry.
The song comes from the album available worldwide on March 9th via Napalm Records. Fans that pre-order the album through a digital retailer will receive an instant download of the song as well as the first single “Year Of The Tiger” and recently released “Haunted By Design.”
The album is also currently available for pre-order in various bundle configurations and Myles Kennedy's website, which also offers information about his upcoming tour in the US in support of Year of the Tiger.
“I get the feeling we
are moving through a period of despair. Perhaps this is due to the
state of the environment, politics, or dealing with being "social"
in the electronic age. We are so frustrated, so exhausted...we don't
have the energy or money to plan for the future.I wanted to write
lyrics that people can related to, and music that would energize that
to forge ahead.”
With an already impressive discography to their name, 2017 saw Angelspit
crank it up to eleven on their latest and most uncompromising album
yet in the form of 'Black Dog Bite'. Ultra-brutal beats, machine-gun
sampled guitars, massive dirty synths and scathing vocals combine for
an all out assault that doesn't take any prisoners.
We caught up with
Angelspit mastermind Zoog von Rock to talk about cyberpunk, black
dogs, equipment and evolving with the music industry.
Intravenous
Magazine: Angelspit, Your latest album 'Black Dog Bite' has been out
for a little while now. How has the reaction been so far?
Angelspit: It
has been great! This is one of the best reaction to an album I've
received.
There is now a huge
demand for a remix album, so I have recruited the meanest bands
around to sonically mash every track on the album. This remix release
is called 'Puncture Marks'
(http://www.angelspit.net/discography/puncture-marks/). This will
ROCK!
IVM: There is a
strong 90s cyberpunk sound at work on the album – how did you
arrive at that sound and how do you feel it holds up to the rest of
your back catalogue?
AS: Bowie
inspired me to make each album sound different. Normally, when I
write an album I imagine it with a certain line-up. Eg: my 2014 album
'The Product' was a drummer, guitarist and one synth player and one
sample player.
'Black Dog Bite' was a
little different, as I chose to set it during a specific time - 1988
to 1992 - the golden age of Cyberpunk. I hunted down samplers from
that era and scouted all over the web for sounds specifically from
that time. I adopted the process of writing electric music during
that time...which was very laborious, but great fun!
Once the tracks were
recorded, I produced them with a modern aesthetic - as they need to
hold their ground if they're played in a club.
'Black Dog Bite' sounds
very different to ANGELSPIT's other material - but it still has that
aggressive driving sound.
IVM: Thematically
what were your primary inspirations in writing the album?
AS: I wanted to
make the lyrics more personal in this album. I wanted the bass lines
and melodies to be simple and memorable, with threatening "storm
cloud" synths and vocal harmonies behind it all creating
unease.
IVM: The title is
very evocative of the old Churchill quote about depression being a
“Black Dog” as well as old legends of demonic “Black Dogs”.
How did you settle on that tittle and how does it sum the album up
for you?
AS: Well
spotted! Churchill's black dog is the reason for the title.
Lyrically, this album deals with depression and isolation. I get the
feeling we are moving through a period of despair. Perhaps this is
due to the state of the environment, politics, or dealing with being
"social" in the electronic age. We are so frustrated, so
exhausted...we don't have the energy or money to plan for the future.
I wanted to write
lyrics that people can related to, and music that would energize that
to forge ahead.
Today will be awesome
because we will make it awesome!
IVM: The album will
also be the first Angelspit album on vinyl – what led to this
decision?
AS: I've always
wanted to press vinyl! I was lucky enough to work with Ruined Vibes -
they helped me with putting it together.
They also encouraged me
to get inventive with the design of the record. It's printed on 150g
black&white splattered vinyl. It comes with a poster, 16 page
zine, and each copy has a numbered Japanese style "Obi". It
looks awesome!
Every track on 'Black
Dog Bite' is being remixed by the most bad-ass bands around!
I asked the bands to
push the sound as much as possible - to create a new track.
Bands include:
Mr.Kitty, Abney Park,
Go Fight, The Gothsicles, Inertia, En Esch, The Mercy Cage,
Stoneburner, PlanetDamage, Adoration Destroyed, Erektor, Rodney
Anonymous, Adventu Impar, addambombb, The Dead Room, Alter De Ruine,
Curse Of Cassandra, Shadowcell Theory...and more TBA!
