Of all the missed opportunities in the
history of popular culture, all the overlooked chances to create
something wonderful and special and uncanny, some are more glaring
than others. Kraftwerk declining to produce Bowie in his heyday is
one of them: what would the Düsseldorf Beatles have done with the
cold, methodical chaos of the Thin White Duke? What stratospheric
heights would the career of Patricia Morrison have reached if she had
been cast in the Vampira reboot, rather than the gig being given to
Elvira herself? How would Bela Lugosi's career have risen if he
hadn't turned down the part in the original Universal vision of
'Frankenstein'? And what would have become of the creative
partnership between Tim Burton and Vincent Price had it not been for
the passing of the latter – would they have formed a trio of terror
with Johnny Depp to rival that of any in the history of cinema?
These glimpses are even more
frustrating when we note the opportunities that were taken, that
never should have been. Instead, we got Tom Jones fronting New Model
Army; street-punk darlings the Angelic Upstarts going synthpop; the
abomination a glam-rock Celtic Frost; a whole movie of Kiss and their
robot counterparts fighting a script even dumber than they are; and a
Dracula-kung fu mash-up that took kitsch to whole new heights, and
the Hammer legacy to new depths. Indeed, Hammer took more of these
lamentably-unmissed opportunities than anyone else. Which makes one
of the true overlooked creative collaborations even more
disappointing...
Led Zeppelin, the undisputed behemoths
of '70s rock and the one act on the planet with the most notorious
and undisputed links to the occult, found one of the most
ostentatious and horrific bases for their late-decade rehearsals –
that of Bray Studios, long-time home of Hammer Productions and
location for the shooting of an entire raft of Gothic horror
classics. So for a brief, glorious period the fortunes of the
bastions of heavy diabolic rock and the bastions of Gothic horror
cinema overlapped.
This, my dear readers, is a synergy to
relish. You can imagine 'Black Dog' blasting down the corridors as
the ghosts of Dracula, Victor Frankenstein and Captain Kronos dance
to the beat. What possible collaboration could have taken place?
Well, one could imagine Bonzo as a grave-robbing extra, or a bearded
Jimmy Page as the mysterious wanderer that he had always saw himself
being, John Paul Jones as a creepy church organist in a Transylvanian
hamlet, or even Robert Plant as the blonde bombshell lead in one of
their raunchier sex-horror romps. But even better would have been an
attempt to marry the genuine esoteric resources of the band – from
Boleskin House to their rich repertoire of thrilling shockers – to
the belated attempt by Hammer to update their material to meet the
demands of the modern horror era. Could Zeppelin have soundtracked,
or starred in, an Exorcist-inspired biopic of a fictional group of
Satanic-inspired rockers? Could they have given much-needed
credibility to the mid-'70s output of a studio desperately trying to
meet the challenge of the new tastes of horror cinema?
We will, however, never know. By the
time Led Zeppelin were having their last rehearsal at Bray in 1980
Hammer were already in receivership, and it was then that tragedy
struck as John Bonham died following a day with Zeppelin at the
former home of UK horror. Even this, though, suggests much else –
what are we to make of the grim climax of the 'Zeppelin curse'
arriving at such an auspicious location? What a rich potential seam
of chills could be explored at the place where the cursed band and
the cursed studio meet?
That is a place we have yet to visit,
and a time that we have lost for good. Unless someone were to open a
portal – to a time when 'No Quarter' echoed through the Berkshire
night, and magic began to happen...
Denver's
Ritual Aesthetic return with their sophomoric offering 'Wound
Garden'. Aiming to build on the strong first step of their 2014 debut
'Decollect', Ritual Aesthetic hit hard and heavy right away with a
demonic blend of industrial and metal.
Started
by Sean Ragan, formerly the drummer of
Dawn Of Ashes and Belhor, the album has a strong rhythmic grounding
through which the guitars and synths saw through. Combined with his
digitally-augmented growled vocals it's evident that 'Wound Garden'
is a darker and heavier affair than it's predecessor, and the end
result is utterly compelling.
Opening with the
ominous industrial overtones of 'Stasis', followed closely by the
scathing synth-driven attack of 'Life Amnesia' the band set up the
atmosphere of the album quickly, before dropping in the heavy guitars
on the brilliant lead single 'The Analog Flesh'. The likes of
'Divided', 'Dread', and 'Malefaktor' vary things up a little bit
between them, but they maintain that core formula of the strong
rhythms, sharp synth melodies and blistering guitars.
