Die Black / Dark Metal-Band AETERNUS hat nach dem Video-Clip zu “Existentialist Hunter” mit “Wresting Worm” einen zweiten Track ihres kommenden Albums “Philosopher” veröffentlicht. Es ist das neunte Album der Norweger und folgt dem 2018er-Album “Heathen” nach.

“Philosopher” wurde von Herbrand Larsen (Ex-ENSLAVED, Ex-AUDREY HORNE) in den Conclave & Earshot Studios produziert und von Lawrence Mackrory (DARKANE, F.K.Ü.) im Rorysound Studio gemastert. Das Cover-Artwork stammt von Mar.A (u.a. für CULTES DES GHOULES tätig). Erscheinen wird das Album am 17. November 2023 via Agonia Records.

AETERNUS, die im Herbst 2023 gemeinsam mit GORGOROTH, IMPALEMENT und ARAN ANGMAR auf Tour sein werden, sind Bandgründer, Sänger und Gitarrist Ronny “Ares” Hovland (Ex-GORGOROTH), Gitarrist Henning “Gorm” Berg (THYRUZ), Bassist Frode “Eld” Kilvik (GAAHLS WYRD, PHANTOM FIRE, KRAKÓW) sowie Drummer Elefterios “Phobos” Santorinios (GRAVDAL, Ex-MALSAIN).

AETERNUS “Philosopher” Tracklist
1. Existentialist Hunter (Video bei YouTube)
2. World Bleak Nepotism
3. The Intentionality of Unitigated Evil
4. Void of Venom
5. Wresting Worm (Audio bei YouTube)
6. The Luciferian Architect
7. Carving the Pristine Anomie

AETERNUS, GORGOROTH Tourdaten 2023
🇳🇱 30.11.23 Drachten – Iduna
🇩🇪 01.12.23 Trier – Mergener Hof
🇧🇪 02.12.23 Ghent – Chinastraat
🇳🇱 03.12.23 Uden – De Pul
🇬🇧 04.12.23 Birmingham – The Asylum
🇬🇧 05.12.23 Manchester – Rebellion
🇬🇧 06.12.23 Glasgow – Slay
🇬🇧 07.12.23 London – Underworld
🇳🇱 08.12.23 Amersfoort – Fluor
🇩🇪 09.12.23 Dortmund – Junkyard
🇩🇪 10.12.23 Leipzig – Hellraiser

Source: Vampster

Leeds-based experimental artist Teresa Winter has announced the release of her new album titled “Proserpine”,...

Source: Side Line

Inwiefern „The Art Of Self Defense“ wirklichen Klassikerstatus besitzt, darüber darf man gerne ausgiebig streiten. Fakt ist, dass HIGH ON FIRE gerade in ihren ersten Jahren verdammt große Alben geschrieben haben. Seien es das brandschatzende 2002er Werk „Surrounded By Thieves“ oder „Death Is This Communion“, das Power und Epik gleichberechtigt nebeneinander stehen hat. Der Verfasser tendiert nach wie vor zu zum unschlagbaren „Blessed Black Wings“ als Werk für die einsame Insel, vielleicht auch, weil es das erste Mal war, dass HIGH ON FIRE ihn mitreißen konnten. Egal wie stark Matt Pike, Des Kensel und die jeweiligen Bassisten damals waren, eins ist klar: Vergessen werden sollte das rohe Debüt der Band aber auf keinen Fall.

Das ist allerdings kaum möglich, denn immerhin wurde das mittlerweile 23 Jahre alte Album bereits zahlreiche Male wiederveröffentlicht und war die längste Zeit immer und irgendwie verfügbar. Das neueste Re-Release von „The Art Of Self Defense“ macht zumindest auf den ersten Blick sehr viel her. Arik Ropers Originalcover ist schlecht gealtert, das neue Artwork von Jordan Barlow sieht zeitgemäßer und deutlich frischer aus. Dennoch, das ausführliche Fotobooklet der SOUTHERN LORD-Version aus dem Jahr 2012 fehlt und macht deutlich, dass neue Auflage vielleicht die professionellste ist, aber eben kein Liebhaberprojekt. Auch dass die Doppel-LP nicht im Gatefold kommt, sorgt für Zähneknirschen. Hören lassen kann sich das Album dank der Restaurierung aber auf jeden Fall. Der Schmutz des Originalsounds von Billy Anderson ist geblieben, Justin Weis‘ Remaster lässt das Debüt noch einen Hauch voluminöser klingen.

Neues Cover, neues Master: Auf den ersten Blick überzeugt die Wiederveröffentlichung von HIGH ON FIREs Debüt „The Art Of Self Defense“.
Musikalisch beeindrucken die ersten Gehversuche, der US-Band aber auf jeden Fall – auch heute noch. Matt Pike, der sich nach seiner Zeit bei der Stoner Rock-Legende SLEEP neu orientierte, erschuf einen schmutzigen Sound und ließ den klassischen Metal so gefährlich und dreckig klingen wie selten zuvor. Sein Gitarrenspiel ist damals noch sehr im Stoner Rock verwurzelt, die Verbindung mit urwüchsigem Metal ist damals wie heute wegweisend. Als Sänger liefert Matt Pike hier sein Debüt, und seine Stimme ist Zeuge, dass sein Lebensstil auch in jungen Jahren nicht der Gesündeste war. Mit 27 wie Lemmy zu klingen, das ist eine Leistung.

Während sich Pikes Vocals seither nicht besonders weiter entwickelt haben, hat die Musik der Band in der Folge einen Weg zurückgelegt. „The Art Of Self Defense“ startete im Prinzip als Metal-Version von SLEEP, als Sludge-Version von CATHEDRAL, oder irgendwie dazwischen. Fakt ist, dass HIGH ON FIRE schon zu auf ihrem Frühwerk ziemlich eigenständig klangen, Veteranen wie CROWBAR zum Trotz. Dass das Trio in den 2010er Jahren dann immer mehr den Doom Metal-Anteil zurückfuhr und stattdessen brutaler und wilder wurde, findet der Verfasser schade, irgendwie ging damit ein Teil der primitiven Epik verloren, die HIGH ON FIRE in ihren ersten Jahren so besonders klingen ließ.

Leider nicht ganz vollständig und nicht ganz zu Ende gedacht: „The Art Of Self Defense“ findet auch hier nicht seine definitive Version.
Umso schöner, dass selbst „The Art Of Self Defense“ den ein oder anderen Hit vorweist und viele von diesen genial-primitiven Riffs hat, die der Verfasser so an HIGH ON FIRE liebt. Der Opener „Bahgdad“ nimmt langsam Fahrt auf und wird im Verlauf immer intensiver. Die Riffs und die simplen Grooves von „10.000 Years“ und dem heroischen „Fireface“ fräsen sich ins Gehör und werden zu einem Ohrwurm, den man nur schwer loswird. „Blood From Zion“ drischt mit voller Durchlagskraft fünf Minuten lang auf die Hörer:innen ein – ein wahrer Klassiker. Das Gegenteil davon ist das dynamische „Last“, das weniger aggressiv, aber fast schon ist. Auch das abschließende „Master Of Fists“ ist ein kleines Epos und überhaupt, verglichen mit „Electric Messiah“, ist die Dichte an erstklassigen Songs auf dem Debüt höher.

„The Art Of Self Defense“ ist eine ordentliche Neuauflage, das komplette Wohlfühlpaket liefert diese Veröffentlichung indes nicht. Die Bonustracks „Steel Shoe“ und das CELTIC FROST-Cover „The Usurper“, die sowohl in der TEE PEE RECORDS Auflage von 2001 als auch der SOUTHERN LORD enthalten sind, fehlen bei diesem Re-Release – das ist enttäuschend. Das 1999er Demo ist hingegen enthalten, rundet das Album ab und zeigt nebenbei, dass die Songs zwischen Demo und Album nochmals einen Qualitätssprung erlebt haben. Welche Version nun im Regal stehen soll, ist also Geschmackssache, der Verfasser bevorzugt das 2012 Re-Release. Wichtig ist nur Folgendes: HIGH ON FIREs Debüt gehört in die Sammlung von allen, die auch nur ansatzweise etwas mit dieser Band anfangen können.

VÖ: 4. August 2023

Spielzeit: 66:26

Line-Up:
Matt Pike – Vocals, Guitars
George Rice – Bass
Des Kensel – Drums

Label: MNRK heavy

HIGH ON FIRE „The Art Of Self-Defense [Re-Release]“ Tracklist
1. Baghdad
2. 10.000 Years
3. Blood From Zion
4. Last
5. Fireface
6. Master Of Fists
7. Blood From Zion (1999 Demo)
8. 10.000 Years (1999 Demo)
9. Master Of Fists (1999 Demo)

Mehr im Netz:
https://highonfire.bandcamp.com/
https://www.facebook.com/highonfire
https://www.instagram.com/highonfireband/
https://twitter.com/HighonFireBand

Source: Vampster

VOODOO CIRCLE veröffentlichen am 1. Dezember 2023 ihr Best Of „15 Years Of Voodoo“ via AFM Records. Auf der Compilation sind neben bekannten Tracks auch zwei bislang  unveröffentlichte Songs zu hören.  Einen davon stellt die Band jetzt mit einem Video vor:  „Sweet Devotion“ bei YouTube.  Aufgenommen wurde der Song 2021 bei den”Locked & Loaded”-Sessions.

„Sweet Devotion ist ein typischer Voodoo Circle Song mit allen Markenzeichen”, so Alex Beyrodt. „Davids Stimme haut mich jedes Mal um. Ich bin froh, dass der Song nun seinen Platz auf dem bald erscheinenden Best Of-Album hat!

VOODOO CIRCLE “15 Years Of Voodoo” Tracklist:

01. Locked & Loaded
02. Flesh & Bone
03. Wasting Time
04. Devil With An Angel Smile
05. Higher Love
06. Running Away From Love
07. Graveyard City
08. Heart Of Babylon
09. Cry For Love
10. Trapped In Paradise
11. Watch And Wait (I Got My Eye On You)
12. Devil’s Daughter
13. No Solution Blues
14. Broken Heart Syndrome
15. Man And Machine
16. Spewing Lies
17. Master Of Illusion
18. Sweet Devotion (Bonus) (Video bei YouTube)
19. Rock’n Roll Remedy (Bonus)

VOODOO CIRCLE Line-up

Alex Beyrodt – Gitarre
David Readman – Vocals
Mat Sinner – Bass
Markus Kullmann – Drums

Source: Vampster

Electronic Frequency is back with an all new single, “Destrudo”, taken from the album of the same name which will be released on December 15th, 2023 via KL Dark Records. Lyrically, “Deestrudo” deals with themes such as destruction, internal struggles and the desire for liberation. Musically the single offers a mix of electronic elements and hard guitar riffs.

