Grave Concerns E-zine Issue 1 Best of 2009

WWW.ECLECTOMATIC.NET All things dark, delicious and depraved

GRAVE CONCERNS E-ZINE

Contents Music Review Modulate – Detonation Collide – Two Headed Monster Agorophobia (Demo) Skin Contact – Pleaser, Pain and Distraction Burikusu!!! - 2080 Babyland – Cave Craft Julien-k – Death to Analog And One Bodypop 1 ½ Autoclav1.1 – Love No Longer Lives Here Imbroglio – The Oncoming Swarm Informatik – Come Together (Digital Single) Fornever - If You Don't Like the World Change It Dope Stars Inc. - 21st Centurary Slave Xentrifuge – Converting Infinity Clan of Xynox – In Love We Trust Endif – Carbon Leather Strip – Retention No.2 Punto Omega – Noche del Almo Angelspit – Hideous and Perfect Sonik, Foundry – Mechanized Onethirtyeight – London Transmission C/A/T – We Are Still Alive The Awakening – Tales of Absolution and Obsoletion 16 Volt – American Porn Songs Liquid Divine – Autophobia Project Rotten – Machine World Goth Day Assemblage 23 – Compass Caustic – This is Jizzcore Dipeche Mode – Sounds of the Universe Kommando XY- Welcome to Gestrikland Suicide Commando – Die Motherfucker Die

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Interviews Joshua Heinrich of Fornever End: The DJ Jenn Vix Tom Shear of Assemblage23

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Other Record Label profile: Autumnal Release The Art of Cesar Cruz Podcast: Horror Addicts.net Movie review: God Kill

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Editorials Julie Johnson (Editor & Founder) Where has the time gone, this is a question I have asked myself over and over? It seems just like yesterday that it was November of 1998, when I decided to do something different with my free time. I wanted to get more involved in the Gothic and Industrial scene and Grave Concerns E-zine was born. After a month or two of getting the website ready, Grave Concerns E-zine had their first interview posted and first CD review in January of 1999, which was the new CD “Time of Faith” from “The Winter Chapter” who went on to form 13th Sky a couple of years later. The first interview I ever did was with Joshua Heinrich, solo artist from Buffalo, NY, for his musically project called, “Fornever.” Joshua Heinrich and Grave Concerns still are in contact after all these years. Actually, Josh and I talk on a weekly basis and Josh has been a contributor to Grave Concerns in many different ways.

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As times change and new technologies are made available, so does the internet and the way we read our news and gather information. So, I have decided to bring Grave Concerns to you in another way. Starting in the late Winter and early Spring of 2010, you will now also be able to read our new magazine editions powered by ISSUU, which will have different features not found on our website. Our main website still have plenty of reviews and interviews.

To kick off this new journey into journalism and on-line magazine writing, I have decided that I would like to have Joshua Heinrich, “Fornever,” be on our first electronic issue front cover and be the first interview in the new electronic issue version of Grave Concerns E-zine, along with his latest CD review, and his very own label profile. Our first issue of Grave Concerns will be a best of 2009.

Over the years, I have made many contacts with some great people within these genres. It has been a long journey, lots of changes, ups and downs, but I am still here doing what I love best, helping bands and promoting music. Thank you to all who have visited Grave Concerns E-zine and your continued support.

Also, I want to thank my wonderful staff who has worked countless hours on reviews, interviews, and news articles over the years.

I hope you all enjoy our first electronic issue of Grave Concerns Ezine.

JimZombie (Issue editor) Writing for Grave Concerns E-zine and working with Julie has been a great experience. Though I was then involved in Eclectomatic Ezine (still am) as editor and primary writer, I jumped at the opportunity to write for a well established and long running zine. Not only have I learnt a lot about networking and putting together a publication, I have had the pleasure of writing a number of reviews for some outstanding albums and had the chance to interview some of our scene’s most respected artists.

Working with Julie has definitely been a two way thing with both our publications the better for it.

Putting together and editing this, the first PDF issue of Grave Concerns, has been both a pleasure and a nightmare with many rearrangements ensuing as articles and artwork come in at an unpredictable flow. Unlike most nightmares, this is one I hope to do again sometime soon.

2009 was an amazing year for our scene with so many great albums and happenings. Industrial and Goth culture seems to be in the midst of a surge. The internet has made getting connected and involved with the scene both close to home and globally very easy. People isolated for whatever reason can participate, enjoy and even influence our vibrant dark culture from their own home.