Reflecting the
construction of the first album the final three tracks are remixes
from other artists. While these do play up different elements within
the RA sound. They do stunt the pace of the album. The radical
overhaul of 'Mechanism Of Desire' by ESA unfortunately stops the
momentum of the album dead. While the Seraphim System remix of
'Chemical Weapons' attempts to kick-start things again, before
Xentrifuge rounds things out with 'Amnesiac'. It's a shame as the
remixes themselves are great, but it feels as though the album needed
a few more original tracks.
The production is
strong ans shows development from the first album. The heavier sounds
and darker atmospheres on the album create a sense of claustrophobia
and desperation, but the methodical construction of each track means
that this doesn't become a din of noise. Instead the rhythmic
foundations allow the gritty guitars and synth melodies to cut
through with ease.
This is a strong
follow-up that displays a hell of a lot of promise. It's unfairly
short, but it is too the point. The dark and unfriendly industrial
metal formula feels refined and focussed, and most importantly it's
catchy. These are heavy tracks that have dance potential and stick in
your mind. The band have definitely found their stride and hopefully
they will stride back soon with album number three.
Back
once again to give dance floors the world over the rough treatment
they deserve. Belgian/American dance legends Lords Of Acid return
with their sixth full-length studio album, 'Pretty In Kink'. Another
sexy slice of groove-laden dance hits heavy on dirt and depravity,
Praga Khhn and his minions are out to dominate in a big way.
Never
ones to be pigeon-holed in any one particular style, LOA have always
enjoyed mixing in elements from different genres while keeping their
trademarked sexy beats and dirty bass at the helm.
And 'Pretty In Kink' continues that tradition, whether it be
straight-up dance appeal with nods to ‘80s and ‘90s anthems, or
down-tempo sleaze and sensuality, or even the borderline
pornographic.
Tracks such as 'So
Goddamn Good', 'Before the Night is Over', 'My Demons are Inside',
'Sex Cam Girl', and 'What the Fuck!' are undeniable dance hits
full-of thumping beats, compelling bass and infectious melodies that
grab you in a sexually aggressive way and drag you onto the dance
floor. While the likes of 'Androgyny', 'Ma Fille de Joie', and
'Goldfinger' amp up the sensuality of Khan's melodic songwriting
ability, even doing his best take on James Bond with 'Goldfinger'.
It's a strong track list that display's the full-scope of the LOA
sound.
Production-wise, even
with quite overt nods to the dance anthems of the '80s and '90s the
album doesn't try to replicate them fully. Instead everything is
fresh and modern with just hint's of nostalgia included to add a
little more depth to the tracks.
This is another strong
outing in the LOA catalogue. Sure it plays up their overly sexual
side as usual but there is still plenty of innovation on display and
the band's ability to keep coming back with fresh and engaging dance
music is truly admirable. It may not have the oomph behind it that
some of their previous albums have enjoyed, but it is still a very
decent offering.
Vancouver-based
post-punk crew SPECTRES have inked a 5-album deal with Toronto-based
Artoffact Records that will see the band's catalogue reissued. A
new album is planned with the label in early 2019.
Formed
in Vancouver, BC in 2005 and commonly cited as kicking off the
renewed interest in the post-punk sound in Canada, SPECTRES emerged
from the DIY Punk underground and have released three spectacular
records, toured both the United States and Europe, and have been
praised for their genuinely original blend of post-punk and
goth-rock.
SPECTRES
vocalist and founder Brian Gustavson wanted to blend the grassroots
and independent ethic of anarcho-punk with the anomie and cold,
modulated sounds of 1980’s Post Punk and death rock. Though
the band’s output has matured with time to embrace a wider range of
new-wave and shoegaze influences, their ethos remains rooted in
anarcho punk. The blending of these influences allows for the
curious juxtaposition of 80’s influenced pop sensibilities with
lyrics that explore the alienation and cynicism of modern life and
the search for hope in an increasingly terrifying world. One of
the band’s core strengths is its sonic aesthetic, which ranges from
brooding and confrontational dark punk to ethereal pop influenced
dance anthems. SPECTRES’ live show harkens back to their punk
origins bringing a direct and aggressive approach to their
performances intended to convey a feeling of estrangement and urgency
to the audience.