IVM: How does the
recording process of this album differ from your previous works?
AS: Most of the
sound design was done on old samplers - mainly EMAX I, Emulator II
and Emulator III, Emulator IV and K-2000, plus Mini Moog and
Doepfer Modular.
The songs were build
using all hardware synths - no soft synths.
The effects were all
old effects units that were manipulated realtime via MIDI. This is
what Front 242 did on 'Head Hunter'. When you tweak old digital
effects machines live, they produce a grainy, glitchy "gear-change"
sound - it's awesome!
The tracks were
recorded with the effects. This was key to the big, dirty sound.
This means that I was
forced to work with a dirty sound - there was no turning back!
Once the hardware was
recorded it was produced on the computer.
Normally I record the
hardware to the computer much earlier in the process, and use the
effects on the computer - which are much cleaner. 'Black Dog
Bite' was an experiment in old skool lo-fi cyberpunk...it was awesome
fun!
IVM: Your website
and now patreon has a lot of studio tips, gear reviews and other
goodies. How important is it to you to have those conversations with
your fans and share that knowledge?
AS: Very
important! It's not just about me inspiring and educating Angelspit
supporters - it's also about them inspiring and educating me. I learn
so much from my supporters. They always inspire the lyrics and give
direction to the music.
The Patreon is great
because it's a way to communicate with people who want to be
involved.
Much of the content on
the Patreon is free for everyone. People can get involved for as
little as $1.20 per month.
IVM: Speaking of
your studio – what is your setup currently like and what are your
most indispensable bits of gear?
AS: I am
re-designing for the next album - hopefully due this year!
This album is
experimenting with synthwave - I call it Cyber Wave. I am focusing on
the technology and process of 1978 to 1982.
I am using mainly
analog synths (Jupiter 8 and Prophet 5), Doepfer Modular, Mini Moog
and Emulator I - all these existed in that time period. I am also
using more analog sequencing, but the big change is that I am playing
most parts, so it has a real, organic feel to it.
My indispensable piece
of gear is the Doepfer modular synth. Many sound originate on it, and
most sounds are processed through it. I am also using it more for
drums. I love what Doepfer builds!
IVM: You've recently
released lyric videos for the tracks 'Satanic Aesthetic', 'Ugly
Deeds' and 'Sexy Tragic Muse' – can we expect to see any full music
videos in the future in support of the album?
I've done lyric videos
for all tracks. You can watch them here:
Chris Davis
(HumanTwelve) has done an awesome animated video for Scorpio Machine
- we are hyped to release that that soon. Watch the trailer
here: https://youtu.be/ShQ3ztI3R5k
Keith Jensen
(BrainWomb) is also signed on for a video. More details about that
one soon.
Chris and Keith have
done several videos for ANGELSPIT before - I love their work!
IVM: What are your
tour plans in the near future?
AS: I am hoping
to tour the USA again later this year. I am hoping to also do some
UK/European dates. Details coming!
IVM: In addition to
writing and recording for Angelspit, you're also a prolific remixer.
How important do you feel this practice is for an artist such as
yourself?
AS: Remixing is
a great way for bands to work together, build relationships and swap
ideas. 'Puncture Marks' is an exercise in pushing each track. It's
awesome to hear a band completely re-interpret the song. The
Gothsicles data mashed it, The Mercy Cage gave it a soul, Mr. Kitty
made it synthwave, Go Fight made it sexy, StoneBurner made it tribal,
Abney Park made it steam punk.
Remixing is way for a
band to introduce another band to their audience. It is so important
that we keep this cross pollination alive.
IVM: Do you have a
particular favourite track you've remixed, and have you ever received
a remix of one of your own tracks that has blown you away?
AS: I remixed
'Clockwork Man' by SNOG a few years ago. I was very proud of that
one.
Ministry asked me to
remix 'Stigmata'...how the hell can you improve that track?! I
butchered it. They loved it. I was so honoured.
There are 3 bands who's
remixes always blow me away:
The Mercy Cage - from
New Zealand. Josh is a brilliant composer and producer.
Erector is the project
of Robert Wear from Los Angeles. He write movie soundtracks for a
living. He is remarkable.
Adventu Impar from
Florida. Katie and Danny are working on her their first album. I am
so impressed with the quality of their work.
IVM: There have been
rapid changes in the music industry since the first Angelspit album
was released. How have these affected you as an artist and where do
you see the future taking bands like Angelspit?
