Mayday, witches, altered states, and the spiritual path
May 02, 2013, 10:49:am
This time of year is opposite of Halloween but has some similar aspects in that the veils between the worlds are thinest, so it is a border time between states, between winter and summer. Anytime we are in a place that is between two states, a border state, we are at a crossroads of energy, a place where change can be best effected. It's why they say that witches meet at crossroads. May day is a day that is traditionally associated with witches (and by extension wizards too then). Magick is working with border states to effect changes. Altered states of consciousness, like when someone goes into a trance, is a border state.
When we do psychic readings this is a border state. We are acting as a link between the physical realm and the divine realm in that we pull in information from the divine realm into the physical realm. On the Lovers card of the tarot there is a man and a women, they represent the two sides of the brain. When we are able to link both sides to work together and be aware of each other in a stronger way then we can link to the angel being that stands over the man and women. The angel being is our higher awareness, the part that we tap into when we do psychic readings and to gain awareness of spiritual realities. Linking represents border state since it is between.
Meditation is the most powerful tool to help train these two sides of the brain to be able to link up and work together and be aware of each other, to become the lovers. It is why the Lovers card is associated with the astrology sign Gemini, since Gemini represents the double aspect of the brain, the right and left brain.
All forms of spiritual work and spiritual ritual help us to move into a border state so we can work on building our connection to the spiritual realm. This is the ultimate purpose of spiritual work, to change our focus from being linked to life in the physical realm, to longing for life in the spiritual realm.
Spiritual work is not easy. It requires constant effort but it is well worth it, and is the actual purpose why we are here, the physical realm is a place to learn and grow spiritually so we can eventually figure out how to transcend the physical and move on to reside in the divine realms in a higher form.
Each world religion or spiritual path offers us many possible divine afterlives to choose from. Once we have completed a high enough level of spiritual development after completing enough lifetimes living in the physical realm, we can move on to the spiritual afterlife that is connected to our choosing, based on what group of divine beings we decide to offer our worship to. Worshiping divine beings serves the purpose of establishing connection to and friendship with a certain set of deities. We need to establish this connection so we can be welcomed into their realm once we are ready. This is the purpose of any religion, as a tool to use to build a connection with which divine beings we choose to. All positive expressions of religion are equally as valid, they are different possible choices someone can make as to which afterlife location they prefer and which set of divine beings they wish to associate with and what lifestyle they prefer. Each religion has different options in terms of these things. We are free to choose the one as an individual that best suits us. No one else can pick for us what religion we should follow. It is the single most important individual choice. There is no right or wrong choice of religion, it is just a matter of personal taste.
RE-RELEASED DUE TO POPULAR DEMAND
ANGELSPIT INSPIRED JEWELLERY COLLECTION
Re-releasing Angelspit’s classic jewellery collection by popular demand – this time constructed using a new and highly strengthened material. The result is thinner, lighter, ultra-durable, more shatter proof and a higher resilience to scratching than the plastic conventionally used on perspex jewellery!
Friday September 27th and Saturday September 28th, 2013
Metro is located at
3730 N. Clark, Chicago, Illinois 60613 (Two Blocks North of Wrigley Field)
COLD WAVES II PERFORMERS:
DOUGLAS J. MCCARTHY (Nitzer Ebb)
DIE WARZAU (Re-united with Van Christie)
THE CLAY PEOPLE
and more TBA
Dj sets from:
Zoltar (from Q101, Planet Zoltar and Satellite radio's "Subterranean")
2 day Ticket prices are $56
2 DAY PASSES ON SALE FRIDAY AT NOON 4/12 VIA THE METRO WEBSITE AND SINGLE DAY PASSES/VIP PACKAGES ON SALE 4/19
Doors at 5pm and Show at 6pm
Proceeds from the show will go to support Hope for the Day foundation. (http://www.hftd.org/)
On Friday September 7th, 2012 a collection of musicians, peers, co-workers, friends and family gathered together to put on a memorial concert at the Bottom Lounge in Chicago to celebrate the life of Jamie Duffy who had passed away earlier that year. The Memorial show was referred to as Cold Waves: The Jamie Duffy Concert, in no small part due to the high number of “Cold Wave” artists who participated in it. Cold Wave is considered to be a sub-genre of Industrial Music and more specifically a mending of Industrial Rock and Industrial Metal. An All-star cast including such well known names of the Industrial genre included Paul Barker, Chris Connelly, Jared Louche, Martin Atkins, Steven Seibold, Jim Marcus, Jason Novak, Eric Powell, Curse Mackey among others who performed selections of songs by their bands; Revco, 16volt, Chemlab, Acumen Nation, The Damage Manual, Hate Dept., The Clay People and more that ended with an star studded jam worthy of paying respect to the man that Jamie Duffy was.
Well the result of this memorial show proved to be greater than anyone anticipated and it’s scope was even farther reaching than anyone could imagine. Not only did people flock to the Bottom Lounge from all over North America, but also from all corners of the world. But the real effect of this show was greater than simply selling out a 700 person venue, it re-united friends, mended broken relationships and sparked an interest in Industrial music as a whole again. The energy and emotion that was felt that Friday evening led to new collaborations and new inspiration. Inspiration that has brought us to Cold Waves 2: An Industrial Music Festival
This year the Cold Waves festival has been expanded to two nights and has seen a move to a larger venue, Chicago’s Metro. 14 “Industrial” bands that span across multiple genres including Rock, Metal, EBM, Drum n Bass and Punk will once again descend upon Chicago for two emotionally charged shows. The 2013 version of the Cold Waves Festival sees the return of CW alumus bands: Cocks Members, 16volt, The Clay People, Hate Dept., Iron Lung Corp and Chicago favorite DJ Zoltar (q101), best known as the “Brother from another Planet”. The rest of the nights lineups are filled out by the likes of Prong, Nitzer Ebb’s Douglas J. McCarthy, Die Warzau, Skrew, Acucrack, Evil Mothers, Plague Bringer and more to be announced soon.
Limited $56 2 day passes will go on sale Friday 4/12 via the Metro website and 1 day passes along with some very limited VIP packages will go on sale on 4/19. A portion of the proceeds will go to benefit Chicago’s Hope for the Day which utilizes music and the arts to offer education, prevention and hope against suicide.