The
band's three albums, Last Days, Nothing to Nowhere, and Utopia are
all streaming on Bandcamp and
will be reissued on CD on October 19th.
SPECTRES
live 2018
October
4th-6th, San Antonio, TX (San Muerte Festival)
MUTE and
specifically the influential independent British label’s founder,
Daniel Miller, have never been ones for looking back. The label has
always sought ways to celebrate all of its varied artists, but there
has never been a focus on just the label. MUTE
4.0 (1978 > TOMORROW) is not
about to change that, but it has prompted the idea of creating a
series of special events and releases that will go further than 2018
with plans for 2019 and beyond.
MUTE
4.0 (1978 > TOMORROW) acknowledges the launch of a label
that started out of necessity 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.
This
month, Mute will be at Sea Change festival in Totnes on 24/25
August alongside
Mute artists Josh
T. Pearson, Chris
Carter, Daniel
Blumberg, Can’s Damo
Suzuki and Lost
Under Heaven,
all performing live - and Cosey
Fanni Tutti,
who will be in conversation with Emma Warren.
On Saturday
13 October,
Mute will take over Rough Trade East in
London for 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. The bar will be open, and everyone’s welcome!
In
addition, Alt-Classic Album Playback will
present a playback of Swans’
1996 album, Soundtracks
for the Blind,
recently reissued on vinyl for the first time on Mute. Nick Soulsby,
author of Swans: Sacrifice and Transcendence, will be guest speaker
at the event taking place on 23 September at Shacklewell Arms. Future
playbacks will include a series with Pitchblack
Playback,
details to be announced.
Forthcoming
releases that tie in with Mute 4.0 include artists from across Mute’s
catalogue as well as newer signings to the label – A
Certain Ratio’s ACR:SET is
out on 12 October and features two new tracks from the band, Barry
Adamson’s Memento
Mori Anthology 1978-2018 is
out on 26 October and features a brand new track
and Yazoo release Four
Pieces,
a four disc box set collecting their two albums alongside remixes and
rarities and their BBC Sessions collected together for the first
time. More releases will be announced in the coming weeks.
A
special series of reissues on limited edition coloured vinyl are
planned for October, and will include “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.
Further
releases to be announced 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 from 2-28 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
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.
Next
year's E-tropolis festival announces the first six acts joining the
previously announced bill, which includes, Apoptygma Berzerk and Suicide Commando. Joining the festival are:
The
festival will take place on 16th March 2019 at Oberhausen
Turbinenhalle, with a pre-festival party the night before.
IX.
E-TROPOLIS FESTIVAL 2019
APOPTYGMA BERZERK SUICIDE
COMMANDO + SOLAR FAKE + WELLE:ERDBALL
[:SITD:]
+ [X]-RX + CENTHRON + PRIEST + FUTURE LIED TO US SYNTHATTACK +
ES23 + RROYCE + 2 additional bands + after-show party +
merchant gallery + chill-out areas + official pre-party @ 15.
March | Turbinenhalle 2 (admission included in
festival ticket, standalone tickets available at the door)
The
Doomsday clock
strikes two minutes to midnight, The
World is
a horrible place to live in and The
Apocalypse feels
like it is on the horizon - the perfect time for a new album by
bonkers Irish Extreme Electronics duo DRUGZILLA.
Horrific
orchestral synths and terrifying samples merge with relentless
hardcore techno and aggressive splitter blasts. Barbaric, insane,
savage… WARNING! This is not for the faint
hearted!
Featuring
guest appearance’s from the cream of the extreme music underground
includingVitriol (ANAAL
NATHRAKH), Mories (GNAW
THEIR TONGUES), Drunk (ANAAL
NATHRAKH / FUKPIG), Zara
Scumshot (SKAT
INJECTOR), SCHIZOID (D-THARSH)
&DIGICORE.
This
is the soundtrack to the end of the World. "Laugh?
I almost lost my window" is
out now via Human
Jigsaw.
”Laugh?
I almost lost my window” track
listing 1.
Drug Addicted Fuck 2. Malicious Communications (feat. Zara
Scumshot / Skat Injector) 3.
Survival Of The Fittest 4.
Ratpocalypse 5.
Distortion Lies In The Lens Behind Brain 6.