AS: The changes
have been hard, but definitely add excitement! It's hard because my
professional contacts are constantly changing/retiring, so I am
constantly trying to make new contacts. The high turn over of
magazines, blogs and DJs makes it especially hard, as these are
crucial to getting the word out.
It's hard for Record
labels to keeping upward bands are moving into platforms like Patreon
and Kickstarter.
Bands need have more of
a "collective" approach. They need to freely and openly
help each other out with contacts, remixes and advice. ...but the
problem with that model is that some bands work MUCH harder than
others, and end up pulling all the weight... and get disillusioned
when they get little or nothing back from the other members.
IVM: Finally is
there anything else you'd like to add?
AS: Remember to
check out ANGELSPIT's new remix album 'Puncture Marks". Not only
do you get a bunch of awesome remixes, but you also get an
introduction to some very cool bands. Check the Kickstarter:
AS: Keep making
your art and music! More than ever, our society needs freedom of
speech and creative expression. Someone, somewhere will love what you
do - so keep doing it!
ROCK!
KARL.
'Black Dog Bite' is available now through Black Pill Red Pill. You can keep up-to-date with the latest news from Angelspit, including live dates and releases, via their official website.
Members: Ivan
Delint, Jesse Vladimir, Luis P., and Saul Talamantes
Year formed:
2018
Location: Los
Angeles, California
"[...] I find Brutlist structures very interesting and cold. It's part of the reason why I like the eastern bloc and the whole socialist movement that occurred there, watching footage and seeing the structures that were built, I absorb that into my life and I’m sure it’s channelling out into my music."
Warsaw Pact was founded
during the summer of 2017 by Ivan Delint in Los Angeles, California.
Influenced by modern Cold-Wave and drawing deeply from early
Post-Punk, Warsaw Pact is meant to transport you into a state of
introspective bliss. The project began as Delint's solo effort, he is
currently the lead guitarist LA based Post-Punk band The Eleventh
Frequency, but has since began forming a new band around his solo
material.
Day by Day is the first
of four songs Warsaw Pact plans to release in the coming months,
leading up to an E.P. in the near future.Day by Day was written,
recorded and produced by Warsaw Pact in Los Angeles.
Intravenous
Magazine: Who are you and how did the band/project come to be
formed?
Warsaw Pact is Ivan
Delint, Saul Talamantes, Jesse Vladimir, and Luis Posadas. I (Ivan)
started writing songs on my own when I learned to use Logic and
Reason in school back in 2012. Over time I picked up guitar and
generally got better at producing said songs. I met Saul around the
same time and it was only during the latter half of 2017 that we
started to consider writing music together. I showed him some of my
personal work and he was very enthusiastic about it and offered
to learn and play them. With that I began searching for the rest of
the guys. Jesse V. quickly came into our lives and we got along with
him really well. Luis was my friend on FB, although I had never met
him before. I searched my friends list and was looking for a bassist
that, at least style wise, could fit into Warsaw Pact. Luis was an
obvious choice so I shot him a message and here he is!
IVM: How would you
describe your sound/style, and how did you arrive at it?
I'd say it's a fusion
of traditional Post-Punk, modern Cold-Wave, and mid 2000's indie. We
sound like an 80's band that discovered a 2005 NME mixtape from the
future on the ground. Our music is eclectic, it's dark but it's
dancable, it can be introverted and it will get extroverted. We think
we have a good set of songs that'll keep the audience interested.
IVM: Who and what
are your primary influences both musical and non-musical?
We draw from early
Post-Punk pioneers such as Siouxsie Sioux and Bauhaus into New
Order/Chameleons as well as more modern acts like Drab Majesty,
Interpol and The Killers. We actually created a collaborative
Spotify playlist where everyone in the band threw in 6 songs we like
and that we wanted to show each other. It turned out to be a really
cool way to get to know each others tastes. Turns out we're a very
diverse bunch! Non musical influences, and I can only speak for
myself (Ivan), I'd say I find architecture very interesting and
musically influential, not sure if that makes any sense but I
find Brutlist structures very interesting and cold. It's part of the
reason why I like the eastern bloc and the whole socialist movement
that occurred there, watching footage and seeing the structures that
were built, I absorb that into my life and I’m sure it’s
channeling out into my music.