The new album is the follow-up to their 2022 released “Con​:​Trast” full length. You can check out the video for the new single below. The band currently consists of Christian Kossat, Oliver Schulz and Kamila.B.

If you want to download the track, you can do so right below from Bandcamp.

Destrudo by Electronic Frequency

Source: EBM.gr

Die Progressive Doom / Death Metal-Band BULL ELEPHANT hat mit “Expansion From Perceived Reality” den Opener ihres kommenden Albums “The Long War” als Video-Clip veröffentlicht. Das neue Album der Briten soll – nach “Bull Elephant” (2019) und “Created From Death” (2020) – die Trilogie über einen gegen Nazis kämpfenden Dickhäuter abschließen.

“The Long War” wurde von Jamie Masters in den Echo Studios in Buckingham aufgenommen und von Dan Swanö gemastert. Das Cover-Artwork stammt von Kishor Haulenbeek. Erscheinen wird das Album am 17. November 2023 via Eat Lead and Die Music. Vorab gibt es den Opener “Expansion From Perceived Reality” zu hören.

BULL ELEPHANT “The Long War” Tracklist
1. Expansion From Perceived Reality (Video bei YouTube)
2. Blackened Chaos Horizon
3. Berlin Falling
4. Zentrum der neuen Welt view
5. Severing the Last Strands of Self view
6. The Long War view

Source: Vampster

Michel “Bodenski” Boden celebrates his 58th birthday today. We wish the lyricist and guitarist of Subway to Sally all the best! Did you know?– As a founding member, Subway to Sally has been his life since 1992.– He released his first (and so far only) solo album in 2012. It was entitled “Auto!”.– His wife […]

Source: Orkus

Last year, I saw <a href="https://www.instagram.com/officialcult">The" rel="noopener nofollow noreferrer" target="_blank">https://www.instagram.com/officialcult">The Cult</a> play at The Greek Theatre with Black Rebel Motorcycle Club, Skeleton Joe Cardamone, and King Woman opening. It was a full moon out, and Cult frontman Ian Astbury, with bloody bandage hands that miraculously could still bang on his tambourine, started singing part of Bauhaus’ Bela Lugosi’s Dead before stopping himself, stating, “Whoops, wrong band, Peter Murphy is Goth.”

That show was incredible. But in late October of 2023, when I saw The Cult as Death Cult, it was one of the best concerts I’ve ever seen and undeniably one of the most Goth evenings I’ve spent in Los Angeles, or ever for that matter.

By happenstance, the date also coincided with the 40th anniversary of the Death Cult single “God’s Zoo.” The concert was held at the beautiful theatre at the Ace Hotel in Los Angeles, where they also show classic films, with the marquee fittingly showcasing a screening of The Bride of Frankenstein.

Cold Cave, darlings of the current Darkwave and Goth revival of the 21st century, who had been touring with The Cult, were a great way to start this special evening.

Following the stage being cleansed with sage, The Death Cult set began with “83rd Dream”. This was followed by “Christians,” “Gods Zoo,” “Brothers Grimm,” and “Ghost Dance”. They then performed “Butterflies,” which was particularly symbolic of the evening as a butterfly was featured on the artwork for this special series of 40th anniversary Death Cult shows.

The set continued with “A Flower in the Desert,” “Resurrection Joe,” “The Phoenix,” “Horse Nation,” “Go West (Crazy Spinning Circles),” and “Dreamtime.” Finally, they finished up the main part of the set with “Spiritwalker” and “Rain.”

In a break between songs, Ian Astbury paid tribute to original Death Cult members, bassist Jamie Stewart and drummer Nigel Preston. Stewart has since retired from music, and Preston passed away in 1992.

On stage, Astbury was wearing a jacket with the “Death Cult” logo emblazoned on it, and red streaks of paint on his face. And during the Southern Death Cult song “Moya,” he let his magnificent mane of hair down before the band ended the show with a performance of The Cult’s popular track “She Sells Sanctuary.”

Death Cult at the Ace Theatre, October 23, 2023
This intimate concert was up there for me with seeing Bauhaus in 1998 and Siouxsie and the Banshees in 2002. But unlike seeing those two legendary bands live, there was a specialness and rarity to the setlist. And a reverence for the songs, many of which had not been played in decades.  Songs that hold deep meaning, sincerity, and authenticity.

And while Siouxsie may have adopted the name Sioux because <a href="https://www.youtube.com/watch?v=LuZw_YhRXic">she “hate’s cowboys,”</a> many of Death Cult’s songs exude deep compassion for the indigenous tribes Ian Astbury grew up with near the Six Nations Reserve in Ontario, Canada, a place where he moved when he was 11 years old.

Southern Death Cult:

Ian Astbury’s journey before forming Southern Death Cult was as eclectic as it was influential. After returning to the UK, he spent time in Scotland, then moved to Liverpool—a stone’s throw from his birthplace, Heswall. There, Astbury immersed himself in Liverpool’s thriving post-punk scene. His next venture took him to Belfast, where he lived in a squat fellow among punks. Eventually, he returned to England, taking a job as a stagehand in Bradford, Yorkshire.

It was in Bradford where the seeds of the Southern Death Cult were sown. The band had its precursors in Violation, formed in June 1979 with Haq Nawaz Qureshi on drums, Barry Jepson playing bass, guitarist Michael Isles, and Mick Brady as the vocalist. Violation made a mark, supporting The Clash in Bradford on January 29, 1980. But following Brady’s departure, and after a brief stint with Gary O’Connell as the frontman and a demo tape in the bag, the group disbanded when Isles and O’Connell exited.

Undeterred, Qureshi and Jepson pressed on. They recruited David ‘Buzz’ Burroughs for guitar and, significantly, brought in Astbury as the lead singer. With this lineup, they rebranded to Southern Death Cult. The band’s musical output was brief but impactful, releasing a single featuring “Moya” and “Fatman” in 1982. Despite their short-lived existence, their music lived on through a compilation album released post-split in 1983, which included their single, live performances, and BBC session tracks. Southern Death Cult also graced the BBC’s “The Tube” with a memorable performance on January 21, 1983, delivering renditions of “False Faces,” “Fatman,” and “Faith.”



In a recent interview, guitarist Billy Duffy recounted to <a href="https://www.loudersound.com/features/the-cult-billy-duffy-ian-astbury-death-cult?utm_campaign=socialflow&utm_source=facebook.com&utm_medium=social&utm_content=classic-rock&fbclid=IwAR2SaClqdlIc_mwBzXl9eDldQTCTOy7t_G67-z-0cdRGcue6UpKcg3eQbuU">Louder Sound</a> that his first brush with Ian Astbury was under the bucolic backdrop of Keele University’s woodlands. It was during the heyday of Theatre Of Hate, Duffy’s then outfit, which found the Southern Death Cult as their opening act amidst a  tour bolstered by their  single “Westworld.” Duffy, in a vignette straight out of a film, paints Astbury as a phantasmagoric figure, evoking the rugged romanticism of <a href="https://www.youtube.com/watch?v=2O40qCivS74">Daniel Day-Lewis’s Hawkeye sprinting through the forest in “The Last of the Mohicans.”</a>

Perched on the balcony with Theatre of Hate bassist Stan Stammers, Duffy witnessed the energy of Astbury’s performance. It was a moment of revelation, the kind that could only be articulated in the vernacular of the stunned and the struck: a reverent “Fucking hell,” as the future of rock unveiled itself in Astbury’s unbridled vocal fervor. Duffy and Stammers knew they were witnessing something seismic.

From the ashes of Southern Death Cult, Astbury would form Death Cult with Billy Duffy, whose lineup also included bassist Jamie Stewart and drummer Raymond Taylor Smith (later known as Ray Mondo), both from the post-punk band Ritual. Raymondo would leave the band, and Theatre of Hate and Sex Gang Children’s Nigel Preston would join, and remain with the band until the release of The Cult’s 1985 album Love.

After the release of an EP, and “The God’s Zoo” single, Death Cult would return to perform on The Tube on January 13th of 1984, with presenter Jools Holland introducing this performance as being the first show with the band’s shortened name, The Cult.



Days before the show at the Ace Theatre, I spoke with Ian Astbury about his history in Liverpool, the post-punk scene, Bowie, and being “the other.” We also spoke about the term “positive punk” and, despite his disassociation from the Goth label, his thoughts and musings on the subject reveal a mind as intricate and expansive as the famed Library of Trinity College.

Did you meet Billy Duffy before the tour opening for Bauhaus?

I met him just before that when he was playing with Theatre Of Hate,  which was our first Southern Death Cult…first real show. I mean, something like Chelsea at the Marquee in London. And then we went out from that to do a couple more shows around the Leeds and Bradford area, and then we were given the opportunity to play with Theatre of Hate.

And then that led to a Bauhaus tour.

It was pretty much…and then we were opening for the Clash and playing…I believe we played a festival with New Order <a href="https://www.concertarchives.org/concerts/futurama-4-festival-1982">[Futurama Festival]</a>, and things happened very quickly. 

Did you hang out at Eric’s in Liverpool before you started Southern Death Cult?

Yeah,  I went to Eric’s, but I didn’t go to Eric’s actually till near the end of Eric’s. I was living in Scotland, so I moved back to the Merseyside area. It would have been, I guess…1980, perhaps? So I was at Eric’s for the last month of Eric’s. I was there <a href="https://liverpoolmiscellany.blogspot.com/2022/03/erics-flyer-march-198-0-accepted-wisdom.html">the night that it got closed down by the Police.</a> The Psychedelic Furs were playing. They came in with dogs. They had their nightsticks out. They were beating people and running through the club. I guess they thought it was some kind of drug den, and they’d had nothing better to do than pick on a lot of punk kids. 

So, that club got closed down. It was part of the Cavern Complex on Matthew Street. I did see some great shows there. I remember seeing The Cramps, which was incredible, with Brian Gregory.

We used to go there often,  pretty much seven times a week to Eric’s. It was a great club. I saw Nightmares On Wax there, Pete Burns’ band before Dead Or Alive.