More information can be found via the following websites:
What becomes an iconoclast the most? Carved Into Stone sums up what Prong stands for. This is an album slaked in hostility, personal detachment and seething with the urban paranoia that's long been the mark of this sonic triad. It's eleven tracks that don't merely settle into the New York City-born band's cannon of material that has yielded post-metal classics including Beg To Differ and Cleansing. It exceeds it. "I hate nostalgia," says mainstay, vocalist and guitarist Tommy Victor whose musical and personal outlook belies his current Los Angeles environs. "But this record literally has every strand of Prong's DNA spliced together in a way that feels more exciting than it has in some time."
Produced and mixed by Steve Evetts (Dillinger Escape Plan, Suicide Silence), Carved Into Stone picks up where Prong's classic albums left off. Opener "Eternal Heat" sets things off at a blistering pace fueled by drummer Alexei Rodriguez and bassist Tony Campos' formidable rhythm section. Meanwhile, the likes of "Revenge…Best Served Cold" is absolute, classic Prong: a huge riff slaked with bitter sentiments. Tommy Victor admits that Carved Into Stone is the first time Prong has taken direction from a producer in the studio. "It's also the hardest I've ever worked on a record," he says of working with Evetts. "I'm happier with the way it came out more than almost anything I've ever done but there were points during it I wanted to kill myself and everyone around me."Prong emerged from the New York City underground of the late 80's, quickly setting themselves apart from the conformist culture of the city's hardcore and metal scenes. They were recognized internationally for their first two independent releases: Primitive Origins and Force Fed. When Prong's dalliance with the outer limits of the mainstream acceptance came via Epic Records, it proved more successful than the underground-bred trio ever expected. The band's "Snap Your Fingers Snap Your Neck" from Cleansing became Prong's calling card. "It felt like the world had finally caught up with us," says Tommy. Prong's influence was being felt in the scene around them. Bands from the likes of Pantera to White Zombie to Korn were taking notice of Prong's purposeful, creative riffing and making that the template for platinum selling success. "I wasn't jealous," Tommy recalls. "But I could take a royalty check or two."At the beginning of the 2000's, Tommy put Prong aside for a time to play with Danzig and Ministry. It was a much-needed time for Victor to refocus his energies.
When Prong finally twisted itself back into form, they toured exhaustively both headlining and supporting the likes of Soulfly and Fear Factory. Slowly but surely, the songs and ideas that would become Carved Into Stone began to take form. "The songs I was writing felt more like Prong than anything I had written since Raven was in the band," says Tommy, recalling the era when the recently deceased ex-Killing Joke bassist Paul Raven was one of his co-conspirators.
After the Wax Trax Retrospectacle in 2011 and the original Cold Waves performance saw the likes of Chris Connelly, Luc Van Acker and Paul Barker pay homage to the mighty Cocks, it only seemed natural to find an alternate way to cleanse the world again. Revco Culture is alive and well and destined to reclaim the industrial trailer park glam mantel once more. Chaos and Mayhem are to be expected and encouraged.
Douglas McCarthy, already world renound as the legendary voice and founding member of the band Nitzer Ebb, has taken his time returning to music.
Nitzer Ebb, an avant-guarde electronic band, started in England in 1982 signing to Mute Records in 1986 after releasing a string of instant global club hits on their own label. Douglas brought the raw power of his voice to the band, along with an amazing stage performance seen all over the world with the brilliant Nitzer Ebb live show that was always full of the tension and rage of hits such as ‘Let Your Body Learn’, ‘Join in the Chant’, ‘Control I’m Here’, and ‘Getting Closer’ – tracks that are still as popular today as then.
Currently performing as Douglas J. McCarthy along with Cyrus Rex and Jeff Smith. His first solo album, Kill Your Friends, was released in November 2012 on Los Angeles-based label Pylon Records. The album was produced by British House DJ and producer Mark Bell
IRON LUNG CORP:
The mighty ILC, a long-standing collaboration between members of Acumen Nation and The Clay People released two albums before drifting apart in 2003. Best known for their searing cold wave cover of Nitzer Ebb's "Join in the Chant" and "Murderous" the ILC is back with a vengeance, adding a few guests along the way. Expect a new album with a surprising twist late in 2013.
As the story goes, both Acumen Nation and The Claypeople were headed out on Acumen’s first US tour ever back in 96. Along the way, the 2 bands put a cover together of Nitzer Ebb’s classic “Join In The Chant” and even threw in a little “Murderous” for medley fun… “Join In The Murderous Chant”When Reconstruction Records head honcho Chase saw them perform it live at the Whiskey in LA, he threw down the gauntlet and said the 2 should do a side project. But, instead of telling Chase the truth, that there really was no project, just the cover, the boys blurted out a story and told Chase they had a name, a dozen songs, even a band mascot… and were able to siphon a few grand out of Cargo’s pocket to cover booze, food and a few days at Chicago Trax to record an album… 6 years later, they did it again, this time convincing themselves they really had a bunch of songs, a band, a tour bus, a marketing budget… ”
Die Warzau (originally Die Warzau Synfony) was an industrial music band formed in 1987 by performance artists Jim Marcus and Van Christie. Originally signed to Chris Parry's Fiction Records, the group released Disco Rigido in the late 1980s. A second album, Big Electric Metal Bass Face, was released in the early 1990s. Contributors to the band at the time included Chris Vrenna and James Woolley (both members of Nine Inch Nails during the mid-1990s), and audio visual artist Burle Avant, who went on to co-create the MTV television series Amp.
Engine, a 1995 release on Wax Trax/TVT, was the last album the group released before going on hiatus for almost a decade, and included contributions from Chris Randall of the band Sister Machine Gun (SMG). One of the songs written by Die Warzau during this time, "Hole In the Ground," ended up on the SMG album Burn.Die Warzau as a group then went on hiatus for a number of years, with Marcus and Christie working on other projects. Jim Marcus founded the pure funk group Everplastic while Van Christie worked on another project called Eco-Hed.In 2004, the duo re-united, together with new members Abel Garibaldi, Vince Mcaley and Dan Evans, releasing Convenience on their Chicago-based label Pulseblack Records.