IVM: Do you perform
live and if so where can we see you perform in the near future?
We will have our live
debut around March of this year. We rehearse at least once a week and
we’re very eager to start playing some shows, there’s also offers
from promoters waiting for us to give them the green light to start
booking. We’re excited to say the least!
IVM: What is your
current release and where is it available from?
We debuted ourselves
with 'Day by Day', released January 1st 2018 and it's available on
Bandcamp, Soundcloud, and Youtube.
IVM: What have been
the highlights of your career so far?
Our career has
been short but in the first month of existence we've seen
'Day by Day' play on Belgian, French, German, Polish, Spanish, and
American radio. I think it really gives us a sense of "yeah this
thing is real and there's potential here". It helps us push
forward as a band.
IVM: What are your
plans for the future?
We plan on re-releasing
Day by Day along side a remix which is being worked on by
Antipole. Day by Day and said remix will be avail on Spotify/Apple
Music as well. After that we'll begin focusing on our second
single 'Light' and an EP sometime this summer.
IVM: Finally, is
there anything that you would like to add?
Well, we all knew it had to happen
eventually. With a 40th anniversary behind them and ten
years since their last album, something – anything – had
to happen sometime to break the creative impasse. And so, here we are
– the Damned have a new album, and a new line-up. Finally!
Of course, few of the acts created from
the white heat of punk have had a history quite so convoluted as the
Damned. This was an act that after scoring the first UK punk single,
the first UK punk album and the first UK punk tour of the USA began
to splinter almost immediately, achieving the minor feat of reforming
a mere 3 years after their debut and without their main songwriter.
Since then there have been a revolving door of bassists, a fistful of
guitarists, a dozen record labels, several hits, reformations,
splits, farewell tours, lawsuits, punch-ups and assorted farces all
of which combine to make the Damned as tenuous a history as any hammy
vampire franchise. They may be reduced to dust by sunlight one
minute, then with a splurge of bat vomit they are back the next. The
Damned ultimately became an almost reassuring benchmark for
volatility, always likely to stir up trouble or eject a new record when
least expected.
All that changed over the past 20
years. Since the departure of Damned drummer and de-facto boss Rat
Scabies in 1996 and the return of erstwhile guitarist and former pop
star Captain Sensible the band eventually settled into something
approaching stability; a new album in 2001 ('Grave Disorder'), then a
new album in 2008 ('So, Who's Paranoid?'), lots of touring, no major
bust-ups or rows, and the longest-serving line-up the band have
ever had. But stability was never the Damned's M.O – what were the
band going to do next? Were they going to do anything at all? As the
band appeared to be on an endless cycle of tour-festival-tour, and
with no material on their setlist that saw daylight after 1986, it
appeared that stability was beginning to mean stasis.
Until, that is, their 40th
anniversary extravaganza at the Albert Hall in 2016 finally saw the
band 'believe the impossible' once more, with their biggest and most
ambitious gig in decades. The result, an unqualified triumph, was the
spark which lit the lightbulb over the bands collective head. Could
the band make a new album? Could the band capitalise on their legacy
and re-energised fanbase?
And last year we finally got the
answer. Out went longtime bassist Stu West, in came Damned alumni
Paul Gray who had graced their most creative period; in came Tony
Visconti as producer; in came a new record label and a Pledge
campaign to fund the album; and off the band went to New York
(yes, really) to cut a record. Cue the release of the first new
Damned song in a decade, 'Standing on the Edge of Tomorrow', a
swirling piece of '60s pop-psychedelia which even came with an
actual music video, and a full
UK tour ahead of a new album 'Evil Spirits'.
All of which, we have to admit, was Damned unlikely even just a
couple of years ago.
So,
you know the drill. Grab a brandy, get your finest cloak on and feast
yourselves on what promises to an increasingly rare experience – a
new Damned album and Damned tour. And with the band in fine form it
promises to be an experience not to be missed, or possibly even
repeated.
Elektrostaub is going
to release his third single "Funeral Of Love" (feat. Ruined
Conflict) from the critically acclaimed debut album "Birthday
And Death" on February 16th, 2018.
Following "Unforgotten"
(feat. Henrik Iversen) and "Also Without You" (feat. Anne
Goldacker), both singles claiming Number 3 and 5 in the GEWC single
charts (German Electronic Web Charts), Elektrostaub now releases his
third single "Funeral Of Love" (feat. Ruined Conflict) on
16 February 2018, taken from the successful debut album "Birthday
And Death" (Number 5 in the GEWC album charts).