And a band called <a href="https://en.wikipedia.org/wiki/Pink_Military">Pink Military</a> who were an excellent band. I never knew what happened to them. They made a couple of albums. They were an excellent band, but everybody in the crowd was pretty much either in a band or around a band. It was a very vibrant scene. 

I spoke to Wayne Hussey about the scene at Eric’s. He told me a lot of stories, too, that it seemed like a post-punk mecca with just so much stuff happening there.

Oh, absolutely.

There were clubs like that throughout the country, you know, you travel around the UK with several clubs in Manchester, Leeds, I think Huddersfield, there’s a club there. Definitely London. Even in the Bradford, Leeds area, these clubs that we go to would play new wave, post-punk, punk, and disco. It used to have what you call a ‘Bowie Roxy Night,’ in which one night they would be playing music with that kind of feel of Roxy Music, David Bowie, post-glam. And we used to go hang out there. 

A lot of it was due to the fact that it was very dangerous going outside. If you wanted to go to a pub, it was very difficult. There was a lot of prejudice toward punk kids. There was quite a bit of violence to navigate. 

Was it just very conservative back then?

There was definitely a division between kids who were into music and people [whose lifestyles were defined by mainstream society] who didn’t get it; they didn’t understand us, and we definitely weren’t part of them. It was subcultures highly identified by the way you look and by collective ideas, a lot of the same kind of music. 

It was a very difficult time as well because there was high unemployment. Thatcher’s Britain. It was pretty oppressive. It was quite bleak. Then, of course, we didn’t have social media. We didn’t have cell phones. We read books and newspapers and got our information from John Peel or NME or word of mouth, going to record stores, like Pete Burns, who used to work in Probe Records in Liverpool. I used to go in there, and they had an incredible collection… a very well-curated record store…you know, a lot of indie labels, and so you’d go in there and speak to whoever behind the counter. If they would suggest something, you’d listen to it and discover bands that you wouldn’t really hear about unless you were paying attention. Because the mainstream TV in Britain, BBC, was Top 40, but they did have Old Grey Whistle Test, which was a pretty cool show. We ended up playing on it. The Cult did. There were a lot of very iconic performances on The Old Grey Whistle Test: they had everything from Captain Beefheart to Patti Smith. So we watched that occasionally, but most of the time, we were out, not sitting at home watching TV.

We were out, we were out in clubs, some clubs we went to were pretty friendly towards us in a post…I mean, we didn’t identify as post-punk because that was more of a media tag. 

Nobody went around and said, “We are post-punk.” Nobody said that. Nobody went around and said that we are positive punk, you know.

I’ve articles from when Southern Death Cult came out, and up until Death Cult, they were calling the band “positive punk” in the NME, which I think is a term that doesn’t exist anymore. 

Well, it was of its moment. I think that the word reflects the fact that we weren’t absolute nihilists. That we were a little bit more idealistic and optimistic and colorful and were kind of embracing a very difficult time and making the best of it, and expressing ourselves through music, clothes, and photography; we were expressing ourselves in that way.

There was a sense of optimism around it, even though a lot of it was rooted in rock and roll culture, and punk rock culture, and new wave culture, and avant culture in New York. In Warhol’s New York. And Detroit, a lot of that had roots in America. I mean, obviously, things like The New York Dolls are very important. So were the Stooges; everybody listened to that. The Doors were very important in a kind of Romanticist…cinematic Romanticists…We were aware of that music – we had that music, and listened to that music. Well, I certainly did. Anyway, I know Wayne Hussey did. Wayne was in a band with Pete Burns for a minute. I think he was in Nightmares On Wax.

I believe it was Dead Or Alive. Wayne had this guitar-triggered SH-101 synth sequence that was on the song “Misty Circles,” which Echo and the Bunnymen borrowed for their single “Never Stop.”

Everybody was being influenced by everybody. From Can to Joy Division to Pil, by the time Bauhaus came along,  they were influenced by those kinds of groups, you know, they were definitely influenced by Bowie. David Bowie was very important. I think connecting everything, connect all the dots. You could probably run everything through Bowie.

I would agree.

We all grew up with Bowie. We all had his records when we were very young. Bought my first David Bowie single when I was ten. Life On Mars, and that was otherworldly. So, from that point, I WAS IN. I got thrown out of school for putting food colouring in my hair at about ten years of age, 11. Probably more like 11, I put some blue colour in my hair, and they sent me home.

I always thought that the term Goth goes back to the 60s with the Doors and Nico more so than post-punk music. 

Oh, it goes way back further than that! Now, think about Aubrey Beardsley. Think about the romantic poets. Shelley; Byron. The literature at the time. Bram Stoker. To me, it’s really romanticizing the shadow, which is something that artists…there’s always been an adversarial element in art, culture, religion, you know, the shadows of that which cannot be explained, shall we say.

And that was obviously for humans trying to existentially work out what was the meaning of life. You find yourself in the shadow at some point, and then you have a collective group who think a certain way that everything is one way, but it’s far more complex and nuanced. And I feel that as the rise of the novel and plays and operas, start to condense some of these ideas, and of course, Nietzsche comes along, and then the whole thing’s blown wide open.

I even think that, like Paganini, the Italian violin virtuoso. He used to come out of a coffin. The Catholic Church put him in jail in Genoa because they were terrified of him. He was disrupting. He was an agent of chaos. 

Everything’s interconnected. It comes from a very organic source. But certainly, when humans suppress the shadow, it will come out in different ways. And it has definitely been romanticized over the centuries. Yes. Even Shakespeare, in some ways, like Macbeth! Which talks about sex and murder and the darker side of human nature, avarice… control, domination, all of that. 

So these are kind of archetypal themes. Just because somebody wrote in 1983 in Sounds or whatever it was and says, ‘Here’s Andi Sex Gang and his gothic hordes.’  And then that term just got widely used throughout the media. And you have to understand that with the media pretty much every single show was out there was being reviewed by somebody, and they had to put out their papers every week. So, they were mapping information for a weekly publishing cycle. Everything was accelerated. And in that acceleration process with identifying certain waves of music, it was much easier to put a label on it. And, of course, there’s a lot of cynicism with a lot of editorial content. 

There were they were taking the piss on a lot of people, but I think in many ways, the term goth…was usually used as a put-down by those that knew better, the ones that formulated their opinions based upon very limited life experience.

It was just an easy way to compartmentalize a genre, while in actual fact, it was incredibly diverse. You know, you could go see The Gun Club one night or see The Birthday Party another night. Iggy Pop would roll through town. Nico would play,  and then you could go see a reggae show.

Dance music. The 12-inch was evolving, pop, you know, some of the faces like Pete Burns, George O’Dowd, Marilyn, Blitz Club, London, all of that was finding its way into the culture and, you know, again, Bowie comes along with Ashes to Ashes…galvanizing a frequency!

And he continued all the way through to Blackstar.

I think in terms of more like what <a href="https://en.wikipedia.org/wiki/Rammellzee">Rammellzee</a>, the graffiti artist, was talking about in the early eighties, about Gothic Futurism, the idea that everything from the written word to architecture evolved in a certain dark age period, and that art and the written word, especially the Bible, was controlled by a certain group of evolved monks. They referred to the graffiti writers as monks. He talked about this Gothic futurism, where letters and form took on a much more intuitive way…a way of expressing the intimate human experience without sticking a label on it and banging it out, “Goth” and there it is. And there is there’s layers to it, and there’s a certain mystique to it, and he’s only just beginning to be appreciated now, 12 years after his death.

But Rammellzee was very important and then not only in, say, hip hop.

There are just so many crossover points and so many layers. It wasn’t like one size fits all, although you did have diehard Siouxsie fans and diehard Cure fans who emulated the way that Siouxsie and Robert dressed. And yeah, if you were in the crowd. You were, of course, inspired by them when you saw them.

I remember I bought Join Hands the day it came out. I didn’t get to see them play until the Juju tour because they dissolved for a minute. The Juju tour with John McGeoch. It was pretty outstanding…it was incredible. But the wonderful thing was you’d have so many incredible shows to go to, and it was of its time. It wasn’t that this was some sort of throwback.

They were making music in that moment, and we were present for it. And it is a testament to that period that it still resonates today.

I’d like to see what Balenciaga would be without some of those innovative individuals, etc. Givenchy, all of them. Throw off the playbook. The kids who were courageous enough to run in the shadows. Explore something outside of what you were taught in school with Judeo-Christian values. They were exploring things like Tibetan Book of the Dead.

We were ravenous for information. Because the society, the culture, certainly the working class ethic was that you worked hard, you played hard, and then you pick out your clock and then you’re, you know, you stay in your station working for in a factory, or you’re working in some sort of dead-end job. And then there’s this incredible music.

I think Control does a very good job…[the film about Ian Curtis of Joy Division by] Anton Corbijn. Control does a great job of reflecting the period in many ways. They got a lot of it right. And [Corbijn] was present; he was around all of that as well.

I love all these new books that come out by people who were nowhere near it, you know, And they do the Wikipedia research, and they miss so much, and they become the de facto expert on a genre for a time period.

It was as much about the environment that the music was coming out of. The industrial north of Britain. From the Industrial Revolution, all these factories were closing, and manufacturing had changed. And it was so you had this surplus workforce, and of course, football kept a lot of people together that have something singular that they could experience every week. But for the younger ones, it was definitely music.

Where the Indigenous influences and inspirations found in the music of Southern Death Cult, and Death Cult came from:

I grew up in Canada. I was exposed to indigenous culture from a very early age. I was 11 years old. I was an immigrant kid, and I was immediately labeled as “other.” And I was put with the other kids, and the other kids in my group were indigenous, native to the local reservation, Six Nations. I went there and was around indigenous kids.

I was around kids from all over the globe. They were coming to Canada, part of the workforce, in the early Seventies. So, I had a really diverse group of friends. One of my best friends was from Kingston, Jamaica, and another friend was from Ankara, Turkey. We were kind of an odd group of kids, but we all loved music and the fact that we were kind of “other” and on the outside of the collective group. I became fascinated by their culture. And then that evolved over the years.

I’ve never claimed to have any Indigenous blood…I’m of Celtic descent, but there are a lot of parallels between those people and Indigenous people because there was a diaspora of the Celts as well. The Roman Empire came in, and the British, as well, did a pretty good job [clearing] all the tribes up.