16volt began in 1991 with the mission to merge the raw guitars of early punk with the heavy beats and energy of industrial dance music. In 1992, 16volt’s founder and frontman, Eric Powell, signed with the Cargo Records industrial subsidiary and now infamous Re-Constriction Records. 16volt’s debut, “Wisdom,” was co-produced by David Ogilvie (Nine Inch Nails, Skinny Puppy) and Keith “Fluffy” Auerbach (Ministry) and was released in 1993. Met with worldwide acclaim from fans and press alike, “Wisdom” officially put 16volt on the map and, along with Powell, was credited with helping spawn a genre of industrial known as “coldwave.” That same year, 16volt hit the road, playing shows to club crowds on the West Coast of the United States.In 1994, 16volt skipped the industry-standard “sophomore jinx” and released the slightly more raw-sounding “Skin.” This release brought more praise and won features in Alternative Press, Kerrang!, CMJ, Industrial Nation, B-Side, and more. “Skin” reached the #2 slot on Rolling Stone’s alternative charts and charted everywhere from the United States (CMJ) to France, Germany, Ireland, and Japan. 16volt hit the road again for club shows and radio junkets and destroyed it everywhere they showed up.16volt’s third release came in 1996 by the name of “LetDownCrush.” Co-produced by Jeff “Critter” Newell (Ministry, Filter) and featuring special guests Stella (Stella Soleil, Sister Soleil), William Tucker (Ministry), Marc LaCorte, and Bryan Black (Haloblack, Motor, Xlover), the release once again proved that 16volt was a major force to be reckoned with. Interviews and features followed in huH, B-Side, Alternative Press, Kerrang!, CMJ, Industrial Nation, Guitar Player, and many more respected national rags. LDC charted again, this time at #1 on the Rolling Stone alternative charts and globally on college and commercial radio. This release also marked the debut of 16volt’s national touring career. Vowing to stay on the road for as long as possible, Powell put together a lineup that would tour for over nine months straight in a custom van, making their way around the United States several times with the likes of Chemlab, Bile, Acumen Nation, and Korn.The touring paid off and interest in 16volt grew. The band returned home to be wined and dined by much larger labels. In 1998, along with full-time members Mike Peoples on bass and Kraig Tyler (Chemlab, Crazytown) on guitar, 16volt signed with Slipdisc/Mercury/PolyGram and got to work on the band’s fourth release, “SuperCoolNothing.” Produced by Bill Kennedy (NIN, Megadeth, Sepultura) and Joseph Bishara (Drown, Danzig), SCN was the band’s most aggressive album to date. This time, Powell and Co. got a hand from special guest Chris Vrenna (NIN, Tweaker) on drums. Upon completion of the album and the most intense promotion schedule to date, they hit the road adding John “Servo” DeSalvo (KMFDM, Chemlab) on Drums, playing shows with the likes of Orgy, The Flys, and Candlebox. During the first two weeks of touring, however, Mercury/PolyGram was purchased by Seagram’s, creating a ripple that would send 16volt back home and cause the firing of the entire Mercury team slated to work on the SCN record promotion. Two weeks after the chaos, SCN was released with no promotion, no touring, and no support. 16volt quickly began to search for another label to pick up the pieces, but it was too late and the mess too large After close to a year of fighting, lawsuits, and the inability to make something good come from the bad, Powell shut down operations and pulled the plug. Kraig moved on to join Crazytown and Mike and Servo carried on with their own side projects.After a long and well-deserved hiatus, the band convinced an investor to buy back SCN from the dead labels; they then re-released it on their own as “SCN2.0.” The double-disc set included remixes by Filter, Orgy, Deadsy, and Crazy Town, in addition to some demo tracks that the band had started working on. Powell gathered the troops sans Tyler and began to mount a comeback. Shortly after the re-release, 16volt was tapped by Sony to provide the soundtrack to a new PlayStation 2 game called “Primal”. At the end of production, 16volt had furnished 12 tracks and was actually digitized into the game as the opening-cinematics band. To celebrate the release of “Primal,” 16volt hit the road in 2002 with KMFDM for a North American whirlwind, completing 34 shows in 36 days. Most of the dates were sold out, and by KMFDM’s own admission the tour was one of the best packages they had ever put out. 16volt returned home on the tour bus and inked a deal with Capitol Records. The band then spent 11 months working on demos and being bombarded with pressure to compromise, which ultimately forced Powell to walk away and head back underground. In 2005, Powell inked a one-off deal with Cleopatra Records to release 16volt’s first-ever “best of” collection. The double-disc set titled “The Best of Sixteen Volt™” features fan-picked tracks on one disc and the first-ever live release of 16volt on disc two. Powell cleaned house, went into isolation, and began working on the next phase of 16volt. In August of 2006, Powell had a new record under his belt called “FullBlackHabit” that he began shopping to indie labels. He found a new home at Metropolis Records and inked a worldwide multi-album deal. The new record, slated for release in early 2007, features guests appearances by Paul Raven (Ministry, Killing Joke, Prong); Steve White (KMFDM); Bildeaux (Necrofix, OHN); Kraig Tyler (Chemlab, Virus23, Crazytown); Scott Robison (Dr0ne); and Jason Bazinet (SMP). In the Spring of 2008 16volt, with live members Steve White (KMFDM), Jason Bazinet (Chemlab, SMP), and the return of 16volt veteran Mike Peoples hit the road for a highly successful U.S/Canada tour. Playing 28 shows in 30 days the band once again set it’s mark to a high level by playing to larger than expected crowds on all stops of the tour. On September 8, 2009, 16volt released “American Porn Songs” on Metropolis Records. It has met with nothing less than very positive reviews by fans and pros alike, and is generally being heralded as their most kick butt work to date. It is yet another solid record, featuring the band’s trademark layering of heavy, aggressive guitars over pummeling electronics and beats. 16volt hit the road again in the Spring of 2010 along with Chemlab and Left Spine Down on the highly energized and successful MIDI Ghetto Tour. Included was a stop at the Kinetik Festival in Montreal, Quebec, Canada, playing alongside Leather Strip, Imperative Reaction, and more. 16volt recently announced that their new studio album, Beating Dead Horses will be released on May 10th of 2011. Beating Dead Horses will be 16volt’s third album on industrial powerhouse label Metropolis Records. It was produced by Eric Powell and mixed by Shaun Thingvold (Strapping Young Lad, Front Line Assembly, Lamb of God) and will feature thirteen new songs. In support of the new album, 16volt hit the road in late spring for a three week east coast tour of the United States with industrial legends My Life with the Thrill Kill Kult, followed by another 3 week west coast tour with KMFDM. Over the winter of 2011-2012 16volt inked a new deal with Metropolis Records to re-release the bands back catalog. Finally back in print are the legendary “Wisdom”, “Skin”, “LetDownCrush” and “Super Cool Nothing” Albums. The re-releases were all remastered and feature remixes, bonus tracks and cover songs. The band plans to tour in Fall of 2012 in support of the releases. People keep asking, is this band stoppable and apparently Eric Powell and Co. are continuing their self imposed trend of prolificacy.