For "Funeral Of
Love" Elektrostaub was able to get the support of Xavier Morales
from Ruined Conflict who gives the song his typical characteristics.
As one has come to
expect from Electrostaub, this song, too, features pumping beats,
harmonic soundscapes and driving tunes of high-end electro pop. The
interaction between Elektrostaub and Xavier Morales' wonderful,
charismatic and powerful voice turns the song into the absolute
highlight on the dancefloor.
Elektrostaub mastermind
Patrick Knoch himself composed the song and wrote the lyrics.
As Elektrostaub has
gained a huge new audience in South America, this single release
features an additional highlight in form of a Spanish version for
which Alex from Nórdika translated and sang the lyrics.
The single is rounded
off by a unique and varied remix and instrumental package featuring
i. a. Nórdika, C-Lekktor, People Theatre, Reflection.
This time, there will
be a B-side in form of a remix version by !distain of the ballad
"2806" (feat. !distain & Seyhan) from the latest album
"Birthday And Death".
The songs will be
available in all relevant download stores.
Following the
critically acclaimed single release "Where Are The Angels"
feat. Mick L. Angelo (5TimesZero) in November 2017 and the additional
special release in December 2017 (madbello remix edition), Projekt
Ich aka Ulf Müller is now going to present the absolute dancefloor
hit "Little Star" which will be released on Echozone on 23
February 2018.
"Little Star"
is the second single release from the upcoming debut album scheduled
for autumn / winter 2018. Ulf Müller was able to get Catrine
Christensen of the Danish synthpop duo SoftWave to refine the song
with her intense and soulful voice.
"Little Star"
is the distressed outcry of a mother who has lost her little baby
shortly after birth due to tragic circumstances and is now in danger
of completely going to pieces mentally and physically. Torn and
raddled by a deep emotional grief, she is left behind in a world that
is not worth living anymore.
Besides the original
track, "Little Star" features two instrumental versions and
16 great remixes by international artists.
Remix package: ALexis
Voice (HU), POS.:2 (DE), Alex Stroeer (USA), Cyborgdrive (ES),
Ancient Step (DE), Tragic Impulse (USA), Oren Amram (plus remix
instrumental version) (ISR), DMT Berzerk (MEX), Restriction 9 (SE),
HzweiG (DE), Mark Loodewijk (NL), L_igh_T (ES), Imunar (DE), Steve
(Stefan Käshammer) (DE), madbello (NL) and Maik Volkmann.
Patrick Knoch
(Elektrostaub) is responsible for the mastering. Tim Aßmann from
Visionary Moments designed the front cover as well as all artworks
for the single release.
CHRIS CARTER has
unveiled a new track, the latest to be taken from his new
album, Chris Carter’s Chemistry Lessons Volume One - the
first solo release in 17 years - out on 30 March 2018.
Watch the video,
created by Carter, for meditative new track ‘Cernubicua’ here:
‘Cernubicua’
features skewed, yet calming voices. Carter explains the
voices, “Sleazy and I had worked together on ways of
developing a sort of artificial singing using software and hardware.
This was me trying to take it a step further. I've taken lyrics, my
own voice or people's voices from a collection that I'd put together
with Sleazy, and I’ve chopped them up and done all sorts of weird
things with them.”
Chris Carter’s
Chemistry Lessons Volume One is populated with insistent melodic
patterns and a distinct sense of wonderment at the limitless
possibilities of science. “If there’s an influence on the
album, it’s definitely ‘60s radiophonic,” Carter
says. “And over the last few years I’ve also been listening
to old English folk music, almost like a guilty pleasure, and so some
of tracks on the album hark back to an almost ingrained DNA we have
for those kinds of melodies.”
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 home-soldered 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.
The 25-track album was
recorded in Carter’s own Norfolk studio and the artwork and
accompanying videos were self-created, taking cues in part from
battered old experimental BBC broadcast LPs.
Despite having been
worked on over an extended period between various artistic projects
in a variety of different moods, situations and circumstances, CCCL
Volume One’s experiments never feel like Carter noodling around
aimlessly in his studio-laboratory. Instead there is an inner
coherence and a distinctively Chris Carter approach to sound and
execution that showcases the sonic scientist’s restless, questing
creative spirit forever scouting for new ideas.