Give A Man A Gun And He Will Rob A Bank, Give A Man A Bank And He
Will Rob The World 7.
0 FUCKING 8 8.
Circle Of Mania 9.
Kill Your Way To A Peaceful Solution (Drugzilla remixes Digicore) 10.
How Can You Not Like Bullet Belts… It’s A Belt Made From
BULLETS 11.
Why You Never Became A Dancer (feat. Vitriol / Anaal
Nathrakh, Mories /
Gnaw Their Tongues, Drunk / Anaal Nathrakh & Fukpig, Jay Schizoid
/ D-Trash) 12.Cuntry Folk
Leeds'
very own goth cultural festival Goth City returns in October for 10
days of top quality music, theatre, writing and art.
Goth
City Festival is a city-wide musical and cultural festival that
celebrates the gothic and post-punk heritage of the city and of
Yorkshire generally. Events include, gigs, clubs, discussions, spoken
word, acoustic and social events at more than six venues and feature
more than 20 different bands and performers. In keeping with the DIY
and underground spirit of the event, the festival is held at the best
alternative venues across the city, including the co-operatively
owned Wharf Chambers and renowned underground Leeds' venues such as
the Fenton, Bad Apples and Fox & Newt.
This
year sees West Yorkshire goth legends Skeletal Family, pagan
rock heroes Inkubus Sukkubus and recently reformed '90s goth
favourites Rome Burns headline. Other notable acts include
local rising starts FEHM, the Sisters of Murphy, and
Saigon Blue Rain from Paris amongst over 20 acts over ten
days.
All
proceeds from Goth City Promotions events during the festival are
donated to PAFRAS (Positive Action For Refugees and Asylum
Seekers), a local charity for destitute refugees and asylum seekers.
Their work providing financial and practical support to destitute
refugees is vital in the current political and economic climate
Joel
Heyes from Goth City Promotions said; “We are delighted to have
so many fantastic acts from around the UK and Europe playing at Goth
City Festival this year, as we continue to build a progressive and
inclusive independent event that celebrates the past, present and
future of Yorkshire gothic culture. Goth
City Festival is proud to have raised nearly £6,000 for PAFRAS doing
our first two years. We support the charity not only for their
invaluable work but also because we feel it is important to root the
festival in grassroots community activism. Funds raised bat the event
will fund a specific project providing therapeutic support to
destitute women refugees. We have a set a fundraising target of
£3,000 to ensure that this project is fully funded.”
Goth
City Festival 2018 - Confirmed Schedule
Thursday
11th October - Launch Party featuring: Churchgate
+
Aether
Skies
+ The
Seventh Victim
and the infamous Goth City Raffle! Bad Apples Rock Bar, Call Lane,
Leeds. Doors 8pm-11pm, Pay as you feel. Festival tickets £35.
Friday
12th October - Goth
City Festival Opening Ceremony featuring:Inkubus
Sukkubus +
Dyonisis
+ Seventh
Harmonic
+ DJs to be announced Wharf Chambers, Wharf St, Leeds. Ticket
£10. Festival tickets £35. Doors 8pm-late
Saturday 13th
October - Occupy
LS6!: The Goth City Otley Run Otley
Road/Woodhouse Lane, Leeds. 2pm start.
Saturday 13th October
- The
Sisters of Murphy The
Fenton, Woodhouse Lane, Leeds. 8pm-11pm. Ticket £5. Festival tickets
£35.
Sunday 14th October - Black
Gold!: dry social featuring food & stalls Wharf
Chambers, Wharf Street, Leeds. 3pm-6pm. Free admission.
Monday
15th October - Shadows
of Goth - open mic ghost story night Hyde
Park Book Club, Woodhouse Lane, Leeds. 8pm-11pm, free
admission
Tuesday 16th October - An
Evening with Anne-Marie Hurst
Live interview by Tim
Synyrstyr
(The Blogging Goth) and Q&A Wharf Chambers, Wharf Street,
Leeds, 6pm-8pm. Tickets £5 . Festival tickets £35.
Wednesday
17th October - A
Night of the Dark Arts III
featuring: Alice
Nicholls
+ Anna
Smith Spark
+ The
Two Buskateers.
Compere: AMereKat
The Fox & Newt, Burley Street, Leeds. Doors 7.45pm, entry £5.
Festival tickets £35.