Never be afraid to participate, if you want to do something, do it.

If you don’t know where to begin, network, find someone who is doing what you want to do and talk to them. Sure, getting your project off the ground may be hard and sometimes seem like more effort than it is worth but remember, without the money of “mainstream” culture, we are getting by on an ass load of guts and a DIY attitude. The more we put into our scene the more we will get out of it.

Let's make 2010 and beyond rock.

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GRAVE CONCERNS E-ZINE

Interview Joshua Heinrich of Fornever Linda DeFlaminis

Originally formed in 1995 by sole songwriter, vocalist, and core studio musician/producer Joshua Heinrich, fornever's genrebending, ever-evolving-yet-uniquely-identifiable sound is the product of relentless reinvention. From the moody, stark, 17 Seconds-meets-Pornography-era Cure-esque vibe of 1999's Pale to the acclaimed diverse alt rock of 2005's ghosthouse and the indie rock/shoegazer/dream pop/electro hybrid of the band's recently released eleventh album, fornever's sound is a blend of innate pop sensibilities, sonic experimentation, and a penchant for melancholia.With two new fornever albums released earlier this year, if you don't like the world change it and exhibition, Grave Concerns has caught back up with Joshua Heinrich to talk to him about his latest recordings etc.

JH: Fornever is primarily a solo project. I've been recording and performing under fornever for...wow...nearing 15 years now, and it's sort of been the constant thread among my various projects (with the label sort of tying them all together). Black Wedding is an on-again-off-again collaboration between myself and Julie Johnson (she writes the lyrics, I write the music and perform/produce everything) that, in some ways, is sort of an extension of a band we had together back in '99-'02. I suppose there are some marked stylistic differences between fornever and Black Wedding. Black Wedding definitely has a bit more of a goth rock/industrial/electro streak...probably some of Julie's influence leaking in even though I write the music. It's also a nice change of pace to do something a bit different when it comes to a side project. I suppose there probably wouldn't be much of a point if it just sounded like a fornever album under another name.

LD: What has been your biggest challenge as a musician? Have you been able to overcome that challenge? If so, how?

JH: I would say my biggest challenge has been promotion and reconciling the business side of things with my artistic sensibilities and integrity. It's something I still struggle with, and the artistic side usually wins. I understand why the artist and label/promoter are often separate entities and the benefits of that arrangement, but I also enjoy the control I have over my own work and how it is distributed and promoted, so it's a bit of a catch 22. It's especially difficult in this day and age where the internet is saturated with independent bands, image is such an important element (not that it hasn't been in the past), and spam and dishonesty are abound. I was lucky enough to be one of the early bands on mp3.com back in the late 90s when digital recording was just becoming available and affordable to the average home musician, so things were a bit less claustrophobic. But when mp3.com introduced its own royalty payment system, suddenly “bands” were creating trance songs in 10-minutes using default software loops, using software to generate thousands of plays (and then getting more because they're topping the charts and “must be good if they're that popular”), and literally making a full-time salary (until mp3.com caught on and dropped some of them). I guess the internet is a hotbed for those looking for the next get-rich-quick scheme. Even now, with myspace, “promotion” companies exist that actually have thousands of fake personal myspace profiles, and bands can pay them so much a month for thousands of plays and friend requests...all fake...all about image. Yet these bands appear to be the popular ones...people buy into it. If I was going to be dishonest, I'd just as soon be direct about it and change my myspace friend count using CSS (also possible, by the way).

So, yes, promotion...getting stuff out there...tends to be my biggest problem, especially since I tend to err on the side of caution, don't really have a large promotional budget, and don't pursue some of the avenues a lot of other bands do. But I think a lot of other artists are in the same boat these days.

LD: What genre of music do you consider your work to be? Who or what have been your major influences?

Linda Deflaminis: Hello Josh! My name is Linda, how are you?

Joshua Heinrich: Hey Linda. Nice to meet you. I'm good.

LD: I see that you are a busy, creative bee, having two bands and your own label. Could you tell us briefly about both of your projects, Black Wedding and Fornever? For example: Whats the difference between the two?

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JH: I guess I've never really stuck to one genre, and my work has evolved/changed over time. At the moment, I'd say my work under fornever falls around the intersection of alternative, indie, new wave, and shoegazer with occasional detours. Black Wedding is probably more of an alternative/industrial/goth/electro hybrid.