Death Cult’s songs:

To fully appreciate The Cult’s UK Tour celebrating 40 years of Death Cult, it is important to provide some context to some of the songs that they will be performing. Several songs reference tragic events that occurred at Wounded Knee, which pertains to two significant events in the history of the Native American Lakota people. Both events took place near Wounded Knee Creek, located in South Dakota.

The first, and perhaps the most infamous, was the Wounded Knee Massacre of 1890. On December 29, 1890, the U.S. Army’s 7th Cavalry surrounded a band of Ghost Dancers under Chief Big Foot near Wounded Knee Creek and demanded they surrender their weapons. A shot was fired—its origin remains unclear—and the soldiers turned their artillery on the Lakota, killing as many as 300 men, women, and children in the ensuing chaos. This event marked one of the final chapters in the long and brutal campaign to suppress Native American tribes across the Plains and is remembered as a symbol of the tragic end of the Indian Wars.

The second event, known as the Wounded Knee Incident, occurred in 1973 when members of the American Indian Movement (AIM) and Oglala Lakota activists occupied the town of Wounded Knee in protest against the U.S. government’s failure to fulfill treaties with Native American people and what they saw as the corrupt tribal leadership of Richard Wilson. The 71-day siege resulted in deaths and injuries on both sides and ended with the government promising to re-examine Native American treaty rights.

Ghost Dance

Wovoka was a Paiute mystic who took the traditional Ghost Dance (practiced by various tribal belief systems) and rallied people to practice it, promising it would reunite the living and the dead. He promised this would bring the spirits to fight on their behalf and halt Western expansion. While the Ghost Dance itself was a longstanding tradition, this new context of using it to invoke the dead became a message of hope in triumphing over evil. While this was spreading, treaties with the US were being broken, and the Native people started invoking the Ghost Dance as a means to intimidate the US troops. Because the Ghost Dance usually happened before a battle, the US soldiers attempted to stop its performance and started picking out the instigators. Sitting Bull got singled out, then things escalated, and he was assassinated. Wounded Knee happened a week or two later. 

Horse Nation

The lyrics of “Horse Nation” by Death Cult are inspired by the book “Bury My Heart at Wounded Knee,” which is a historical account detailing the violent displacement and systemic oppression of Native American tribes by the United States government.

Moya

The lyrics of “Moya” by Southern Death Cult seem to critique the apathy and numbness of Americans and Western Consumerism, referred to as “the Coca-Cola nation,” a society blind to the atrocities committed by their government.

“Kasota” means to clear off in the Lakota language- a possible reference to the literal clearing of woodlands into prairie or plains, but also could be referencing the clearing off of people, comparing it to the bombing of Nagasaki and mass murder and genocide, particularly those against Indigenous peoples, as mentioned with the song’s line “Wounded Knee over again.” Wounded Knee was the site of an 1890 massacre where the U.S. Army killed hundreds of Lakota Sioux.

Butterflies 

The song “Butterflies” references The Hopi Butterfly Dance, a traditional ceremonial dance performed by the Hopi people, particularly the youth, as a form of social celebration and expression of spirituality. Held in late summer and early fall within Hopi villages in northern Arizona, this two-day event occurs after the harvest and is particularly associated with giving thanks for the corn crop.​

The dance is deeply symbolic, with the butterfly representing transformation and renewal, akin to how butterflies pollinate flowers, which is vital for sustaining life. In Hopi mythology, the butterfly maiden kachina, known as Polik-mana, is associated with this dance. She represents the spirit being that brings life-giving rain, essential for the desert farming lifestyle of the Hopi.

The dancers, especially the maidens, wear elaborate headdresses called tablitas, which are adorned with symbols of corn, butterflies, and prayers. These elements highlight the dance’s purpose in paying homage to the natural world, the butterflies’ role in pollination, and the spiritual connection the Hopi maintain with their environment. The dance is a visual and spiritual expression of gratitude, as well as a prayer for rain, which is essential for their crops and, by extension, their way of life​.

Spirit Walker 

In essence, “Spiritwalker” encapsulates a journey beyond the physical world, seeking an extraordinary experience of spirituality and connection with the metaphysical aspects of existence.

The song is a prayer to nonconformity, to be one with the Spirit, to connect with higher realms. Indigenous tribes believe the Spiritwalker is a mystic, bridging the spirit and mortal worlds. This person is in charge of the spiritual well-being of their tribe.

Dreamtime

For The Cult, “Dreamtime” refers to their full-length debut album and its title track, which was released in 1984. The album incorporates Native American themes, and the song “Dreamtime” is inspired by Aboriginal mythology, expressing themes of longing for personal freedom, self-expression, and a connection to an inner world of dreams and imagination.

In Aboriginal Australian culture, “Dreamtime” or “The Dreaming” refers to a foundational mythological period of time that explains the creation of the world and its natural features by the Ancestral Spirits. It is a core component of their spiritual and philosophical worldview, encompassing the genesis of life, the establishment of natural patterns and cycles, and the origin of laws of existence. The Dreamtime represents both a historical time and a continuing spiritual reality, shaping the culture’s connection to the land, its people, and the universe at large.

The Cult Presents Death Cult Tour Dates 2023:

November 6: Belfast, UK — Telegraph
November 7: Dublin, IE — Olympia
November 9: Sheffield, UK — Foundry
November 10: Liverpool, UK — Guild of Students
November 12: Glasgow, UK — Barrowland
November 13: Nottingham, UK — Rock City
November 14: Birmingham, UK — O2 Institute
November 16: Bournemouth, UK — O2 Academy
November 17: Norwich, UK — UEA
November 18: Manchester, UK — Albert Hall
November 20: London, UK — Brixton Electric
November 21: London, UK — Brixton Electric

Connect with The Cult

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The post <a href="https://post-punk.com/running-with-shadows-an-interview-with-death-cults-ian-astbury/">Running With Shadows — An Interview with Death Cult’s Ian Astbury</a> appeared first on <a href="https://post-punk.com">Post-Punk.com</a>.

Source: Post-Punk.com

Electronic Frequency is back with an all new single, “Destrudo”, taken from the album of...

Source: Side Line

Die Technical Death Metal-Band ORPHALIS hat nach dem Video-Clip zu “Ritual of Conflagration” mit “The Wolves Draw Near” ein Vocal-Playthrough-Video ihres aktuellen Albums “As The Ashes Settle” veröffentlicht. Es ist das vierte Album der Deutschen aus Dortmund und ist am 25. August 2023 via Transcending Obscurity Records erschienen. Das Cover-Artwork stammt von Adam Burke.

ORPHALIS sind Sänger Thomas Szczecina, die Gitarristen Jens Dürholt und Morten Formeseyn, Bassist Thomas Köhler sowie Drummer Phillip Hatcher.

ORPHALIS “As The Ashes Settle” Tracklist
1. As the Ashes Settle (Audio bei YouTube)
2. Ritual of Conflagration (Video bei YouTube)
3. Watch them Descend
4. The Wolves Draw Near (Vocal-Plathrough-Video bei YouTube)
5. An Effigy to Humanity
6. Staring into Ruin
7. Moon Supremacy
8. From Shadows Arisen (Audio bei YouTube)
9. Labyrinth Configuration
10. To Embrace Defeat
11. Crowned in Hatred

Source: Vampster

Black Sugar Transmission Album: Menace and Magic / Automatic Category: Electro / Rock Label: Self-Released Release Date: 2023-09-01 / 2023-10-06 Author: Ilker Yücel (Ilker81x)   Under the banner of his own Black Sugar Transmission, Andee Blacksugar has demonstrated a uniquely exploratory mindset to rock and pop music, infusing elements of goth, glam, electro, industrial, and […]

Source: EBM.gr

Cyanotic
Album: The After Effect
Category: Industrial / Coldwave
Label: Glitch Mode Recordings
Release Date: 2023-09-09
Author: Ilker Yücel (Ilker81x)

[..]

Source: RE:GEN Mag

Supernova 1006 are a duo from St. Petersburg who play on the border between Post-Punk and Wave and have a knack for melody. Garnished with a touch of nostalgic sounds and rousing rhythms, Supernova 1006, who were founded in 2014, manage to create little gems that immediately catch the ear without drifting into kitsch. In […]

Source: Orkus

Es läuft eigentlich ziemlich gut für CIRITH UNGOL. Nach der Comeback Single “Witch´s Game” folgte 2020 das umjubelte fünfte Studioalbum “Forever Black”, auf dem die Band meiner Meinung nach nahtlos an ihre Achtziger-Alben angeschlossen hat. Auch live war man durchaus aktiv, nun hat man kürzlich mit “Dark Parade” ein weiteres Studioalbum veröffentlicht. Kurz vor der Veröffentlichung gab die Band erst den gesundheitlich bedingten Ausstieg von Gitarrist Jim Barraza bekannt und verkündete kurz darauf, dass man nach 2024 keine weiteren Live-Shows mehr spielen werde. Diese Formulierung schließt weiteres Studiomaterial natürlich nicht aus, vielleicht können wir uns also noch auf weitere Alben der Band freuen?

Jimmy Barazza zeigt sich auf “Dark Parade” mit überragendem Gitarrenspiel
Prognosen sind schwierig, besonders wenn sie die Zukunft betreffen, sagte einst ein berühmter Philosoph. Erfreuen wir uns also erstmal an dem, was ist: “Dark Parade”, dem sechsten Album von CIRITH UNGOL. Mit “Velocity (S.E.P.)” setzen CIRITH UNGOL wie schon auf dem letzten Album den schnellsten Song gleich an den Anfang. Dabei kommt “Velocity (S.E.P.)” etwas gemäßigter und nicht ganz so bretthart und eindringlich wie “Legions Arise” vor drei Jahren aus den Boxen gebrettert. Dafür schenkt uns Jimmy Barazza mit seinen Soli schonmal so richtig einen ein, was sich durch das ganze Album ziehen wird. Der Mann prägt “Dark Parade” mit einem überragenden Gitarrenspiel genauso wie Frontmann Tim Baker.