SKREW is a collective of six individuals committed to creating a noise with purpose. Pointing to the hypocrisy of religion and corporate mandated culture, SKREW uses six stringed fascist killing machines laying in a bed of electronic discomfort to protest the the mass hypnosis and herd mentality that is completely prevalent in these dark days. Simply put: RIOT! NOISE! RISE! SKREW!
The band SPIN magazine dubbed “the future of industrial noise” has metamorphosed into the soundtrack of your own metallic apocalypse. In an age where personal discourse is no longer civil, where obedience is forced upon the masses by the elite few, and nearly everyone’s scars and bruises are flayed out for the whole world to see, Skrew has managed to encapsulate the insanity that has all but become today’s norm. Led by original founding member, Adam Grossman, and a collective of five intense and angry rogue soldiers, Skrew returns to lead the unwashed masses into an aural revolt against the status quo.
Last releasing an album in 2007, Acucrack has dropped the "DJ?" in respect to the passing of Jamie Duffy. Seen last supporting Frontline Assembly in 2011, patient fans can finally expect a follow up to 2007's dark epic "Humanoids from the Deep" in late 2013. Long entranced by doomy drum n' bass, the new Acucrack is a return to it's industrial club roots and experimental ways.
DJ? Acucrack originated in 1997 releasing the "Nation State" EP and "Mutants of Sound" in 1997-1998 to critical acclaim (#32 and #8 respectively in the 1998 CMJ RPM annual chart). Tours with Curve and the Lords of Acid brought them a dedicated national following and both albums went on to sell over 5000 albums each in the United States. More interactive than most djs, Dj? Acucrack usually performed as a live PA duo, employing samplers, synths, turntables and cd decks, along with MC and vocal duty that brings the crowd closerto the performers than usual. The "?" was added to their name years ago to address their desire to perform their own music as opposed to spinning other people's tracks. Dark and aggressive , yet celebratory and upbeat, Dj? Acucrack falls into the rolling tech-step category of drum n bass, but are never afraid to drop a funky amen loop or a soaring rave style synth line. Occasional vocals and lyrical samples makes Acucrak's music more accessible to jungle newcomers, but the scalding production and whalloping baselines provide the passing grade for long time enthusiasts.
Originally an eclectic electronica outfit, Dj? Acucrack caught the jungle bug in 2000, and have been honing their skills ever since 2000's "Sorted" album featured a deeper foray in to drum n bass, as well as the trip hop stunner "So to Speak" with Toni Halliday of Curve. 2002 saw the release of "The Dope King" which puts them on the map of many junglists eye, and allowed them to grab opening slots with the like of Bad Company, Goldie, Diesel Boy, Photek, Ed Rush and Optical, plus full North American Tours with KMFDM, Front Line Assembly, Curve and Lords of Acid. In 2004 the duo released the frenetic jungle opus "Mako vs Geist" and the first ever Cracknation dvd in honor of the award winning "So to Speak" video. Complete with live footage, DJ mixes, making of featurettes and interviews. Acucrack returned with the release of "Killing Mobius" in august of 2005 and "Humanoids of the Deep" in 2007. Back to what they do best, the Crack boys litter the pavement with hard jungle, ambient, breakbeat and IDM tracks.
THE CLAY PEOPLE:
The Clay People: A Bio by J. Eric Smith
Posted by J. Eric Smith
Daniel Neet: Vocals
Mike Guzzardi: Guitar
Eliot Engleman: Bass
Dan Dinsmore: Drums
Many bands can lay claim to melodic sense, but The Clay People are one of the rare and precious few who can craft a melody — then play it like they’d just boosted themselves with a dirty adrenaline needle straight to their collective heart. Need proof? Then score and mainline the Upstate New York quintet’s hammering self-titled fifth record, which marks the ensemble’s SlipDisc Records debut while also documenting the creative rebirth of a one-time electronic outfit who have unveiled the underlying truth, strength and magic latent in their music via a powerful, new, all-organic line-up.
That creative rebirth didn’t come as the result of an overnight, media-driven, hype-fueled cram and jam session, however — but rather as the culmination of a decade-long musical search by founding vocalist Daniel Neet. The Albany, New York native was first inspired to take up the microphone by such consummate dark-pop frontmen as Peter Murphy of Bauhaus, Berlin-period David Bowie and Peter Gabriel at the height of his hyper-surrealist powers. Neet organized the first incarnation of The Clay People in the late ’80s to provide a forum for his own ambitions as an audience-mover of the Murphy/Bowie/Gabriel persuasion — although in the group’s early days, his literate and charismatic offerings were presented atop an all-electronic, Skinny Puppy-inspired musical substrate.
Despite the limited instrumental assault power of those early Clay People shows, the larger-than-life Neet’s effectiveness as a vocalist, scene agitator and on-stage ringleader quickly earned the group a dedicated following-not to mention the regular gigs that helped finance their first recordings. After their first two independent records (1991′s synthpop-leaning Toy Box and 1993′s Ministry-flavored Firetribe), however, Neet began looking for new directions — eventually connecting with kindred-spirit guitarist Brian McGarvey, who would play a key role in the reinvention of The Clay People’s approach and sound over the ensuing years.
“I was DJ’ing in clubs regularly back then and Brian would be up in the booth with me a lot of the time,” Neet recalls. “Eventually we started talking and thinking about how we could assimilate and work with the groove-based aspects of the club music we liked. And we went a couple of directions with it: Brian joined The Clay People for our 1995 album, Iron Icon (Cargo/Reconstriction), which was still heavily electronic, although Brian’s guitar work began to erode some of that mechanical feeling. Then he and I also did a project with two members of Acumen Nation called Iron Lung Corporation that had industrial and dance elements, but was again more machine-driven than organic.”
“After the tours to support those projects, Brian and I set off on our own to see if we could make our music feel more natural, to make it less cold and let other people hear all the heart that we felt like we were putting into it,” continues Neet. “We basically felt like we really needed to warm The Clay People sound up a bit because we were just hitting a dead-end with all the sterile-sounding electronics. So for the next record, Stone: Ten Stitches (1997, Cargo/Reconstriction) we were trying to find a midpoint between something like what the Chemical Brothers or Lords of Acid were doing and something like what Tool were doing. And that was definitely a step in the right direction, because I think our songwriting really began to mature there — but we finally realized that what we really needed a live rhythm section to interpret what we did electronically if we were to do the songs justice.”