Some of my musical influences include The Cure, New Order, Depeche Mode, PJ Harvey, U2, David Bowie, The Chameleons, Smashing Pumpkins, Siouxsie & the Banshees, The Pixies, The Smiths, Nine Inch Nails, Lush...but I find influences in a lot of things...other artistic media...people...the world around us. And I

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GRAVE CONCERNS E-ZINE occasionally indulge my other artistic tendencies through side projects, like the 3 instrumental albums I released under my ambient/industrial/noise/experimental project premature burial (the band name is sort of an inside joke), which was influenced by artists ranging from John Cage to Akira Yamaoka as well as literature, philosophy, and spirituality.

LD: How do you differentiate a real good song, from a classic? In other words, what really makes a song stand out and last? And with your music, which song or songs do you feel have met that challenge, have come close to it, or are you currently just enjoying the creative bliss?

JH: Well, I think a variety of things can make a song a classic...from memorable pop hooks to some sort of appealing or unique aesthetic to the song's message (there are plenty of...say...60s and 70s protest songs where I'm not particularly fond of the artists' work but can appreciate their relevance and impact on a philosophical and historical level). Then again, there are plenty of albums that come together as a whole and are classics in their own right without a singular “classic” track (or albums where the “single” seems out of place or tacked on), so while beneficial from a marketing/promotion standpoint, the “single” concept can also be a bit misleading.

As for my own material, I know I've had a lot of fans tell me that they consider “live my life in dreams” something of a classic. I guess it captured something emotionally that a lot of people are able to relate to. And there are some pop songs...like “bright blue eyes”, “shed some light on me”, and “circles” that have sort of that “timeless” quality to them, I think. There are times in the studio when I know there's something there...when a song has sort of a spark that jumps out, and I take pleasure in creating that “perfect pop song” that occasionally comes along. But that doesn't make the other songs any less valid, and I'd say enjoying the creative bliss sums things up nicely.

LD: Between the years 1995 and now, what has been going through your mind with the continuously changing music industry? Have you ever wanted to through in the towel? Have you ever wondered why you bother? I ask this because I often hear about a lot of musicians getting frustrated because the changes in the industry and sometimes it becomes difficult to get into and/or be accepted.

JH: Well, I really think that's the case in a lot of artistic media at the moment. In the mid to late 90s, home studio and CD burning technology still wasn't widely available, and the mp3 revolution hadn't really gotten off the ground, so I was still recording cassette demos at home, circulating material through word of mouth on the internet, etc. I guess, even back then, the internet was changing things (my first radio plays, from those lo-fi cassette demos, were actually international, not local). Then, home recording software and sites like mp3.com sort of opened things up...allowed independent artists to level the playing field a bit and get their music out there directly to fans. But, like I said before, things have gone downhill due to oversaturation and dishonesty, and what once was hailed the future of independent music has become sort of a double edged sword for a lot of artists just trying to keep their head above water or stand out from the crowd.

I think the same thing's happening everywhere in the arts...independent filmmakers trying to get their material seen amidst hundreds of millions of youtube videos...authors trying to get their work read in a sea of millions of blogs and e-zines. In the music industry, bands have tried to rework the industry from the inside to fit the new model...Radiohead with their “pay what you

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want for our album” and NIN with their “here's our album for free, come see our show and buy the physical CD when it's out” ideas.

And those are great if, you know, you're Radiohead or Trent Reznor and are selling out stadiums and have tens or hundreds of thousands of fans willing to pay for something they don't have to.

I don't really think those business models devalue music. I mean, if I was a multi-millionaire, I might be giving albums away for free, too. But it's not really feasible for the majority of indie musicians, most of whom are working day jobs and trying to make ends meet while getting their music out there.

That said, sure, I've thought about throwing in the towel here and there...for those reasons and others. You'd probably be hardpressed to find an artist with a sizable back catalog that hasn't entertained that thought at some point...or one that is completely satisfied with everything they've done. But the music always draws me back. I've joked that whenever my solo project “ends”, the official reason is going to be irreconcilable artistic differences.

LD: If you could change one thing about your life, what would it be?

JH: Hhmm...maybe the ability to make a decent living through my artistic projects and doing what I want and love instead of worrying about day jobs and paying bills. I've never really been about money or material things... In fact, most of the things I enjoy or strive for are intangible in nature. But it would be nice to be able to just live the life I want doing what I find compelling and worthwhile.