Thursday 18th October - the Penny
Magpie Theatre Company presents
'Edith in the Dark' The Lending Room @ The Library, Woodhouse Lane, Leeds. Door
7.30-10pm. Tickets £5. Festival tickets £35.
Friday 19th &
Saturday 20th October - Goth
City Festival: Season of the Witch
featuring:Skeletal
Family
+ Rome
Burns
+ Saigon
Blue Rain
+ FEHM
+
Last
July +
The
Way of All Flesh
+ Isolation
Division
+ The
Golden Age of Nothing
+ Voi
Vang
+ DJs to be announced Wharf Chambers, Wharf St, Leeds. Weekend
tickets £20, day tickets £10/£15. Festival tickets £35.
Sunday
21st October - Goth
City FC vs Real Gothic FC Middleton
Leisure Centre, 1pm-4pm, 2pm kickoff. Pay as you feel. Festival
tickets £35.
Sunday 21st October – Aftermath
featuring DJs and surprises Bar Santiago, Grand Arcade, Leeds,
8pm-11pm. Festival tickets £35.
Cornelius
Bach I first met back in 2012, at my first Wave-Gotik-Treffen. I was picking up
my press pass from him on a Friday afternoon. The spokesperson of WGT, we had
short encounters and mutual greetings at the performances over the years.
Intravenous Magazine: How did
you become part of WGT?
Cornelius Bach: I have
been living in Leipzig for 20 years. I began as only a patron, but then I got
to know one of the bosses for WGT in my private circle. I started helping with
picking up program books from the printing house for example, it then happened
that the former spokesman Peter Maska couldn't do the position anymore due to
other work commitments. So, I was approached as I had studied journalism, also
being fit with communication I was very happy to take the role. I have been the
spokesperson now for 13 years.
IVM: When
WGT began, as an operation, what was it like compared to now?
CB: The
difference is not so big from today, the concept hasn't changed at all. The
first years of course, it started out much smaller with one venue at the
beginning, with a few hundred attendees. However, it grew fast in the first
years which was an unattended result. The founders had not planned to make such
a big event which it became; they only wanted to create something different
from a normal festival; more of a gathering, hence the name Treffen. a
gathering of like-minded people from different parts of Germany and maybe from neighbouring
countries. Though it turned out to be a good concept. The stress not on the
bands, but also on the communication between like-minded people who enjoyed the
gothic theme.
When I
attended my first WGT in 1998 it had almost the same size as now, and it really
didn't change so much in atmosphere, though we have some more venues all over Leipzig.
In addition, the cultural program which developed further. WGT got more
accepted as a vehicle of enrichment for the culture of Leipzig. Obviously in
the first years there were a lot of prejudices from the inhabitants, the city
government didn't really know what to think of these strange people visiting. After
a few years they realised we're all friendly & kind, and this is
something special that no other city in the world has on such a scale, which
they are now proud to have. Therefore over the years we had the ability to have new locations, such as churches, and start big collaborations
with museums and the opera house of Leipzig.
The basic
concept of WGT and how it is run has never changed. It seems around 20,000
people is the core of international gothic scene which attends, and for us is
a comfortable number. As organisers, we are not always wanting to create
something new and looking to make it larger. We want to preserve
this special atmosphere, which so far it seems we have succeeded in doing.
IVM: How does The City of Leipzig help WGT? You already mentioned they contribute
venues, though are there other benefits to allow WGT to operate?
CB: Indirectly
they help us, as you mentioned with the venues, additionally with the
transportation for example. However, we don't receive any direct support, in the context of finance. This is funded all by us, they give us the permits to
support the venues and cooperation with the opera for example and other
institutions in the city. It's a good cooperation so far; however financially
we are independent and are happy to stay that way.
IVM: Not to
dive into the finance, though is WGT self-sustaining? Back in 2000, there
was obviously difficulty, with the collapse of the millennium festival. From
where it was then to now, is it eliminated from these problems?
CB: The reason
why there were problems back in 2000, was that the people who started WGT, they
were just two young guys in their 20s, that had no experience at all in handling big
events. It was never their plan to create such a big festival which it turned
into. Up to a certain size they were able to keep it under control. Finally, they just couldn't handle running it in such an
unprofessional way and size, it was impossible to handle this without the
expertise. The costs rocketed and not enough communication in organizing created the recipe.