Chris Carter will
perform a rare modular set on Monday 19 March at the Faber Social Art
Sex Music event, which also features Cosey Fanni Tutti in
conversation with Laura Snapes, a reading from Luke Turner’s
forthcoming book and a talk from Lilith Whittles.
Original Amphi Festival weekend
tickets are exclusively available at Amphi Shop, www.amphi-shop.de !
Furthermore festival tickets are available at all nationwide
CTS/EVENTIM box-offices, online
at www.eventim.de, www.oeticket.com, www.ticketcorner.ch and
as PRINT@HOME edition.
XIV. AMPHI FESTIVAL 2018
28.
Р29. Juli 2018 DE РK̦ln | Tanzbrunnen
AND ONE +
ASP
OMD + OOMPH! + MONO INC. +
AGONOIZE MIDGE URE + GOETHES ERBEN + SOLAR FAKE + JOACHIM
WITT AESTHETIC PERFECTION + UNZUCHT + NEUROTICFISH + FUNKER
VOGT [:SITD:] + ASSEMBLAGE 23 + GRENDEL + QNTAL + IN THE
NURSERY GIRLS UNDER GLASS + [X]-RX + SHE PAST AWAY + LEBANON
HANOVER MAD SIN + THE CREEPSHOW + CENTHRON + GRAUSAME
TÖCHTER HELDMASCHINE + PERSEPHONE + KIEW + SOVIET SOVIET WHISPERS
IN THE SHADOW + A PROJECTION + CORDE OBLIQUE PRIEST + FUTURE LIED
TO US + ES23 + INTENT:OUTTAKE SCHEUBER + SYNTHATTACK + RROYCE
+ LA SCALTRA
+ many other bands &
supporting programme coming
soon
This Morn' Omina and
Elegant Machinery have been confirmed for Infest 2018. The bands join
Aesthetic Perfection who was previously announced for the festival.
Formed in 1996 by Mika
Goedrijk, This Morn’ Omina has often been credited with being the
inventor of the genre “Tribal Industrial”, although in their own
words they call their art “Ritual Musik.”
Heavily influenced by
classic 80s acts like Yazoo, The Human League, Depeche Mode, Rational
Youth and Robert Marlow. Elegant Machinery originally formed in 1988
under the name Pole Position, they changing their name to Elegant
Machinery in 1989.
This years festival
will take place from Thursday 23rd until Sunday 26th August at
University of Bradford's Student Union and marks its 20th
Anniversary. More lineup details and tickets will be available from
the festival's official website: https://infestuk.com
Angelspit founder Zoog Von Rock, recently announced that a new remix album is being made, titled 'Puncture Marks', which will consist on tracks from the previous studio album, 'Black Dog Bite', released in 2017.
A Kickstarter campaign has been launched for the project with rewards that include digital copies of Puncture Marks, unreleased tracks, an Angelspit remix and a up-to-5 minutes music score for short films.
Remixers include Mr. Kitty, Abney Park, Go Fight, The Gothsicles, Inertia, The Mercy Cage, Stoneburner, PlantDamage, Adoration Destroyed, Erektor, Rodney Anonymous, Adventu Impar, and more to be announced.
According to Von Rock every song from their latest album 'Black Dog Bite' has been remixed in different styles, including EBM, 8bit, Steampunk, Cyberpunk, Glitch, , Future Pop, IDM, Industrial, Darkwave, Synthwave, Cyberwave and more.
American rock band Monster Magnet released the video for the title track of their upcoming album 'Mindfucker', scheduled to hit the stores in March 23 with Napalm Records. Said video is packed with all the Monster Magnet trademarks, such as orange amps, psychedelic patterns, the bullgod, flaming explosions.
The full-length album 'Mindfucker' is already available for pre-order in the band's official store, along with several stores and websites such as iTunes, Bandcamp, Spotify and Amazon. In late December 2017, Dave Wyndorf, the iconic mastermind of the band, stated that sound of the forthcoming studio album will be "full-ahead Detroit-style, early 70s, MC5 and Stooges type of rock."
Norwegian synth-rockers
CURVS show their fantastic ability to create eerie yet compelling
music with their up-coming debut album ‘Hauntropics’ to be
released on March 16 2018 via Fysisk Format. Inspired by stays in the
tropics and the inclination to corrupt musical genres, ‘Hauntropics’
was born out of homemade compressors, rare pre amps and echo valves
coupled with old drum machines, odd strings and analogue synths from
Japan.