Neet and McGarvey’s first recruit was guitarist Mike Guzzardi (who had already co-authored standout track “T.M.S.” from Stone: Ten Stitches). Guzzardi, in turn, helped the band recruit drummer Dan Dinsmore and bassist D. Patrick Walsh to complete the Clay People’s definitive — and defining — line-up in 1996. The quintet quickly retooled the best of The Clay People back catalog, adding a heretofore unimaginable muscularity and propulsive energy to the mix, while also developing a strong body of new material collectively crafted from within the band’s rapidly-cohering musical consciousness.
Response to the newly-reborn Clay People’s ferocious, yet surprisingly groove-oriented live attack was instant and largely ecstatic. And that ecstasy was catching: after a year of nearly non-stop music-making, word of band’s prowess reached the Chicago offices of influential cybercore and metal label SlipDisc (now a Mercury Records affiliate), who signed the band to a multi-record deal in late 1997. Four months later, The Clay People departed for El Paso, Texas to record their first SlipDisc record with help from Christ Analogue keyboardist Wade Alin and esteemed producer Neil Kernan (Queensryche, Nevermore, Kansas) behind the board.
“Neil Kernan chose the studio — out in the middle of a pecan farm in the middle of a desert — because he’d done a lot of albums there and liked both the sound and the focus that the isolation forced on bands,” explains Neet. “And he really helped us complete The Clay People formula during those sessions, taking our hooks and our directions and making sense of all of them, pulling the best out of all the musicians and helping us to make that next step with our material and our performances. He was very natural after spending years in the studio working with so many different bands, so I felt like I had gone to a class on how to get a band to write and perform its songs together by the time we were done.”
The quintet formally marked their creative rebirth with an eponymous album released in May 1998. The Clay People was rightly hailed upon its issue as the most important record to emerge from Upstate New York’s fertile and fervent hard music community, with lead single “Awake” quickly making national waves after its appearance on the Dee Snider’s Strangeland soundtrack. Stylistically, The Clay People featured an incredible array of melodies and riffs, all delivered with the same palpitation-inducing boost that defined the group’s live shows. Neet’s lyrics also demonstrated a new-found poise and maturity throughout The Clay People‘s run — detailing the ups and downs of the human (or non-human, in the cases of Neet’s undead or cyborg protagonists) experience with an acute eye for pathos and absurdity, detail and design, horror and humor.
“The material on this album really represents who The Clay People are, as both a band and as five individuals who become something greater than the sum of our parts when we work together,” Neet observes. “The energy and the communication between us are just incredible. And I really think that because of those personal connections and because of our willingness to tap what’s inside us-not only the nervous, aggressive, angry, destructive things, but the thoughtful, intuitive, creative, constructive things as well — we’re making music with longevity. You’re still gonna want to listen to this stuff ten years from now. And we plan to be around then while you’re doing it.”
Hate Dept. is a synthesizer-laden post punk band, created in 1991 by Seibold. Hate Dept.'s debut album in 1994, Meat your Maker, appeared in Rolling Stone's Top 10 alternative albums while Seibold was nominated 'Best New Talent' by Keyboard Magazine. Omnipresent, the second release by the group, again entered charts in Rolling Stone and Alternative Press. Hate Dept. had a brief period of commercial success after the release of the third album Technical Difficulties. The only single, Release It, earned radio airplay in 50 North American markets. Seibold joined Pigface in 2001, touring and recording with Martin Atkins in several projects. During this time, Hate Dept. released their fourth album Ditch in 2003.
“Satantonio’s” industrial pioneers terrorize the Lone Star state once again! After what is essentially a 15-year rehab, groundbreaking industrial-rock band Evil Mothers reincarnate this fall for a highly-anticipated Chicago performance. During the early to mid-‘90s, Evil Mothers pushed the Texas music scene to dark extremes, fusing tribal drumming and incendiary guitar noise with a lyrical exploration of the seedier side of human existence. The band toured relentlessly throughout the U.S. and Europe and released five disks for Chicago’s storied Invisible Records, providing a blueprint for subsequent outfits exploring the boundaries of art and noise. “Evil Mothers was a self-destructive exploration of cultural taboos, transgressive cinema and art chaos put to music and then fatally crashing it into the mainstream.” said singer Curse Mackey, a founding member, “It was subversive, fetishistic, narcotic, psychotic and surreal. In this age of (dis)information, our culture is sicker than ever and deserves another dose of our fine medicine.” In addition to Mackey (who’s since performed as frontman for industrial supergroup Pigface, Thrill Kill Kult and Grim Faeries), the lineup includes original Mothers bassist Patrick Sane and guitarist Sanford Allen (both now of Boxcar Satan), Bobdog Catlin (ex-Pigface, now of Martyrhead), Chip Alexander (now of Martyrhead and Tex Pistols) on drums. The band has also added metal percussionist Bradley Bills of CHANT, a first-time Mother. “This is the strongest lineup of Evil Mothers that has existed,” said Sane, also a founding member. “It’s a band of seasoned sonic agitators ready to chart new territory and push old sounds in fervent new directions."
These two words embody the sonic, visionary, and aesthetic experience that is Chicago’s industrial metal duo, PLAGUE BRINGER. Featuring guitarist/drum programmer, Greg Ratajczak and vocalist Josh Rosenthal, PLAGUE BRINGER is an ever-evolving project whose mission to be as progressive as it is aggressive, has garnered comparisons across the 'heavy' music spectrum from TOOL to GODFLESH to PIG DESTROYER. 'Life Songs in a Land of Death', PLAGUE BRINGER's sophomore release and their first for HeWhoCorrupts INC, is the product of over two years of creative fervor, merciless judgment, and obsessive attention to detail both artistically and conceptually. The album satisfies the duo's selfish need to create intelligent, relevant, and personal art which also aims to captivate listeners by drawing them into a ferocious and uncomfortable yet rewarding and uplifting sonic experience. Thematically, the album addresses ideas of self realization through adversity, the death of the impassioned, and the search and discovery of beauty beneath filth. The album was mastered by Scott Hull at Visceral Sound and is the follow up to 2005's acclaimed debut full length, 'As the Ghosts Collect, The Corpses Rest' (Seventh Rule Recordings/Lo Fi Violence). PLAGUE BRINGER formed in December of 2002, shortly after Ratajczak's work at Clava Studios with producer/engineer BRIAN DECK and MODEST MOUSE on "The Moon and Antarctica". Ratajczak asked long time friend and artistic collaborator, Rosenthal, to contribute his unique writing style to the project and provide lyrics that when read and reflected upon, unveil deeper layers of meaning to the reader.