Auch Tim Baker prägt den Sound von CIRITH UNGOL – und das besser denn je
Dessen Gesang ist so extrem wie eh und je, klingt aber seit der Reunion kraftvoller und kontrollierter als damals in den Achtzigern. Seine extreme Stimme wird aber weiterhin ein Ausschlusskriterium für viele sein, während sie für andere eben den Reiz dieser großartigen, einzigartigen Band ausmacht. “Relentless” war der erste Song, den CIRITH UNGOL nach dem Release von “Forever Black” geschrieben haben. Das Stück ist verdammt heavy und spielt mit einigen orientalischen Melodien. Das über acht Minuten lange “Sailor on the Seas of Fate” ist ein echtes Epos, startet doomig schleppend, im Mittelteil geht ein weiteres tolles Barazza-Solo in einen ausgedehnten, schnellen Instrumentalpart über mit wunderbar rohem Gitarrensound und dreckigem Bass.

Mit “Dark Parade” liefern CIRITH UNGOL ein selbst für ihre Verhältnisse finsteres und trostloses Album ab
Insgesamt ist “Dark Parade” selbst für CIRITH UNGOL-Verhältnisse ein sehr unzugängliches, forderndes Album. Das Songmaterial ist rau, trostlos, finster und kalt, das ganze Album strahlt eine Düsternis und Hoffnungslosigkeit aus. Auch das kann Epic Metal sein, keine Heldengesänge, keine epischen Schlachten. Ok, um die ging es bei CIRITH UNGOL noch nie. Doch solch ein Biest von einem Album nötigt Respekt ab. Songs wie das brachiale “Sacrifice” oder das verzweifelte “Down Below” liefern den Soundtrack zur Apokalypse. Es wird weiterhin nur ein gewisses Nischenpublikum sein, welches CIRITH UNGOL auf ihrem Pfad in die Dunkelheit zu folgen bereit ist. Dieses wird “Dark Parade” aber mit offenen Armen empfangen. Ein ganz großes, finsteres Stück Epic Metal und natürlich eines der Highlights des Jahres.

Veröffentlichungsdatum: 20.10.2023

Spielzeit: 44:09

Line Up:
Tim Baker – vocals
Jimmy Barraza – guitar
Greg Lindstrom – guitar
Jarvis Leatherby – bass
Rob Garven – drums

Label: Metal Blade Records

Facebook: https://www.facebook.com/cirithungolofficial
Bandcamp: https://cirithungol.bandcamp.com
Instagram: https://www.instagram.com/cirithungolband

CIRITH UNGOL “Dark Parade” Tracklist
01. Velocity (S.E.P.) (Audio bei YouTube)
02. Relentless
03. Sailor on the Seas of Fate
04. Sacrifice
05. Looking Glass (Lyric-Video bei YouTube)
06. Dark Parade
07. Distant Shadows
08. Down Below

Source: Vampster

Cyanotic Album: The After Effect Category: Industrial / Coldwave Label: Glitch Mode Recordings Release Date: 2023-09-09 Author: Ilker Yücel (Ilker81x)   Art and music have always been a powerful means to address and process tragedy, and Cyanotic has certainly had its fill over nearly two decades – fallen idols, brothers in arms, partners in life… […]

Source: EBM.gr

Genre/Influences: Industrial-Techno, Dark-Techno.

Format: Digital.

Background/Info: DJ Simon Carter -known from his collaboration with Studio-X and Fabsi but also active under his own name plus Humans Can’t Reboot and Narconic, strikes back with a new EP featuring seven tracks.

Related newsChris & Cosey announce remastered limited edition vinyl series of 'Elemental 7' (1984), 'Muzik Fantastique!' (1993) and 'Feral Vapours Of The Silver Ether' (2007)Content: The title song is driven by a brutal, unpolished, hard, techno kick with spoken samplings and a cold gimmick running through it. You’ll discover 3 alternative edits of the title song at the end of the EP. The 3 tracks left are still driven by elements of Dark-Techno but the tempo is slower and the tracks more elaborated.

+ + + : I personally prefer the 3 ‘B-sides’ cut instead of the title track. These cuts are more sophisticated and I especially like the slower tempo mixed with refined bleeps and icy sequences. “The Living And The Dead” is a genius piece of Dark-Techno moving progressively till reaching a climax. “Simon (Body Trap)” is a noticeable piece for its Techno-Body sound. I also have to say a word about the different ‘alternative’ edits of “Don’t Blink” which I personally prefer for their darkness, Industrial- and even EBM elements.

– – – : The original edit of the title song is the single cut which couldn’t convince me. I especially don’t like the brutal, unpolished, flat kick.

Related newsClick Interview with Simon Carter: ‘I’m Enjoying Making Music Again’Conclusion: Simon Carter confirms with all of his projects that he’s involved with, to be an atypical artist active in the wider fields of Techno music.

Best songs: “The Living And The Dead”, “Simon (Body Trap)”, “Don’t Blink – Industrial Version”.

Rate: 7½.

Related newsStudio-X vs. Simon Carter remix album tracks for new 'Our Promise' EP - out nowArtist: https://simoncarter.info / http://www.facebook.com/HumansCantReboot

Source: EBM.gr

Genre/Influences: Industrial-Techno.

Format: Digital.

Background/Info: The collaboration between British Simon Carter and German Fabsi started during lockdown. After a debut-EP followed by the remarkable first full length “The Bitches Potion” the duo strike back with a new opus featuring eleven songs.

Related newsSimon Carter & Fabsi – The Bitches Potion (Album – Simon Carter)Content: The album moves on where its predecessor stopped; a heavy sonic potion of Dark-Techno and other elements like EBM and Industrial. The half spoken and whispering-like vocals by Fabsi again inject this sensual, ghost-like, touch to the work.

+ + + : I already liked the debut album by the duo which confirms at “Hex, Herbs ‘N’ Techno” they’ve found a magic sound formula to mix Techno mix with other influences. I’m not affirming they innovate but deal with an exciting, personal approach. The work is recovered by a magic flavor which is accentuated by Fabsi’s spooky vocals. Simon Carter perfectly knows how to make people dance and that’s what this project has been made for. “Moonchild” is a true masterpiece, kind of title track for an EP revealing danceable vibes and irresistible sequences made by great sound treatments. The song still has a sexy touch as well.

– – – : The last part of the work isn’t my favorite one so the best comes rather at the debut and first part.

Conclusion: Bewitching Techno music by a sexy British/German duo.

Best songs: “Moonchild”, “The Power Of The Moon”, “Mondkind”, “Cleansing”.

Rate: 8.

Artist: https://simoncarter.info / http://www.facebook.com/HumansCantReboot

Source: EBM.gr

Datarock
Album: Media Consumption Pyramid
Category: Postrock / Electronic Rock
Label: YAP Records / Apollon Records
Release Date: 2023-09-29
Author: Vincent Rullo (DJ_Underminer)

[..]

Source: RE:GEN Mag

Datarock Album: Media Consumption Pyramid Category: Postrock / Electronic Rock Label: YAP Records / Apollon Records Release Date: 2023-09-29 Author: Vincent Rullo (DJ_Underminer)   With a range of styles like a collection of loosely but very clearly related short stories, Media Consumption Pyramid is a lot of things… but boring is not one of them. […]

Source: EBM.gr

Die norwegischen Dark Metal Veteranen AETERNUS präsentieren den neuen Song „Wresting Worm“ aus ihrem kommenden Album „Philosopher“, das am 17. November auf Agonia Records erscheint.
Preorders: https://aeternus-philosopher.com/

Info:
„Philosopher“ was recorded, produced & mixed by the band & Herbrand Larsen at Conclave & Earshot Studios (Immortal, Enslaved) and mastered by Lawrence Mackrory at Rorysound Studio (Bloodbath, Vomitory). The cover artwork, illustrations and layout was crafted by Mar.A. (Cultes Des Ghoules, Deus Mortem).

Source: Amboss-Mag.de

Rückblickend betrachtet ist es natürlich ein kleiner Geniestreich: Indem ONTBORG den eingängigen Melodien des traditionellen Melodic Death Metal ungleich dreckige HM-2-Gitarren entgegensetzen, scheinen die Südtiroler den größten Fallgruben des Genres geradezu elegant aus dem Weg zu gehen.  Nicht nur präsentiert sich „Following The Steps Of Damnation“ mit seinem leichten Oldschool-Anstrich erfreulich roh, auch behält sich dieses Zweitwerk dank nostalgischer Klangfarben seine Ecken und Kanten bei.

Selbst das unverschämt eingängige „Steps Of Damnation“ bewahrt sich den Schleifpapier-Charme, den ONTBORG im Folgenden nach allen Regeln der Kunst zu zelebrieren wissen. Das reicht über schwarzmetallische Anleihen in „Nightfall“ bis hin zum getragenen Auftakt des fast neunminütigen „To The North“. Weniger melancholisch geht es dagegen in „Purgatory“ zu, wo auch mal frühe AMON AMARTH durchschimmern, während die treibenden „Echoes Of Time“ und „I Am The Night“ mit dem Furor AT THE GATES‘ die Flucht nach vorne suchen.

ONTBORG bleiben innerhalb des abgesteckten Rahmens doch vielfältig
Trotz des recht klar abgesteckten Rahmens dreht sich „Following The Steps Of Damnation“ folglich nicht im Kreis: Die Herangehensweise ONTBORG s ist dabei vielfältig genug, um selbst die üppige Laufzeit von 56 Minuten ohne nennenswerte Längen auszufüllen. Dass wir auf wirklich neue Impulse für das Genre im Gegenzug verzichten müssen, lässt sich aus genannten Gründen verschmerzen. Schließlich sägt sich das Quartett dank eines kleinen Geniestreichs mit knarzigem Sound und unwiderstehlichen Melodien doch unweigerlich in unsere Herzen.

Veröffentlichungstermin: 24.02.2023

Spielzeit: 55:57

Line-Up
Lukas Flarer – Vocals, Gitarre
Florian Reiner – Gitarre
Christoph Gufler – Bass
Christoph Flarer – Drums

Produziert von Lukas Flarer

Label: Black Lion Records

Facebook: https://www.facebook.com/Ontborg/

ONTBORG “Following The Steps Of Damnation” Tracklist
01. Steps Of Damnation (Video bei YouTube)
02. Purgatory (Video bei YouTube)
03. Echoes Of Time
04. Nightfall (Lyric-Video bei YouTube)
05. To The North
06. Underneath
07. I Am The Night
08. Ending Path
09. Old Mother Frost
10. The Tower

Source: Vampster

  CHEMICAL SWEET KID – Krefeld, Kulturfabrik (03.11.2023)

Source: monkeypress.de

PHIL CAMPBELL AND THE BASTARD SONS haben für Herbst 2023 eine Tour durch Europa angekündigt. Vorstellen wird man dabei auch das dritte Studioalbum “Kings Of The Asylum”, das am 1. September 2023 erschienen ist. Es ist die erste Platte mit Sänger Joel Peters. Jetzt präsentierte die Gruppe mit “Maniac” eine weitere Single daraus.