When it started again in the following year, the main segment of the organizing
staff changed and then we had no future problems, as a team was formed which
had the skills required. Since then, there has been no problems.
IVM: When I began coming to
WGT, you could see that particular genres were picked for each year. For example, 2018
sees Wave making a come back.
Is it a situation that management considers what’s
going on in the scene, and book the artists, or are the requests filtered through?
CB: It’s a
combination of both. We get hundreds of requests each year for bands which
want to play. The booking staff listen really to each request and they decide
if it fits from the style. As you can see we give a lot of chances to unknown
bands as this was always part of the concept, as well as booking the big bands which you see on every Festival.
On the other side, there is also
research done by our booking staff on certain genres which would be
interesting. So then we try to invite them. We always try to achieve a good
mixture up to the edges such as Neofolk, which you hardly find on other
festivals, if at all. Sometimes there is a post-punk and wave revival. We obviously take
this into the consideration, as there are currently a lot of great new bands in these
genres. We always try to have a good mixture.
IVM: What does
WGT management think of Gothic Pogo, did they think of it as a breakaway from
WGT due to dissatisfaction? Or do they see it as a complimentary event?
CB: The latter
is more the case; it's seen as a complimentary event. It's a small
festival with a limited number of bands, and a more limited range of styles. We
see no danger that people are not going to WGT, instead to Gothic Pogo. It is
more the situation, they are either going to both, or some prefer this one style and
wouldn't be in Leipzig anyway for WGT.
IVM: What are
your favourite aspects of WGT?
CB: My favourite
aspect for every year, is that you meet a lot of interesting people from
all over the world. For example we are sitting here, it is very nice to meet
people from the UK, Japan to Mexico City! A lot of the time you can only meet
these people again next year. The world is coming to Leipzig and this is something special for
me.
The
second would be the wide variety of events. Which other festival do we know of can offer such a range? Where you can attend a classical concert, opera, theatre; to then a music stage or a night club. This combination of bringing
people who may only know about the music, the ability to go on a guided museum
tour that walks through gothic culture is an amazing offering. So, it is much
more than music.
Thirdly
discovering new bands. I must admit I don't know every band which is booked by
my colleagues. There are always new names for me. Thus it is enjoyable to sit down before
the festival; listen to some amazing tracks, and then have the ability to see
them live. It's obviously great to see your hero bands maybe for the umpteenth
time; however for me, it is great to have such an opportunity to be exposed to new
discoveries every year.
IVM: Is there
anything this year you are very interested to see?
CB: Yes! Wardruna,
which is a Norwegian band many people have told me about. I've never seen them
so far, though they have a very impressive live show. RosaCrux, a French artist which are performing in the Schauspielhaus. Again, they
are known for having an impressive show, with a big drum works and self-made
construction for a large bell. It's also a rare opportunity to see them, as they do not perform often.
Finally Blixa, from Einstürzende Neubauten. Before, for some reason it never worked to
have him perform, so it will be a great first appearance and Monday finale this
year in the beautiful Volkspalast.
IVM: Would you like to say anything or do you have any questions?
CB: I want to point out, it is really a pleasure for me as a
spokesman in this function for so many years that they're people like you still coming, still euphoric. You sometimes see people lose this after the second attendance, and by the fourth do not come anymore. I am very happy to see that there are
people coming from all over the world every year that are so happy to be here
again. it also confirms that we at WGT are still creating something
special.
It's
obviously a pleasure to see Intravenous Magazine reach out, and see the
press take interest in us, as well as the artists performing here.
IVM: Thank you & finally, is there
any venue you hold close to your heart?
CB: It's definitely
Volkspalast. I like this venue, as it is so different to other venues we have
at WGT. Because it is quite big and is built after the pantheon, with the stone
columns and I was very impressed when we made our first concerts here. One memory from the early years when we had booked the venue, was from the Monday. After we had all finished our work, I saw Lady Genesis P-Orridge playing Psychic TV. It was something new and special to me. It was a very crazy
show, with a very attentive crowd. I will never forget this special atmosphere.
With a hiatus between
albums that even Tool would find excessive, crustpunks Axegrinder
mark 29 years since their debut album 'The Rise Of The Serpent Men',
with their sophomoric effort, 'Satori'. It is a familiar story these
days with many bands from the 80s and 90s being resurrected and the
results are often mixed. However Axegrinder have definitely comeback
strong.