LD: If you could travel to any time period, what time would you go to and why?

JH: I've always thought it would be interesting going back to...say...the 1950s or 60s with a laptop loaded with recording software and, say, a bundle of modern albums like U2's Achtung Baby, NIN's Broken... Gauge the public's reaction...hehe LD: What are your immediate music career goals? Let’s say with the next 1 to 3 years?

JH: Well, I'd really like to just get the music out there...out to more people...have more people check out the fornever albums. After 3 fornever albums this year and the Black Wedding album still to finish up, I may take a break from massive album projects for a while and release, say, an EP or single here and there or do some one-off tracks for compilations or even soundtracks. I'd like to get back to some other artistic projects, too...projects in other media that I've been toying with or have had on the backburner. So, I suppose, with the new fornever album wrapping up and the Black Wedding album hopefully under my belt by early next year if not this year, I'm planning on going into “live life and see where it takes me” mode.

LD: Where have you performed? Do you have any upcoming shows?

JH: I've performed at a small variety of places...ranging from coffee shops to the first undergraduate electronic music concert at the university I went to, but it's been quite a while since I've played out. I'm usually without a full band (making a pretty large chunk of my catalog unplayable live without backing tapes) and usually drift toward studio work and writing/recording, anyway. I suppose I've always found more fulfillment in creation than repetition, so as excellent as the live energy can be, I think I'm more drawn to the creative process and, you know, putting down a song in it's initial, concrete, quintessential form. And, considering the fact that I've been recording on-and-off all year and am still in the process of

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GRAVE CONCERNS E-ZINE recording, there's nothing on the plate at the moment performancewise...not to say that that'll necessarily remain the case.

LD: Who writes your songs? What are the main themes or topics for most of your songs?

JH: I write all of the fornever songs and write or collaborate on most of the songs under my side projects (under my current side project, Black Wedding, I write the music and a few lines of lyrics here and there, and Julie writes the majority of the lyrics). I guess my song themes have evolved with time, with songs varying from love to philosophy to observations on the world...and some albums are a bit more thematic. In a way, my 2005 album, Ghosthouse, was largely introspective and sort of looked inward and at the world from a certain egocentric point of view. If you don't like the world change it, which was the first album I released this year, sort of provides a counterpoint to that...more about looking outward at the world, reaching out, making the world a better place, philosophical views and changing the world through love and acceptance and independence. And smile, the album I'm working on right now, is more of a mixed bag, thematically...sometimes personal, sometimes philosophical.

LD: How has your music evolved since you first began in 1995?

JH: Well, I sort of began writing alternative/pop/rock material under fornever, and I suppose my musical output has deviated according to what I've been into at the time...so there was a brief period where I was working on more ambient material or getting into darker territory...but in the end, when all was said and done, things sort of came back around to my alternative/pop/rock roots.

I guess I've always had the opinion that you can often say more with 3 notes than with some complex classical piece, but I'd say my songs have gotten a bit more complicated and intricate in, at least, their layering and production and have maybe strayed from traditional song structures a bit more than some of my earlier work. I suppose it's ever-evolving, though, and I like trying new things. For instance, in the last few years, I've worked on some material (like the speak without words EP) using layered bass melodies and leads instead of 6-string guitar...or, say, on the new album, smile, trying different blends of electronic and organic...layering melody with noise.

LD: I know in todays society its very hard to predict, but in an almost perfect world, what would be your long-term career goals?

What would be the ultimate direction for your band(s)?

JH: I suppose, as an idealist, I'd like to make a mark on the world.

Have my work remembered, whether in its own right or through its impact. I'm not really sure where the future will take me, though, in all honesty. There are other things I'd like to explore...other artistic media, other facets of life. I suppose I see my music as a career. Afterall, I've been doing it for 15 years...and don't really see that stopping...but I'm not really thinking about where I'm going to be in 30 years or if I'm still going to be releasing fornever albums when I'm in my 60s (actually, that one's a bizarre image). I believe we sort of have our own paths in life...some people prefer to map theirs out, I guess I'd sometimes rather stumble around in the woods and find it (or let it find me) and give myself the freedom to change directions.

LD: How would you define the word “success”?