Zum Release veröffentlichte die Band darüber hinaus ein weiteres Musikvideo, diesmal zum Stück “Strike The Match”. Mit “Hammer And Dance” hat die Formation im Juli 2023 die zweite Single geteilt, bereits im Juni veröffentlichten PHIL CAMPBELL AND THE BASTARD SONS den Song “Schizophrenia” bei YouTube.

Gitarrist Phil Campbell hat zur Platte Folgendes zu sagen:

“Es war eine großartige Erfahrung, dieses Album zusammen mit Joel und dem Rest meiner Jungs zu schreiben. Wir haben ein paar monströse Riffs und Hooks für euer Hörvergnügen entwickelt. Wir können es kaum erwarten, einige dieser Songs in einigen unserer alten Lieblingsstädte zu spielen und auch einige neue Orte zu besuchen!”

PHIL CAMPBELL AND THE BASTARD SONS “Kings Of The Asylum” Artwork

PHIL CAMPBELL AND THE BASTARD SONS “Kings Of The Asylum” Tracklist
1. Walking In Circles2. Too Much Is Never Enough3. Hammer And Dance (Video bei YouTube)4. Strike The Match (Video bei YouTube)5. Schizophrenia (Video bei YouTube)6. Kings Of The Asylum 7. The Hunt8. Show No Mercy9. No Guts! No Glory!10. Ghosts11. Maniac (Video bei YouTube)12. Monster (CD Bonus Track)

PHIL CAMPBELL AND THE BASTARD SONS Tourdaten 2023

19.09.23 UK – Brighton / The Arch
20.09.23 BE – Sint-Niklaas / De Casino
21.09.23 DE – Essen / Turock
22.09.23 DE – Neuenstadt am Kocher / Stadthalle Neuenstadt
23.09.23 DE – Aachen / Musikbunker
24.09.23 FR – Paris / Petit Bain
26.09.23 ES – Barcelona / Salamandra
27.09.23 FR -Lyon / Marché Gare
28.09.23 IT – Ranica / Druso Club
29.09.23 DE – München / Backstage Werk
30.09.23 CH – Düdingen / Bad Bonn
01.10.23 DE – Aschaffenburg / Colos-Saal
03.10.23 TBA
04.10.23 CZ – Prague / Storm
05.10.23 DE – Hamburg / Uebel & Gefährlich
06.10.23 DE – Berlin / Frannz
07.10.23 DE – Münster / Sputnikhalle
08.10.23 NL – Uden / De Pul
10.10.23 ES – Santanyi (Mallorca) / Full Metal Holiday
02.11.23 UK – Great Yarmouth / Hard Rock Hell
18.11.23 DE – Weißenhäuser Strand / Metal Hammer Paradise
21.11.23 UK – Stoke-on-Trent / The Sugarmill
22.11.23 UK – Glasgow / Garage
23.11.23 UK – Leeds / Warehouse
24.11.23 UK – Manchester / The Bread Shed
25.11.23 UK – Derby / The Hairy Dog
26.11.23 UK – Oxford / O2 Academy Oxford
28.11.23 UK – Exeter / Phoenix
29.11.23 UK – London / O2 Academy Islington
30.11.23 UK – Porthcawl / Planet Rockstock
01.12.23 UK – Southampton / Engine Rooms
02.12.23 UK – Birmingham / O2 Institute2

Fotogalerie: PHIL CAMPBELL AND THE BASTARD SONS – Hirsch, Nürnberg – 9.10.2022

Source: Vampster

Die Blackened Deathcore-Band CARNIFEX kommt im März und April 2024 nach Europa, um ihr aktuelles Album “Necromanteum” (2023) live vorzustellen. Angesetzt sind dabei auch Konzerte in Köln, Berlin, Karlsruhe, München, Leipzig, Hamburg, Wien (A) und Pratteln (CH).

Für das Vorprogramm konnten die US-Amerikaner ABORTED, REVOCATION sowie VEXED gewinnen.

CARNIFEX, ABORTED, REVOCATION, VEXED Tourdaten 2024

16.03.24 DE – Köln / Essigfabrik
17.03.24 DE – Berlin / SO36
19.03.24 SE – Stockholm / Slaktkyrkan
20.03.24 SE – Gothenburg / Brewhouse
21.03.24 DK – Copenhagen / Amager Bio
22.03.24 NL – Hengelo / Metropool GZ
23.03.24 UK – London / Electric Brixton
24.03.24 UK – Manchester / Club Academy
25.03.24 UK – Bristol / SWX
27.03.24 FR – Paris / Le Machine Du Rouge
28.03.24 BE – Sint-Niklaas / Casino
29.03.24 CH – Pratteln / Z7
30.03.24 DE – Karlsruhe / Substage
31.03.24 DE – München / Technikum
01.04.24 IT – Milan / Legend
02.04.24 AT – Wien / Arena
03.04.24 CZ – Prague / Palac Akropolis
04.04.24 PL – WrocÅ‚aw / ZaklÄ™te Rewiry
05.04.24 DE – Leipzig / Hellraiser
06.04.24 DE – Hamburg / Markthalle

Source: Vampster

Henrik Karlsson is one half of the dark industrial duo Seven Trees, and recently he’s created a new side project for his more ambient music. The first release is called “Zechrum” and it is a suitably creepy and dark album, while the upcoming “Etterath” is a bit more rhythmic, while still staying in touch with […]

Source: Release Music Magazine

Die Death Metal-Band SUFFOCATION meldet sich mit ihrem neunten Full-Length-Album zurück: “Hymns From The Apocrypha” erschien am 3. November 2023 via Nuclear Blast auf CD, Vinyl sowie digital. Es ist die erste Platte mit Sänger Ricky Meyers. Zum Release gibt es nun ein Lyric-Video zu “Delusions Of Mortality” bei YouTube.

Reinhören kann man außerdem in die zweite Single “Perpetual Deception”. Als erste Single veröffentlichten SUFFOCATION ein Video zu “Seraphim Enslavement” bei YouTube.

Bassist Derek Boyer verspricht Gewohntes und einige Neuerungen, er sagt über “Hymns From The Apocrypha”:

Dies ist mein fünftes Studioalbum mit SUFFOCATION und dieses Album ist KRANK! Es bietet all die brutalen, technischen, chaotischen Wendungen, die man von SUFFOCATION erwartet, plus neue Elemente, die außerhalb des normalen Bereichs liegen, den man erwarten würde. Dies ist der zweite Versuch der Zusammenarbeit mit Christian Donaldson (der Live In North America abgemischt und gemastert hat) und er hat es auf diesem Album absolut geschafft! Wir können es kaum erwarten, diese Songs auf die Bühne zu bringen und alles zu zerstören, was sich uns in den Weg stellt!”

“Hymns From The Apocrypha” wurde von der Band in Zusammenarbeit mit Christian Donaldson produziert. Das Cover-Artwork stammt von Giannis Nakos.

Im Winter 2024 kommen SUFFOCATION auf Europatour, um das neue Material live zu präsentieren. Im Vorprogramm mit dabei sind SANGUISUGABOGG, ENTERPRISE EARTH sowie ORGANECTOMY.

SUFFOCATION “Hymns From The Apocrypha” Tracklist
1. Hymns From The Apocrypha
2. Perpetual Deception (Video bei YouTube)
3. Dim Veil Of Obscurity
4. Immortal Execration
5. Seraphim Enslavement (Video bei YouTube)
6. Descendants
7. Embrace The Suffering
8. Delusions Of Mortality (Lyric-Video bei YouTube)
9. Ignorant Deprivation.

SUFFOCATION, ENTERPRISE EARTH, SANGUISUGABOGG, ORGANECTOMY Tourdaten 2024

26.01.24 DE Dortmund – Junkyard
27.01.24 FR Paris – Petit Bain
28.01.24 FR Toulouse – Le Rex
29.01.24 ES Bilbao – Stage Live
30.01.24 ES Madrid – Mon Live
31.01.24 ES Barcelona – Salamandra
01.02.24 FR Lyon – MJC Ô Totem
02.02.24 CH Aarau – KiFF
03.02.24 IT Milan – Legend Club
04.02.24 AT Salzburg – Rockhouse
05.02.24 HU Budapest – Dürer Kert
06.02.24 AT Wien – Viper Room
07.02.24 DE München – Backstage
08.02.24 DE Karlsruhe – Die Stadtmitte
09.02.24 DE Frankfurt – Das Bett
10.02.24 NL Drachten – Drachten Deathfest
11.02.24 DE Hannover – Faust
12.02.24 DK Copenhagen – Pumpehuset
13.02.24 DE Hamburg – Logo
14.02.24 PL PoznaÅ„ – 2Progi
15.02.24 CZ Prague – Futurum
16.02.24 DE Chemnitz – AJZ
17.02.24 DE Berlin – Hole44
18.02.24 NL Tilburg – Poppodium 013
19.02.24 UK Bristol – The Fleece
20.02.24 UK Birmingham – Asylum
21.02.24 UK Glasgow – Slay
22.02.24 UK Manchester – Club Academy
23.02.24 UK London – O2 Academy Islington
24.02.24 UK Southampton – The Loft
25.02.24 BE Antwerp – Zappa

Source: Vampster

Die Death Metal-Band FUMING MOUTH veröffentlichte am 3. November 2023 ein neues Studioalbum mit dem Titel “Last Day Of Sun”. Gitarrist und Sänger Mark Whelan, der Ende 2021 mit Leukämie diagnostiziert wurde und nach Chemotherapie und Knochenmarktransplantation nun wieder genesen ist, erklärt:

“Was als fiktives Konzeptalbum begann, wurde unglaublich real. Ich hatte den sicheren Tod vor Augen, aber als ich das Album weiterschrieb, wurde das Thema klar. Du könntest morgen sterben. Nutze den Tag.”

Zum Release teilten FUMING MOUTH jetzt auch den Song “Kill The Disease” als Lyric-Video bei YouTube. Das Stück folgt auf die Auskopplung  “I’ll Find You” bei YouTube. Schon im September stellte die Band die erste Single “The Silence Beyond Life” als Videoclip bei YouTube vor. 