Ratajczak began the project with and has chosen to continue using the drum machine, which is just as significant to the PLAGUE BRINGER sound, both live and in the studio, as either human member. PLAGUE BRINGER has established a strong presence in the metal underground. Consistent shows throughout the Midwest and several tours to the East coast afforded the group the opportunity to share stages with the likes of BRUTAL TRUTH, PIG DESTROYER, DEICIDE, the BLACK DAHLIA MURDER, KHANATE, the RED CHORD, and RUSSIAN CIRCLES.
In March of 2010, Plague Bringer released a very limited edition cd boxset of 100 copies (95 in black boxes and 5 in special metal boxes) of their cover of Ministry’s “Burning Inside” with Chris Connelly contributing vocals to it to coincide with the Plague Bringer performance at the downtown Chicago location of Reckless Records, for Record Store Day 2010. I would definitely not miss their performance at this year’s Cold Wave II because you will never know who might show up for their set.
ZOLTAR - The Brother from Another Planet
From San Diego to Shanghai, the world-famous DJ known as Zoltar has been a major force on American and International radio as well as a consistent club DJ throughout the United States and Europe. Prior to Zoltar's unmistakable voice finding worldwide recognition, he had already become a seasoned traveler seeing the world as part of the U.S. Military A creative and profound communicator, Zoltar found a home at the legendary FM radio station, 91X in San Diego, California where he hosted a groundbreaking specialty show called ‘Shrapnel’, which fused Rap and Metal. His passion for emerging talent in many forms of music led to his hosting ‘Fast Forward’. His rise in American FM radio had Zoltar crossing the country to Washington DC, where he created a Techno/Industrial dance show called the ‘Mutant Dance Party’ for CBS' legendary WHFS. Still hosting the ‘Mutant Dance Party’ in Washington DC, Zoltar was brought to Chicago where he began a hardcore Industrial show called ‘The Industrial Zone’. During that period Zoltar also turned up the heat in Florida with the creation of a full on metal show called ‘The X Factor’.
Zoltar’s meteoric rise in terrestrial radio led to the next evolutionary step in his career: Satellite Radio. As Program Director of the global dance channel ‘The System’ which was heard in 134 countries via the Worldspace Satellite Radio Network and across North America on XM, Zoltar has been the voice and personality to bring the planet live reports on performances from the Winter Music Conference and Ultra Music festival in Miami, Amsterdam’s Dance Valley, Global Gathering Music Festivals, Lollapalooza, and The Virgin Mobile Festival. His creation of the weekly Trance/Progressive show called ‘Subterranean’ was added to the satellite radio roster and fast became an international hit with syndication to terrestrial radio around the world. Affiliates of the ‘Planet Zoltar Broadcast Network’ include The Sirius/XM channel, Area (Sirius 38/XM80), FM 89.7 The River, Omaha Nebraska, 104.7 FM Radio Safari Ioannina Greece, 97. 6 Radio Flash FM, Targu Neamt Romania, Global Radio FM in Miami, intenet-based stations trancebase.fm (Germany), danceradio.gr (Greece), Ascenddanceradio.com in South Florida and DirecTV. Zoltar is also the head of A&R for Hardwire Records and is also a producer and remixer. Currently his base of operations is Panama City Beach in sunny Florida where his world-famous show, ‘Subterranean’ is recorded. One of the most popular syndicated shows available on the airwaves and over the internet, Subterranean has 491 shows.
Cracknation is the label founded by Jason Novak to house the many projects he and his cohorts were involved in creating, from Acumen Nation and DJ? Acucrack to Iron Lung Corp, Fawn and Czar. Spanning a decade and over 20 releases, the label continues to evolve as evidenced by the Cold Waves festival and pending releases from Iron Lung, Acucrack and Czar (who will be supporting Killing Joke this month on their North American Tour).
A recently completed documentary entitled "Rally and Sustain" covers the umbrella of members and projects over the last 22 years, and will be available on DVD and download this spring.
NEW BLIPVERT: CREATIVE TIME MANAGEMENT
Zoog Von Rock from ANGELSPIT shares his thoughts and process for Creative Project Management.
If you are an artist or musician having trouble keeping track of your song/artwork/workflow, this video will definitely help.
ANGELSPIT STUDIO DIARY: Recording Abandoned Telephone Lines.
Part #1: Zoog is recording the sounds of abandoned telephone lines near El Paso Texas in January, 2013. These recordings will be used in Angelspit's new album - due for release late 2013.
Feb03, 2013 1.7 MILLION VAMPIRE FREAKS VOTE ANGELSPIT TOP 4!
Vampirefreaks First Annual Best of Goth Sub-culture Awards for 2012 ranks Angelspit in the top 4 bands - beating over 12,000 other bands for the position. http://vampirefreaks.com/content/comment.php?entry=590
Feb01, 2013 VIDEO SMASH-UP : CHANNEL HELL 001
Angelspit launch their monthly A/V Mixtape by The Liar! This was mixed LIVE in New York City.
These guys are LEGENDARY AWESOME! I'll never forget their kick-AZZ concert in Cincinnati in 2011 ! I traveled 100 miles one way just to see them ! Can't wait until they get that close again! SO, SO, THERE!
The gun thread has been buried since the last time I've been able to go online for fun, and rather than resurrect it and get into another argument with the most obnoxious bullshitter on the internet along with his disciples (all of whom know next to nothing about firearms), I thought I would just make a journal entry to explain my reasoning for those who are willing to read it.
I like guns. They're fun to shoot at inanimate objects and, yes, they can also be used for self defense in some cases. Mainly, I own guns because I like going to the gun range. I don't like this pointless legislation around them because, like some of the people in that thread, those guys coming up with these gun laws, know nothing about guns.
It's like someone who has never driven a car before saying what the rules of the road should be. Or someone oblivious to metal music making distinctions on which bans are recruiting people into the Church of Satan. There's just no rational thought behind it.
In any conversation about guns, two things have to be established, or else a civilized discussion can't take place.
1.) Guns have a practical use: sport shooting.
2.) They can be used to defend oneself. But no, they don't make anybody "safer."
There was one smart person who inboxed me about this. I'm not saying who they are because I don't want to involve them. But they politely asked me what my objection was to this "assault weapons ban" and everything else gun related. I think I did a pretty decent job of answering their questions. They may still feel the same as they always have about guns, and that's fine, but I think maybe they got a little bit of perspective from my side as well.