JH: There are definitely different schools of thought on that subject. I know Tony Wilson once said “ ...some people make money and some make history”, and I suppose, in a way, that sums up the two sides. I'd say I lean towards the latter...the idea that

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success is about making an impact on the world...making people think...making the world a better place. Afterall, a lot of artists and inventors who helped shape our modern society were fairly unknown and poor in their time. In the end, maybe success is found in following your heart, whether that leads to making the world a better place for everyone or just making a difference in the lives of those around you.

LD: What advice do you have for new musicians wanting to form their own band?

JH: That's always a hard one, but I guess I'd say just do it.

Everything's accessible enough these days that you can just set up a computer and start writing and recording...learning your way around production and techniques as you go. So, you know, if you think you have something to offer to the world, it's probably better to do than contemplate. I'm not saying it's an easy ride...and it might not be entirely fruitful, depending on the reasons why you're getting into the music industry in the first place...but if it's something you're passionate about, then, despite the challenges facing musicians today, it's at least easier for talented new musicians to “dive in”...

Oh, and when it comes to the internet music industry, a healthy sense of limited paranoia can be useful. The dishonesty and getrich-quick schemes I mentioned earlier certainly extend to business entities, and there are plenty of fake record labels and artist representation companies out there looking to make money off of young bands eager to sign a record contract. So be sure to do your research.

LD: What is something about the human race that really gets you down…makes you wonder…how could that person do that, act that way or say that?

JH: Well, I suppose there are a number of things, but one would be a lack of independent thought and reason. It's something that extends to a lot of issues, everything from the primarily two party system of American politics to religious fundamentalism. It's like there's this whole “us versus them” mentality that permeates so many facets of life and culture, when in reality, we could be helping each other, striving towards a common goal that's beneficial for all, and should be exhibiting our individuality and creativity in ways that are constructive rather than destructive.

LD: So what is your favorite_?

Color – I like to tell people it's ultraviolet or infrared. It's really purple, though.

Holiday – Halloween or Christmas Pass times – Videogames, horror movies, writing, cooking and trying new foods (yes, really) Foods – Chinese, Thai, Japanese, and Mexican TV show – Probably Destination Truth or Ghosthunters (I'm a bit of a paranormal/cryptozoology geek...hehe) Movie – Evil Dead 2? The Shining? Hhmm...too many to decide.

Drink – starbucks pumpkin spice latte?

Weather – thunderstorms (unless I'm in the middle of working on something on the computer) Season – autumn...or maybe spring...

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GRAVE CONCERNS E-ZINE Sport – I'm not much of a sports fan Animal - paradoxotaur Vacationing spot – I suppose my vacationing spots are determined more by who/what is there than by any specific location... I like New York City, though.

LD: You are just waking up, what is the first thing you think of, and the first thing you do?

JH I'd say my thoughts are probably still lost in dreams, and the first thing I do is often fumble around blindly for the snooze alarm.

LD: If you were granted three wishes what would they be (you cannot ask for more wishes or wish a friend to wish you more, either, haha)?

JH: Let's see, I've seen enough movies and read enough stories to know that my first wish should probably be for a lawyer to type up the other two in some iron-clad legal jargon so as to not attract any unwanted ill effects...hehe Then, I suppose I'd have to wish for money to pay the lawyer's fee. Wait, where are you going with my last wish? There's a 33% government-imposed tax on wishes earned? Dammit!

LD: If you were granted one special power, flight, invisibility, invincibly, or immortality, which one would you choose and why?

JH: Hhmmm... Let's see...tough one... Well, invincibility would be nice...but if nothing could hurt me, then I'd have nothing to fear. And bravery is defined by facing your fears. So would invincibility damage my character? Well, I'll still go with invincibility, if that includes being perfectly healthy all the time.

LD: Is there anyone you’d like to acknowledge for offering any type of support?

JH: Well, this isn't the MTV video music awards, so I'm not going to go through a list of names. But, you know...my friends and family...the other musicians and labels I've worked with...the people who are in my life or who have been in my life that have influenced my work...and, of course, the fans that have supported me, especially those that have taken the time to get the word out or help out... But, hey, in the end, we all support each other in some way. Life often seems to be cyclical like that.

LD: Is there anything else that you would like to let your fans know?

JH: Red is the new black...if you're looking through 3D glasses with one eye closed.

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Well Josh of Fornever and Black Wedding, thank you very much for giving Grave Concerns the gratifying opportunity to have this interview. We here at Grave concerns wish you continued success and we look forward to seeing you perform in the future.