“Last Day Of Sun” erschien via Nuclear Blast auf CD, Vinyl sowie digital.

FUMING MOUTH “Last Day Of Sun” Artwork

FUMING MOUTH “Last Day Of Sun” Tracklist

Out of Time
Respect and Blasphemy
The Silence Beyond Life (Video bei YouTube)
The Sign of Pain
Leaving Euphoria
I’ll Find You (Video bei YouTube)
Disgusterlude
Kill the Disease (Lyric-Video bei YouTube)
Last Day of Sun
R.I.P. (Rest in Piss)
Burial Practices
Postfigurement

Fotogalerie: FUMING MOUTH – Summer Breeze 2023 – 18.08.2023

Source: Vampster

After the successful shows in Langen, Berlin, Leipzig, Hamburg, Amsterdam, and Oberhausen earlier this year, Front 242 and Nitzer Ebb started November 2023 with the second round of the ‘Join The Forces’ tour.

Source: Side Line

(By our Norwegian correspondent Jan Ronald Stange. Photos by Tarjei Krogh, Truls A. Bakken and Jan Ronald Stange) After the successful shows in Langen, Berlin, Leipzig, Hamburg, Amsterdam, and Oberhausen earlier this year, Front 242 and Nitzer Ebb started November 2023 with the second round of the ‘Join The Forces’ tour.

They kicked off in Oslo, the capital of Norway, and then headed to Sweden, offering fans in Gothenburg the chance to experience this unique package. The tour’s final shows in Germany will take place in Munich and Heidelberg, being the last opportunity to see these two legends share the stage in a single evening.

The opening act in Norway and Sweden were the up-and-coming Swedish queen of EBM, REIN, bringing her aggressive voice and beats. Douglas McCarthy’s longtime collaborator Terence Fixmer will open the evening at the German shows.

Related newsNitzer Ebb frontman Douglas McCarthy enjoys successful comeback after health problemsLike many in the audience, I too was curious about the health of Douglas when Nitzer Ebb entered the stage and how it would affect his performance. We all noticed a somewhat frail frontman at the start, but as the show progressed and both audience and band were warmed up, he seemed better and better, leaving us very happy with their concert.

Front 242 started, as usual, with their waving flashlight in ‘First In/First Out’, and was energetic throughout their whole show. The highlight for most was ‘Headhunter’, making the whole audience jump and the floor literally moving!

Must also mention that Tarjei Krogh, the photografer of the NEP/F242 photos (here caught on camera himself taking these photos), also are a musician and producer in various EBM/electronic bands since the 80’s! Do check out his most recent project Norwegian Giants!

Related newsPreviously unpublished promo photo Recoil pops online feat. Alan Wilder and Douglas McCarthy from Nitzer Ebb

Source: EBM.gr

Madil Hardis
Album: Natural Darkness
Category: Electronic / Classical
Label: Self-released
Release Date: 2023-10-06
Author: Stitch Mayo (StitchM)

[..]

Source: RE:GEN Mag

Violet Silhouette
Album: FEVERBLUE EP
Category: Synthpop / Post-Punk
Label: Self-Released
Release Date: 2023-10-20
Author: Ilker Yücel (Ilker81x)

[..]

Source: RE:GEN Mag

Venera Album: Venera Category: Dark Ambient / Electronic / Experimental Label: Ipecac Recordings Release Date: 2023-10-13 Author: Ilker Yücel (Ilker81x)   Formed in 2022 by James “Munky” Shaffer and Chris Hunt, Venera’s self-titled debut album is perhaps best described as sounding like a soundtrack to a fantastical sci-fi/horror movie. This should come as no surprise […]

Source: EBM.gr

Venera
Album: Venera
Category: Dark Ambient / Electronic / Experimental
Label: Ipecac Recordings
Release Date: 2023-10-13
Author: Ilker Yücel (Ilker81x)

[..]

Source: RE:GEN Mag

Violet Silhouette Album: FEVERBLUE EP Category: Synthpop / Post-Punk Label: Self-Released Release Date: 2023-10-20 Author: Ilker Yücel (Ilker81x)   From West Palm Beach, FL comes Violet Silhouette with FEVERBLUE marking the band’s second EP release; through these six tracks, the band seeks to attain the highest understanding of love through extreme sensory experience, applying the […]

Source: EBM.gr

Unter dem Motto “History Rocks” (dt.: Geschichte rockt) hat die Power Metal-Band SABATON ein besonderes Vorhaben angekündigt: In Zusammenarbeit mit dem Animationsstudio YarnHub haben die Schweden einen Film zu ihrem aktuellen Album “The War To End All Wars” (2022) produziert. Der “The War To End All Wars – The Movie” betitelte Musikfilm erzählt die verschiedenen Geschichten der gleichnamigen Studioplatte nach und dauert ca. 67 Minuten. Einen Trailer kann man sich via YouTube ansehen.

Bassist Pär Sundström kommentiert:

“Sabaton und Museen gehen oft Hand in Hand – wir haben nur unterschiedliche Werkzeuge, um Geschichte zu erzählen. Mit dem Start dieses neuen Projekts erhalten die Museen ein weiteres Werkzeug.”

Gezeigt wird “The War To End All Wars – The Movie” dabei über einen Zeitraum von zwei Wochen um den 11. November 2023 (“Armistice Day” – “Tag des Waffenstillstands”) in ausgewählten Museen. Produziert wurde der Film ausschließlich in englischer Sprache, gezeigt wird der Film somit in der Originalversion mit Untertiteln (OmU).

SABATON zeigen “The War To End All Wars – The Movie” ausschließlich in Museen
Eine laufend aktualisierte Liste aller teilnehmenden Museen pflegen SABATON auf ihrer offiziellen Homepage. Dort besteht zudem die Möglichkeit, derzeit noch nicht teilnehmende Museen vorzuschlagen. Eine Veröffentlichung des Films in Kinos oder auf Streaming-Plattformen ist darüber hinaus nicht vorgesehen.

In Deutschland haben bislang folgende Kinos/Museen ihre Teilnahme zugesagt:

Anti Kriegs Museum, Berlin
Festung Königstein, Königstein
Flandernbunker / “Mahnmal Kilian” e.V., Kiel
Garnison Museum Ludwigsburg, Ludwigsburg
LVR-Niederrheinmuseum Wesel, Wesel

In Österreich zeigen folgende Museen den Film:

Peace Museum Vienna, Wien

Erst im Frühjahr 2023 waren SABATON auf Europatour. Wir haben die Band am 15. Mai 2023 in München live erlebt.

Fotogalerie: SABATON – Olympiahalle, München – 15.05.2023

Source: Vampster

Christuskirche, Bochum, Germany 1st November 2023Paul Carrack - Live 2023 - Support: Lauren Ray One of the most extraordinary event locations is the Christ-Church in Bochum. Concerts have also been held in this Protestant church for many years. The excellent acoustics have already delighted a number of artists and audiences. On this evening, the pews were filled with an older audience. The guest was the British singer and songwriter PAUL CARRACK with his band. Most people know him as a member of the band MIKE & THE MECHANICS, but he is also a composer for many other artists. LAUREN RAY played on her electric piano with a magical voice in the supporting program.

Source: Reflections of Darkness

Kulttempel, Oberhausen, Germany 28th October 2023Solar Fake - Support: Mental Exile Yesterday, Sven Friedrich took the stage at Kulttempel with MORPHOSE, and today he’s performing there again, this time with his colleagues from SOLAR FAKE, almost twice in a row. Joining them as a special guest is MENTAL EXILE. Singer Damasius Venys has already shared the stage with SOLAR FAKE as support multiple times this year. However, he did so with FUTURE LIED TO US, the collaborative project with Vasi Vallis and Krischan Jan-Eric Wesenberg. Today, he’s performing with his solo project, MENTAL EXILE, where he is supported live by his partner Daniele Jaeger. And the two of them have a surprise guest with them as well, but more on that later.

Source: Reflections of Darkness

Unitcode:Machine Album: Critical Fault Category: Electro / Industrial / Rock Label: COP International Release Date: 2023-10-06 Author: Ilker Yücel (Ilker81x)   Every new release from Eric Kristoffer saw him refining the sound of Unitcode:Machine, but with Critical Fault, he has made perhaps the most significant strides toward becoming one of the current electro/industrial scene’s most […]

Source: EBM.gr

Realize Album: Two Human Minutes Category: Industrial / Metal Label: To Live a Lie Records Release Date: 2023-09-22 Author: Ilker Yücel (Ilker81x)   From the reddened automated hellscape of Arizona comes this third offering from Realize, with the band further descending into the clutches of technological brutality. Whereas the previous Machine Violence album seemingly attempted […]

Source: EBM.gr

Softenon Babe Album: De Morte Per Ciborum EP Category: Dark Ambient / Death Industrial Label: Self-Released Release Date: 2023-09-09 Author: Ilker Yücel (Ilker81x)   Coming to terms with the limitations and fragility of one’s own body is no easy prospect, so it’s understandable that an EP like Softenon Babe’s De Morte Per Ciborum would not […]

Source: EBM.gr

Madil Hardis Album: Natural Darkness Category: Electronic / Classical Label: Self-released Release Date: 2023-10-06 Author: Stitch Mayo (StitchM)   Natural Darkness represents a significant milestone in the musical journey of vocalist/composer Madil Hardis. For those familiar with her work as the voice behind Ashbury Heights’ “Wild Eyes” and “A Cut in a Place,” this full-length […]

Source: EBM.gr

Realize
Album: Two Human Minutes
Category: Industrial / Metal
Label: To Live a Lie Records
Release Date: 2023-09-22
Author: Ilker Yücel (Ilker81x)

[..]

Source: RE:GEN Mag

Unitcode:Machine
Album: Critical Fault
Category: Electro / Industrial / Rock
Label: COP International
Release Date: 2023-10-06
Author: Ilker Yücel (Ilker81x)

[..]

Source: RE:GEN Mag

Was? Schon wieder ein neues AUTOPSY-Album? Tja, da hatte ich in meiner Rezension des großartigen letzten Albums “Morbidity Triumphant” noch angemerkt, dass die Band ihr Veröffentlichungstempo in den letzten Jahren etwas gedrosselt hat. Doch nun scheinen AUTOPSY wieder Blut geleckt zu haben. Und auf ihre alten Tage durchlebt die Band gerade ihren mindestens dritten Frühling, denn nachdem “Morbidity Triumphant” bereits ein echtes Highlight war, lassen AUTOPSY auf “Ashes, Organs, Blood And Crypts” qualitativ nicht nach, sondern liefern erneut eines der stärksten Death Metal-Alben des Jahres ab.