Childhood friends
Hjalmar Myksvoll-Singh and Øystein Redalen own their own studio,
converted from a potato cellar in Norway. Free rein during recording
and inspiration from a multitude of genres ranging from krautrock to
electropop has given Hauntropics its rich, psychedelic and indefinite
sound.
Infused with driving
guitar riffs and pumping bass synths, this record treats its listener
to progressive electronic music reminiscent of French house artists
like Kavinsky one minute, and propulsive Nirvana-esque punk the next.
Their masterful production allows this record to flow naturally and
enables the listener to share in their vision.
Lead single ‘Bamboo
Town’ intrigues with glitchy, delayed drums and devilish guitar and
bass parts. Along with the mysterious, atmospheric sound effects sewn
into the track, the unrelenting bass and spectral, haunting
production give this track a Mini Mansions-like quality.
Hjalmar and Øystein
were almost entirely responsible for the recording and production of
the album with mixing support from Nick Terry (The Libertines,
Klaxons). They are joined live by Casiokids drummer Joachim Amundsen
Trana and bassist Lasse Saurbrey.
It's been a long time
since the last editorial update, but you're all big boys and girls
and you don't need me to hold your hands every month and explain all
the behind the scenes stuff at IVM, do you? Well, for those that do
like these little updates here is another... little update.
First of all THANK YOU
to everyone who has so far downloaded our latest compilation album,
'Blood Pack Vol. 5' – the tail end of last year saw me frantically
putting this together and getting it ready for new years day. It
features some amazing bands including: Angelspit, The Gothsicles,
Deadfilmstar, Sounds Like Winter, Noir, Hardcore Pong, Cynical
Existence, Veil of Thorns, Cold Therapy, and Chiron plus many more
exclusive and unreleased tracks from international gothic, industrial
and electronic bands. It also comes with an A4 PDF booklet containing
bios and links for all the bands who have kindly donated a track.
To download it all you
have to do is go to our bandcamp page here:
As with last year's
compilation this is a pay what you want dowbnload. If you do choose
to donate any money, please rest assured that it all goes to DKMS UK
– a charity that helps fight blood cancer. Over the past couple of
years, many big names as well as loved ones within our community have
lost their lives to various forms of cancer, so please feel free to
support our chosen charity via our compilations, or indeed any other
charity compilation out there. It will all help.
In other news, you may
have noticed a few changes to the website in the form of a new
background and logo. Rest assured these are only cosmetic changes and
the site still works and responds the same ways. There may be a few
more changes to come in the near future, but again they won't be
anything to radical.
Looking to the future,
if you'd like to get involved with intravenous magazine, we're
looking for motivated self-starters who can sniff out stories and
make contact with bands and labels. If you want to be a part of the
team head to WRITING FOR IVM. Also, if you are in a band or run a
label etc. and you fancy writing a guest article/column, feel free to
hit us up as well.
Hopefully the other
things we have up our collective sleeve will be announced in the
coming months. Until then, please enjoy the new (and previous)
compilation albums, please donate, or at least share the link if you
enjoy the album.
And as always make sure
you have these links in your favourites:
LIONHEARTS 'Lionhearts' DEPENDENT RECORDS Another temple from the voice of Seabound, to the Edge of Dawn is opened. Frank M. Spinath's work is known for its unique ability to
capture your mind. Collaborating with composers with distinct electronic tone,
his chapters wear different masks. This is yet another example, and possibly
the darkest, of his works.
Ben Lukas Boysen, better known as the noise of 'Hecq' has
his own world too. If you really wanted to combine two people, who could make
suffering and pain into a psalm, this is it. Do not look for upbeats here, you won't be left to wander…
Lionhearts opens with a 'Flashback'. The track prepares you
for the deep dive into space. Which memory you land on will soon be answered.
Waking up on the shores of 'The Ardent City' the first few
steps are dominated with unravelling the tangle of memories and smiles. The definite past is swirling
around your cortex, as is soon the reason at why they are down in the black
depths. Look forward, the soon to be barmecide of 'Abandon'. You are
clenching onto those memories; but they are gone.