Order CD here: kunaki.com/MSales.asp?PublisherId=117102 MySpace: myspace.com/fornever

Autumnal Release Josh Heinrich of Autumnal Release

I founded Autumnal Release in 1999. It was right around the time that the internet and technology made home recording and internet distribution viable and more or less low cost for the average musician. I'd been recording and performing under my solo project, fornever, for around 4 years and had recently started a side project, Orangabelle 5. In the beginning, I suppose the label was more a way to tie together and promote my various projects and endeavors than an entity of its own. In a lot of ways, that's still the case to this day. The various bands operate more or less independently of the label, and the label's really more of a blanket.

As for the digital versus physical debate, I grew up with cassettes and CDs. I know when I buy music, CD is usually my medium of choice if it's easily available. So I, personally, like to offer some sort of physical product with artwork. I'm not saying that will always be the case or there won't be exceptions to that, but, when possible and appropriate, I like to put something out there that fans can hold in their hands. I think there's still some demand for that. The recent resurgence of vinyl is probably, in some ways, tied to that and the preservation or resurfacing of that mentality. At the same time, I also embrace technology and like to make the releases available digitally for those that just want to download the album or their favorite songs from it. In the end, it's really just about getting the music out there in its artistically intended form and then making it available in various formats to those who want it.

So, I suppose the next question is what's planned for 2010.

At the moment, the first releases on the table for the new year are the debut album by Black Wedding and a one-off a-side/b-side single by fornever. After that, it's pretty much up in the air, which is actually sort of exciting and liberating after releasing three solo albums last year with all of the deadlines and limitations that entails. So things will probably be a bit more laid back this year...taking things as they come, experimenting, releasing things as they're finished as opposed to operating on a schedule... So stay tuned...

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GRAVE CONCERNS E-ZINE Modulate - Detonation By: Matthew J. Label: Metropolis Records Date: 1/25/09

After his massive 2006 club hit, "Skullfuck," from the debut EP of the same name, the world thought it knew what to expect from UK DJ and producer Geoff Lee, otherwise known as Modulate. It turns out we're only half right. While there's plenty of hard, slick beats and swearing on his debut full-length, as evidenced by the reappearance of "Skullfuck" and the curses and grinding loops of "Buzzsaw," it's not by any means the only thing he has to offer. "Hard and Dirty" is, as its title suggests, all about raw sexuality instead of cartoonish violence, and "Raising Lucifer" is a successful crossbreed of the club-ready power noise that's already become a Modulate signature and straight-up terror EBM, complete with thickly distorted vocals.

What's ultimately more noteworthy about this album than Lee's ability to bring diversity to the world of heavy electronic dance music, however, is how much fun he seems to have while he's doing it. Lee was a DJ before he was a producer -- "Skullfuck" was originally created as a dance floor segue between specific Combichrist and Grendel tracks -- so his music always has that innate sense of how to pack people onto the dance floor, and with its enthusiastic crowd noise, hard synth line, and pumping power noise beat, "Revolution" pays homage to that shared sense of excitement. Lee seems to share it, as well; despite his accomplished DJ career, there's a giddiness that infects his music, as opposed to the more jaded attitudes that sometimes creeps into dance tracks, and nowhere is that more palpable than on his cover of The Prodigy's classic techno track, "No Good," all thumping rave energy and sped-up female singing. While his tracks might occasionally threaten to "rip out your eyeballs" and worse, it's clear Lee's real goal is to keep you moving to the bass line and shaking to the kick drum. Play this album with the bass turned up, and you won't be able to resist.

Collide - Two Headed Monster By: Matthew J. Label: Noiseplus Music Date: 2/25/09

This is Collide's first studio album since transitioning from a studio project to a live band, and it really shows. While kaRIN's sensual vocals and Statik's lush programming are still in evidence, the band's overall sound has expanded exponentially, thanks to guitar and bass contributions from Rogerio Silva, Kai Kurosawa and Scott Landes, who also perform

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in Collide's live incarnation. The biggest shift, though, is in the sound of the beats; instead of cold trip-hop underpinnings, the drums on such tracks as "Spaces in Between" and "Tongue Tied and Twisted" are no less atmospheric than Collide's earlier work, but they're also huge and organic, thanks to the presence of none other than Tool drummer Danny Carey. Statik and kaRIN make good use of the expanded band format, and their songwriting and arrangements not only show a maturing of their signature sound, but also a broader incorporation of rock and orchestral elements alongside the electronics. "A Little Too Much" augments simmering electronics with lush vocal production and shimmering guitars, recalling a latter-day Curve, which is again probably no coincidence; kaRIN and Statik collaborated with Curve's Dean Garcia last year on a side project called The Secret Meeting.