Ein paar Kniffe hier und da, ansonsten weiß man, was man bei AUTOPSY bekommt
Genau wie bei CANNIBAL CORPSE, deren aktuelles Album “Chaos Horrific” ebenfalls gewohnt stark ausgefallen ist, weiß man bei AUTOPSY, was man bekommt. Und trotz der Tatsache, dass die Band ihrem Stil natürlich treu bleibt, gibt es doch den einen oder anderen Trick, den Chris Reifert und Co noch aus der Kiste ziehen. So zum Beispiel die dick groovenden, ein wenig nach Stoner klingenden Riffs zu Beginn des Titelsongs. Generell lohnt es sich bei den Herren Cutler und Coralles genauer hinzuhören, denn die beiden spielen auf “Ashes, Organs, Blood And Crypts” ganz schön auf, gerade was die Soli angeht. Das macht richtig Spaß. Aber auch Greg Wilkinson bekommt im Gesamtsound viel Raum für seine Bassläufe.

Mit “Ashes, Organs, Blood And Crypts” begeistern AUTOPSY erneut auf ganzer Linie
Ansonsten gibt es nichts Neues zu vermelden. AUTOPSY zelebrieren auf ihrem zehnten Album ihre ganz eigene Version von Old School Death Metal mit jeder Menge Doom. Mal gibt es kriechenden Doom Death gepaart mit D-Beat Gekloppe wie bei “Well Of Entrails”, dann den wunderbar rotzigen Death Metal Punk “Toxic Death Fuk”, kompromisslose Raserei bei “Death Is The Answer” und den Schlusspunkt setzt das schleppende “Coagulation”. Wer wie ich “Morbidity Triumphant” schon zu den stärksten Alben der Band gezählt hat, der wird auch “Ashes, Organs, Blood And Crypts” abfeiern, denn das neue Werk ist kein Stück schwächer als sein grandioser Vorgänger.

Veröffentlichungsdatum: 27.10.2023

Spielzeit: 42:58

Line Up:
Chris Reifert – vocals, drums
Eric Cutler – guitars
Danny Coralles – guitars
Greg Wilkinson – bass

Label: Peaceville Records
Produziert von: Scott Evans & Greg Wilkinson

Facebook: https://www.facebook.com/people/Autopsy-Official/100050176223094
Instagram: https://www.instagram.com/autopsyofficial

AUTOPSY “Ashes, Organs, Blood and Crypts” Tracklist
01 – Rabid Funeral
02 – Throatsaw (Lyrics-Video bei YouTube)
03 – No Mortal Left Alive
04 – Well of Entrails
05 – Ashes, Organs, Blood and Crypts
06 – Bones To The Wolves
07 – Marrow Fiend
08 – Toxic Death Fuk
09 – Lobotomising Gods
10 – Death Is The Answer
11 – Coagulation

Source: Vampster

Die slowakische Metal-Band hat mittlerweile über sieben Studioalben veröffentlicht. Erster Sänger der Band war Göran Edman (ehem. Yngwie Malmsteen). Signum Regis bedeutet „Unterschrift des Königs“ und ist eine Anspielung auf Bandleader und Gründer Ronnie König. Eine gelungene Mischung aus Metal und Klassik offenbart sich auf dem neuen Album „Undivided“. Mehr erfährst Du in unserer Winterausgabe, […]

Source: Orkus

Behind this American solo-project is hiding Bruce Maollem. He was previously involved with Metal projects till he set up God Body Disconnect. The debut album “Dredge Portals” was released in 2016 by Cryo Chamber. Bruce became a prolific artist who this year released “The Weight Of Regression” which is his eighth album so far. The music reflects some of the darkest thoughts and states from his inner life.It’s a dark and tormented sound universe featuring narrating, ghost-like vocals. God Body Disconnect is an unique experience in sound which incited me to get in touch with the artist.

(Courtesy by Inferno Sound Diaries)

Q: I think to might affirm God Body Disconnect is a very personal, prolific and intimate sonic project. Do we’ve to see it as a kind of mirror to your inner self and how important is this music project to you?

Related newsGod Body Disconnect – The Weight Of Regression (Album – Cryo Chamber)Bruce: God Body Disconnect is a dear project to me. A mirror reflecting myself is an accurate description. It represents my fears, hopes, pain, emotional states, etc. The project can be viewed as a blueprint to my life.

Q: How do you perceive the evolution of God Body Disconnect from the very first album “Dredge Portals” released in 2016 to your newest opus “The Weight Of Regression”?

Bruce: I don’t think the overall direction of God Body Disconnect has changed all that much since it’s inception. Even on “Dredge Portals” I was writing melancholic music, and doing introspective monologues. I view all my solo-albums to be interconnected. Each album represents a view of myself. If there is an evolution, it is representative of my own emotional growth. “The Weight Of Regression” is just the next chapter in the book so to say.

Related newsGod Body Disconnect – Spiral Of Grief (Album – Cryo Chamber)Q: “The Weight Of Regression” is based on your experiences in psychiatric hospitals, mental illness, and a chaotic past. That makes this work very personal and I even get the feeling to become ‘voyeur’. Can you share a bit more details about the content and the goal behind the work? And in which way do you consider music and especially God Body Disconnect as a kind of self-therapy?

Bruce: “The Weight of Regression” is very much connected to the title itself. It explores the dread, and emotional weight of regressing in my mental health. Going back to the psychiatric hospital, or the medicine I depend on not working anymore is a real fear of mine. The album also delves back into my past, and some of the traumas that have brought me to this point. With that being said, there isn’t one definitive theme I can point to for this album, or any of my albums, besides exploring my life and emotions.

God Body Disconnect is most definitely akin to self therapy for me. It’s a place where I can fully express myself, and try to make some sense of how I’m feeling, and why. I don’t always get the answers I seek, but I usually come out of it with a better understanding of who I am.

Related newsGod Body Disconnect – The Dormancy (Album – Cryo Chamber)Q: God Body Disconnect also stands for a deeply, artistic music project. I’m always interested in the way an artist transposes concepts and especially inner-thoughts into music. Can you tell us a bit more about this procedure and your modus operandi to compose a track/album?

Bruce: I don’t have a set procedure for writing an album. When the inspiration hits, I’ll sit down and begin to compose. I’m never sure what the end result will be. The vocal narrations usually come at the end of the process, when I’ve had some time to process what music I’ve written. They aren’t well thought out or written monologues, but rather pieces of vocal recordings I’ll make at night off the cuff. When something resonates with me, I’ll use the vocals to build a story around the musical compositions. It’s sort of a backwards process, but it’s usually what works for me.

Q: What have been the highlights in the writing and production of the new album? And what have been the biggest challenges and difficulties?

Related newsGod Body Disconnect – The Wanderer’s Dream (Album – Cryo Chamber)Bruce: The highlights are always writing music that moves me inside, and the experience of going on a personal journey. The challenges are finding the correct path to begin the journey. I’ll sometimes write a full album, and find that I’ve reached a dead end with no real emotional closure. It’s then I’ll have to muster up the inner strength to start on a different path, hoping that it will reach something meaningful for me. It’s the same process with every album, not just my latest.

Q: I get the idea you must be already working on new ideas but what are the future plans and productions?

Bruce: I’m currently in production of a new God Body Disconnect solo-album. I’m also beginning to work with my good friend Pär Boström on our Underwater Sleep Orchestra-project. There is also a new non-Dark-Ambient project I’ve completed an album for that will soon see the light of day.

Source: EBM.gr

  Even as the band’s recorded output has been somewhat minimal, Republica remains a beloved name in the annals of alternative and electronic music thanks to singles like “Ready to Go,” “Drop Dead Gorgeous,” “Out of This World,” and “From Rush Hour with Love.” Now, after a considerable silence, Armalyte Industries has announced a new […]

Source: EBM.gr

Die Symphonic Black Metal-Band ZORNHEYM hat eine Akustik-EP mit dem Titel “The Forgotten Inmates” herausgebracht. Erschienen ist die Veröffentlichung am 3. November 2023 via Noble Demon. Zum Release veröffentlichte die Gruppe zudem einen Clip zur Folk-Version des Songs “Slumber Comes In Time” bei YouTube.

Reinhören ist bereits seit längerem möglich: Das Lyric-Video “Keep The Devil Away” steht bei YouTube bereit. Der Clip ist zugleich ein Vorgeschmack auf die kommende Graphic-Novel-Versiion des Albums “The Zornheim Sleep Experiment”.

Produziert wurde die EP von Sverker Widgren und Zorn. Ersterer zeichnet zudem für Mix und Mastering verantwortlich. Das Artwork gestaltete Anu Saari.

ZORNHEYM “The Forgotten Inmates” Tracklist
01. Keep the Devil Away (acoustic version) (Lyric-Video bei YouTube)
02. Slumber Comes in Time (folk version) (Video bei YouTube)
03. Whom the Night Brings… (lockdown version)
04. Corpus Vile (acapella)
05. Garde le Diable Éloigné (French version) (Lyric-Video bei YouTube)

Source: Vampster

  The duo of Joel Niño, Jr. and Luis Navarro has been earning quite the accolades as Twin Tribes has become one of the most acclaimed acts in the current waves of post-punk revivalism. Friday, November 3 saw the release of the “Monolith” single, marking the first taste of the duo’s forthcoming Pendulum album, along […]

Source: EBM.gr

Die Black Metal-Band WRATH OF LOGARIUS (ehemals MARTYR LOGARIUS) veröffentlicht ihre EP “Necrotic Assimilation” am 8. Dezember 2023 via Season of Mist ausschließlich digital. Den zweiten Vorab-Song “Soul Ascension” kann man sich nun bei YouTube anhören.

Einen Höreindruck liefert außerdem die Single “The Burning One” bei YouTube. Erst im September unterschrieb die Formation beim neuen Label.

WRATH OF LOGARIUS “Necrotic Assimilation” Tracklist

At the Nighted Throne
Swarm
The Burning One (Lyric-Video bei YouTube)
I, the Void Dweller
Soul Ascension (Audio bei YouTube)
Beyond the Last Gate

Source: Vampster