Anyway, here's the response that I gave to them, which I think might be helpful to anyone else who's interested.
There are two things to understand first. There are two terms: assault rifle and assault weapon.
An assault rifle is any rifle that fires a high caliber (.223, 5.56, or 7.62) round, but more importantly has a "selective fire" switch; that means the user can change it from semi automatic (one round fired per trigger pull) to fully automatic (rounds continue to fire as long as the user is squeezing the trigger) and sometimes "three round burst" which is like fully automatic, but only fires a maximum of three rounds per trigger pull.
They've been illegal since 1986. You can still get one in most parts of America if the one you're buying was manufactured prior to the ban; but it's a lot of work, there are many legal steps involved, the rifles themselves are very expensive and, as you can see from the video, you go through ammo pretty fast. That guy in that video didn't stop shooting because he was bored; he ran out of ammo. That magazine holds 30 rounds. Most gun owners see little point in owning one.
An assault weapon is a purely political term. The way the law defines an assault weapon is if the weapon meets two of the following criteria:
A semiautomatic firearm that feeds from a detachable magazine:
A flash suppressor on the end of the barrel:
Pistol grips as handles:
A collapsible stock on the end:
If it also comes with a grenade launcher:
Nobody actually has that.
And that's it. That's how we define "assault weapon." It has nothing to do with the power of the weapon or how many rounds it can fire at once. It's purely aesthetic.
Now, here's where it gets funny.
This is my rifle:
It's a 30-06 bolt action rifle. 30-06 is an extremely powerful round. This is what it can do at 115 yards:
It's considered a hunting rifle, but I don't hunt. I just like shooting it at the range. However, under the "assault weapons ban" it's 100% legal.
Then there's this:
Notice the detachable stock on the end, the flash suppressor over the barrel and the pistol grips? By law this is an assault weapon.
But that's the same exact rifle as I have. It's just been decked out to look menacing.
This is why I oppose the "assault weapons ban." It's basically a bunch of people in Washington who know nothing about guns and say, "Well that looks kind of scary. Let's ban it."
Now you know what 90% of non gun owners know. And hopefully you can understand why, though I'm very sympathetic to people who have genuine concerns about guns and probably get more angry about Sandy Hook type incidents than non gun owners, I can't get behind any ham fisted gun legislation. It's like they don't want to prevent people from being killed, they just want to prevent them from being shot.
ANGELSPIT STUDIO DIARY: Recording Abandoned Telephone Lines.
January 14, 2013, 01:02:pm
ANGELSPIT STUDIO DIARY: Recording Abandoned Telephone Lines.
Part #1: Zoog is recording the sounds of abandoned telephone lines near El Paso Texas in January, 2013.
These recordings will be used in Angelspit's new album - due for release late 2013.
NOTE: Zoog did manage to make the recordings without getting bit by rattle snakes, scorpions, or shot by rednecks (!!).
Part #2 of this video diary will show how Angelspit used these recordings on their new album.
Watch it here:
It’s been a while, but obviously after a postcard thread is over is when people thank, complain or question the meaning of certain cards, so here’s mine.
Before the original thread was deleted, I curiously asked how I alienated all the RT regulars because that was news to me; and if an actual answer was posted, it was in the six hour or so period that I last looked at it and when it got taken down.
At the time, I had a pretty good idea who did it, and it turns out I was right. But I’m still curious as to how I “alienated” everyone who regularly posts on the RT forums.
I came up with three possibilities.
1.) My opinions on gun ownership might have rubbed people the wrong way.
I suppose that’s possible. However, whenever I argue this topic, whether on VF or otherwise, I’m very polite and understanding of the opposition. I’m not one of those guys who makes silly generalizing statements such as, “Well, if Switzerland can have a high number of gun ownership and very little crime, then so can the US,” or “Cars kill more people per year than firearms. Let’s ban cars!”
I don’t even take an “I’m right, you’re wrong” approach when discussing this topic. Every time I have this conversation, with friends or strangers, I’m constantly trying to find middle ground with the person.
I also don’t try to shoehorn insults into my arguments because I don’t feel I need to. I know what I’m talking about enough so that any insults would cheapen whatever it is I have to say. Of course, this is the complete opposite of what this other guy does whenever he disagrees with what anyone else says.
2.) My objection to a rookie NBA player who didn’t want to fly with his team to away games.
Well, this one wasn’t even on RT. This was on “A Hive of Angry Bees,” or as it looks like it should be called “Agree With Everything Tiffany Says, Or Else.”
The story basically goes that the Houston Rockets drafted this guy who has a fear of flying. Buzzwords like “anxiety,” “OCD,” and “panic attacks” were used in the news articles, but there really wasn’t any evidence, at least from what I can see, that would indicate he actually had those things according to the DSM IV. Based on his interviews, it just seemed like he had a glorified phobia of flying. I half jokingly asked what his problem was. I mean, shit, he got his dream job, he’s going to be making $2 million dollars a year to start (if I’m lucky, that’s about as much money I’ll make in my lifetime), he can’t make an effort to try and eventually break his fear of flying? It’s a pattern I see with young people all the time. They don’t want to handle their own problems; they want someone else to do it for them. This will create a culture where people take zero responsibility for themselves. This is the kind of mentality that I’ve dedicated my life to preventing.
Strangely, The Hive took it very personally and, for some reason, thought that I wasn’t simply objecting to this guy’s lack of initiative, but had a personal problem with people who have mental illness.
As it turns out, the Houston Rockets have suspended this guy indefinitely. He hasn’t played a single game yet, and does nothing but complain on Twitter about how the team isn’t being as accommodating to him as they should. And if you look at the comments section of this article, every fan of the team thinks that drafting this guy was a waste of time. They seem to think he’s a big cry baby who wants everyone to accommodate him, but wants to do nothing to help make it happen. Which is pretty much exactly what I said from the beginning.
Sure, you could say, “Well, everyone on that board was against you, so obviously you’re being stubborn.” Fine, but if you give any constructive criticism about Nickelback on a Nickelback message board, most people are going to be against you too. That doesn’t necessarily negate the criticism. It’s just the Bill O’Reilly method of arguing where if you do it loud enough, you win.
That board kind of sucks anyway. All they did was talk about their wedding plans and the houses they were hoping to buy. It was like reading the script to Extreme Makeover: Home Edition.
3.) My ex relationship
First, I don’t think anyone really cared about my past relationship except for this guy. I was upset about it, sure. But not because the two of us had broken up, but the reasons for breaking up.