'Gone' brings heavy Numan energy, with clarity and clean edges
of modern Trent Reznor composition. The voice speaks clear words, though it
smells of confusion and hidden pain.
Thus now 'Cloud'. In one word. clinical. A disturbing cleanliness of
something shattered echoes forth in here. The vibrating ghost of Hecq, steals
part of the vocals away. There is something is definitely wrong.
By accident I heard 'Kite' before its release last year. A feint cloud covers the edges of the track. Everything or nothing lives hear and this
is where you know your own psalm.
The desolate winds of the beach are slowly being walked away
from. Though the quest for a quick vengeance is at the front of the mind. This
is really where the madness can be seen. 'Threat' brings back the focus and the
primary force of change.
This leads ‘To what I don't know’. A wash of water upon
the face. You can see the black mascara drop in a pool by the sea. The events
of the past are settled, and the present is taking shape again. I leave you to your own thoughts on 'In The Sand'. The album is a trick of the mind, however a different beast by far. Steeltongued and No Sleep Demon are pillars of might that stand alone. This is a dark fusion, make of it what you will.
Merciful
Nuns, the gothic rock project of Artaud Seth (ex-Garden Of Delight), return with the trailer for their tenth outing 'Anomaly X'. The
band's website has announced 'Anomaly X' as the band's final, with
their facebook page also posting the following message:
“Every
start is an end, each arrival a departure” Merciful Nuns 2010 –
2019
View
the trailer for 'Anomaly X' here:
special and limited
editions available (Grandmaster & Master
packs) under www.SolarLodge.de Video Premiere BLUE
LODGE on Friday, February
23 www.youtube.com/user/MercifulNuns MERCIFUL NUNS
LIVE 7.04.2018 SITTARD (NL) - Downhill XII 18.05.2018
LEIPZIG (D) -WGT 11/12.08.2018 HILDESHEIM (D) - Mera
Luna 14.09.2018 HAGERBACH/FLUMS (CH) - Eine Nacht im Bergwerk
Faber & Faber are proud to announce All Gates Open, the definitive story of the most influential and revered avant-garde band of the late twentieth century: Can. It consists of two books and previously unseen art and photos.
In book one, All Gates Open, Rob Young gives us the full biography of a band that emerged at the vanguard of the Krautrock scene in late sixties Cologne. Can’s studio and live performances burned an incendiary trail through the decade that followed, and left a legacy that is still reverberating today in hip hop, post-rock, ambient, and countless other genres. Rob Young’s account draws on unique interviews with all the founding members of Can, their vocalists, friends and music industry associates. And he revisits the music, which is still deliriously innovative and unclassifiable more than four decades on. All Gates Open is a portrait of a group who worked with visionary intensity and belief, outside the system and inside their own inner space.
Book two, Can Kiosk, has been assembled by Irmin Schmidt, founding member and guiding spirit of the band, as a ‘collage’ – a technique long associated with Can’s approach to recording. There is an oral history of the band, collated by former Electronic Beats and Spex editor Max Dax, and Robert Defcon, drawing on interviews Irmin conducted with musicians who see Can as an influence, like Bobby Gillespie, Geoff Barrow, Mark E. Smith, Daniel Miller and many others, but also with artists and film-makers like Wim Wenders and John Malkovich, where he reflects on more personal matters and his work with film. Extracts fromIrmin’s notebooks and diaries from 2013–14 are also reproduced as a reflection on the creative process, and the memories, dreamsand epiphanies it entails. Can Kiosk offers further perspectives on a band that has inspired several generations of musicians and film-makers.
Can were unique, and their legacy is articulated in this two-book volume with the depth, rigour, originality and intensity associated with the band itself.
Irmin Schmidt is a composer and founding member of Can, and has scored more than one hundred soundtracks, released a dozen solo albums and written an opera, Gormenghast, based on the novels of Mervyn Peake. In 2015, he was made a Chevalier de l’Ordre des Arts et des Lettres. He lives in southern France.
Rob Young’s books include the acclaimed Electric Eden: Unearthing Britain’s Visionary Music, and histories of record labels Rough Trade and Warp. A former editor of The Wire magazine, he has contributed to publications including Uncut, the Guardian, Sight & Sound, Frieze and Art Review. He lives in Oslo.
The hardback edition of All Gates Open is available now to pre-order. The limited edition will be available to pre-order from Thursday 5 April from www.faber.co.uk.
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