A more methodical and
mature sound distinguishes the new album from it's predecessor.
Elements of Prong, Conflict, Amebix and even Killing Joke rear up
from the depths. The album closely mirrors it's predecessor
structurally but the cleaner production and modern recording is
offset by dirtier guitars and more vitriolic vocals to set it apart
from their debut.
The album's opener
'61803398875' is a curveball with it's poetic spoken feminine vocals
and ambient drones giving way to dirty guitars, and ultimately the
chugging chant-a-long 'Halo (Snakes For the Breeding)', which sets
the true tone of the album. 'Rain' evokes 'Cleansing' era Prong with
it's steady industrial guitars and Paul Raven style groove. While
'The Unthinkable' strays into Killing Joke territory with Trev's
maniacal vocal delivery combined with some nice melodies cutting
through. It's a formula that serves them well and provides a strong
and accessible backbone for the entire album.
Production-wise
the album is fresh and modern, with the guitars and vocals giving it
the brunt of it's crustiness. But the more methodical approach and
the grooves and industrial tones give it more depth beyond it's
metallic-crust roots. And ultimately a broader appeal.
It may have been a near
thirty year wait between albums, but this is one of those cases where
it was worth the wait. The sound has picked up from where it left off
certainly, but it progresses nicely as well. It is relevant,
pissed-off and catchy throughout, and hopefully signals the start of
a lot more activity from the band as 'Satori' is a strong
(re)starting point.
Once
again, Chris Connelly's howling bark meets Jason Novak's bone
crushing rhythmic bite as Cocksure, bridging the gap between Waxtrax!
era industrial and futuristic sounds of mass corruption. 'Be Rich' is
Cocksure's best - an amorous, amoral nod to the duos pasts in
Revolting Cocks and Acumen Nation, irreverently, vehemently
crotch-punched into the cutting edge of today's underground
industrial. 'Be Rich' will be released on September 7, 2018 by
Metropolis Records.
Mayhem, the Norwegian pioneers responsible for
invigorating a global scene alongside originators such as Venom,
Celtic Frost & Bathory, formed in 1984, and with a long history
of tragedy, intrigue and infamy have become truly revered legends of
black metal, with a large part of their legacy established in the
late 80’s & early 90’s, when guitarist Euronymous &
bassist Necrobutcher welcomed Hellhammer on drums and Dead on vocals,
to help shape a new era of darkness and Armageddon.
Marking 30 years since this particularly iconic &
subsequently ill-fated union, the deluxe ‘Cursed in eternity’ set
contains a full and expansive collection of work by the band during
that period. This includes Mayhem’s legendary 1990 live dates in
Norway and short German tour, plus the additions of the ‘Out from
the Dark’ and ‘Henhouse’ rehearsal sessions. These six titles
are all presented on a special limited picture disc format for this
release, with the set also including a 7” single vinyl containing
two studio tracks (‘Freezing Moon’ & ‘Carnage’); recorded
initially for the CBR compilation, ‘Projections of a Stained Mind’
and here featuring sleeve artwork made at the time by former
vocalist, Maniac.
Along with a full 92-page book recalling tales of
their legendary shows & inspirational music from both band
members and others from the scene & including letters and
previously unseen photographs sourced from personal archives, all in
collaboration with the True Mayhem Collection, ‘Cursed in Eternity’
also presents, for the first time, a DVD containing never-seen-before
footage from the entire Jessheim concert, plus front of stage video
from the Sarpsborg show. The DVD is completed by full footage of the
Henhouse rehearsals, and overall gives a priceless insight into how
these iconic shows were witnessed at the time.
As a final bonus inclusion, ‘Cursed in Eternity’
features posters from the original designs & Zeitz photo from
those iconic live shows.
Cursed In Eternity contents:
Picture disc LPs
1: Henhouse Rehearsal
2: Out From the Dark Rehearsal
3: Live in Jessheim
4: Live in Sarpsborg
5: Live in Zeitz
6: Live in Leipzig
DVD - featuring exclusive footage from
the Jessheim & Sarpsborg shows & Henhouse Rehearsals
Exclusive 7” single – Freezing Moon /
Carnage
4 replica gig posters using original artwork
92 page book
Presented in a heavyweight box
This immense set, an absolute must-have for all
Mayhem fans, is available to pre-order from the Peaceville store HERE
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