She told me that her illness was getting in the way of our relationship, and our problems couldn’t be remedied through normal means, so the only solution was for us to break up and give her time to sort herself out. We’d still be friends and everything.
I’m not saying that’s necessarily true, I’m saying that that’s what she told me.
Anyway, a month after we officially broke up, she got in a relationship with one of her male roommates. That’s pretty damn fast, especially for someone who just got out of a three year relationship because her illness was getting to be too much of a burden on the relationship. And with a roommate too.
Of course I politely and non accusingly asked her to explain how she can go from telling me what she did to being in a relationship with her roommate in the span of a month, which I think is what any reasonable person in my position would do. She got mad at me for asking (although not right away, to be fair) and that was the last time we properly spoke to each other. Then, in an effort to make herself look like she did nothing wrong in this relationship, she started telling people who I also knew that we broke up because I was “scary.” I find this insulting simply because I was very good to her and did everything I could to be supportive to her in terms of her graduate work and her health. Apparently, this was worth dismissing so that she can look innocent while in her new relationship.
If you don’t think that sounds sketchy, you’re either delusional, you know something that I don’t, or you have an ulterior motive. I don’t know what this guy’s motives could be. I mean, they’re not really friends or anything. They just talk on a message board. Maybe he has a crush on her and this is his way of getting close to her? I don’t know.
What she did was pretty fucked up. And I have every right to be upset about it and express it in a polite manner (which I did). I mean, sure, we’re not married, she’s allowed to do it, but she had to expect a reaction. She may not like it, but she has to expect it. If I cheated on her, which is pretty much what she did to me, I would expect her to rant about me to people she knew, and I would expect them to maybe form a negative opinion of me and possibly tell me to go fuck myself when they saw me. That’s the choice I would’ve made by cheating on her. If cheating on her was worth all that, then I can’t complain. If seeing this guy while she was still with me, and finally breaking up with me when she realized a relationship with him would probably work out, was worth it, then what does she or anyone care that I write about it? In a journal. To myself.
Personally, I lost a lot of respect for this guy. I used to think he was a smart and reasonable guy, but it turns out he’s just a dick.
For one thing, he takes disagreements way too personally, and they’re disagreements over things that don’t even concern him. Why would an Englishman care about what some guy in a different country thinks about his own local gun laws? Why would he care that I think a professional athlete, of a sport he doesn’t even follow, is being a sissy for not making an attempt to do his duty and fly on a plane to get to away games?
I’ve done the gun argument with many people, most of whom we’re friends. Despite our disagreements, we’re still friends. Because we discuss the issue like gentlemen. We don’t try and shoehorn insults at each other at every opportunity. Perhaps neither of our opinions have changed after the discussion, and that’s fine. But I would have learned something about the opposing side, and maybe my friend on the opposing side learned something from me. That’s why it’s called a friendly chat.
Also, this guy argues like a complete idiot. He strawmans the hell out of anyone he’s talking to and creates rules and standards with little to no basis for you to adhere.
For example, in our gun talk (paraphrasing obviously).
Me: The gun ban in Chicago didn’t do anything to prevent homicides or gun crime.
Him: According to this graph it did.
Me: Yeah, fifteen years later there was a decline, but what about the spike in from 1989 to 1994
Him: Oh, that was because of crack.
Me: Okay, what makes you say that?
Him: It’s common knowledge.
Me: So the decline in homicides nearly two decades after a gun ban was a direct result of the gun ban, but the spike that happened six years after the gun ban had nothing to do with the gun ban? Basically, that graph works in your favor when it wants to?
Him: *sarcastic response riddled with sly insults*
If you don’t know, or don’t fully understand the topic at hand, why argue about it?
What I really find weird about this whole thing is the timing of the postcard. It was one of the first ones posted. This means that when the idea for a postcard thread came up, he immediately thought of me and wrote how I’ve alienated everyone. Not only does this guy create a beef where there isn’t one, but he clings to it like a goddamn floatation device.
Maybe this entry won’t make me too popular with everyone on the site, but if I’ve already alienated everyone, what difference would it make?
It would've been a lot shorter if some douchebag Englishman A.) knew what he was talking about, and B.) didn't just make up facts and scenarios to fit his needs. But what do I know? I'm just a gun nut, right?
Well I've come to learn that when it comes to certain things, people will not change their minds. With me I will not change my mind on the death penalty. No matter what you say to me I will not believe that and cold blooded killer or child rapist deserves a second chance. Same for the gun situation. No matter what you two say your minds will not change to the other person's opinion. Honestly I just think its best if you two stop debating about guns sense it's like trying to push an unmovable object with an unstoppable force.
I never try and get people to change their opinions on any issue. Like if I get into a discussion with a Christian, I'm not trying to make him stop believing in God, but I'll try and give him some perspective on atheism. Maybe he'll realize that we're not just ornery ingrates who know a god exists but choose not to acknowledge it; we just genuinely don't believe a god exists. When discussing guns, I'm definitely not trying to make anyone pro gun. I only really want to dispel the myths surrounding the gun debate. Like how guns are for sport, or that the overwhelming majority of Americans who own guns are law abiding and would never dream of using them in an unlawful manner.
After two towering releases on NoiTekk and a slew of outstanding and outlandish remixes for DWA, innovative Canadian electronic duo DYM finally unleash their second full-length “The Technocratic Deception”.
Illustrated by Arc and mastered by Kolja Trelle (SOMAN) for maximum bass, with “The Technocratic Deception” DYM show themselves to be no robots in disguise following any scene-formula – rather they prove once again that the only agenda they adhere to is their own, making industrial sounds that truly stand out from the crowd.
Featuring club-friendly cuts like “Let Your Blood Run Dry”, the hauntingly mournful “Glass Catfish” and brilliantly-deployed guest vocal appearances from IT-CLINGS and CHIASM, “The Technocratic Deception” is deceptively immediate yet richly rewarding on repeated playback…as the listener uncovers layer upon layer of intriguing production, track after track of seemingly infinite variety.
Always at the cutting edge of the electro-industrial scene, with “The Technocratic Deception” DYM demonstrate a depth of talent and technique and a diversity of songwriting ability that should deservedly propel them to even-wider international recognition.
Another first-class electronic act and album, available exclusively from DWA - and for North America from Vendetta Music, with alternate bonus section!
NATALIES WORLD INTERVIEWS ANGELSPIT "Music is increasingly made in dark air conditioned rooms. It's all so controlled, perfect and boring. I want to make music that leaves me covered in diesel, dust, rust and iron filings."
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