Ironically, there's far less of an overt Curve influence on the more purely rock-flavored "Chaotic," which actually features a guest appearance from Garcia himself on bass. If the band's sound has significantly expanded, their unique style is still in effect, and fans of their older material will especially enjoy "Shifting," a classic trip-hop track with mellow wah-wah-drenched guitar and sampled strings that give things a sort of old-fashioned Hollywood film score vibe. "Head Spin," on the other hand, is a jaunty space age lounge number, kaRIN's voice slipping out of its usual smoky sensuality into something a little more playful while guitar feedback squeals underneath. A marvelously varied album, this release represents a new peak in Collide's recording career, and should bring in a new audience without at all disappointing the cult following they have already established.

Agoraphobia – (Demo) Reviewer: Tim Yapko Label: Self released Date: 2/27/09

Darkly beautiful like a dance at a funeral, the music of this one-man band paints a grim portrait of synthetic dreams. The electronic pulses create an unconscious change in mood and become a catalyst for an intensely emotional arousal, causing your mind and body to suddenly move about with the distorted bass and fantastically placed sounds of the keyboard like puppets to a puppeteer.

The track “Isolation” starts out with a rising feeling of a comfortable dread and then transforms into a fast paced nightmare, rooting itself deep inside your head. And with the eerie, mechanics of “Everlasting Nightmare” and the wonderful intro sample and completely danceable beats on “Dare to Die”, this cd is sure to grab the attention it truly deserves from many a genre like Goth to Trance to Industrial, just to name a few.

Although Agoraphobia has been active for only a few months, and the demo was completed not even three days ago, the tracks are already being played on internet radio stations like “ISN” and by DJ’s everywhere. And even though the keyboard voice seems to remain the same throughout the entire album, the widely varied beats, samples, noises and aggressive vocals really help to create a soundscape that will never be forgotten.

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GRAVE CONCERNS E-ZINE Skin Contact - Pleasure, Pain and Distraction By: Matthew J. LABEL: Self-released DATE: 3/1/09

The first full-length from Skin Contact, this release is hard to categorize, drawing on elements of everything from noise and industrial to ambient and techno. Project mastermind Kevin Breidenbach's influences definitely seem to tend toward the dark side, but this material is, for the most part, fairly accessible. "Thrown" is a pretty good example of this; it's got the beats and structure of a power noise track, but it dials way back on the distortion. Run it through some feedback and static and you'd mistake it for something from W.A.S.T.E. or Terrorfakt, but as it is it's somewhere between true power noise and minimalist techno. Similarly, "Under Control" is at first listen a basic midtempo techno offering, but listen a little closer and the effects on the percussion patches sound more and more industrialized, more late '80s EBM than '90s dance music. The second half of the album moves into darker, weirder territory with "Scant," an unsettling ambient composition of strange moans and swampy burbling, and "Relent Less" pairs a disconcertingly funky drum break with horror film creaks and noisy buzzing.

"Catalyst/Reagent" is moody and tense, with an understated science fiction soundtrack feel, and "Snakebit" closes things out with the album's most deliberately primitive offering, a collage of low-fi analog effects and abstract tones. It's never quite apparent if Breidenbach is doing a deliberately soft take on rhythmic noise or an especially evil version of electronica, but either way this is a solid release that seems aimed at the type of people who have Orbital and Future Sound of London albums sitting alongside Coil and Skinny Puppy on their CD shelves.

Burikusu!!! - 2080 By: Matthew J. Label: 23db Records Date: 3/8/09

This duo's intensely eclectic and sometimes jarring blend of synthpop, hip-hop and video game music would make for a difficult listen if it weren't so abundantly fun. Project creators Claes Johansen and Timothy Nilsson have adopted the stage names Kurasu and Scien Burikusu!!!, and with these alternate identities comes a bizarre melange of retro-futuristic imagery, like The Matrix meets Godzilla by way of Grandmaster Flash. Add elements of glitch and ambient, and things just get all the crazier. While tracks like "Sci-Fi Epikusu" and "Sinesaw" bring an overall science fiction hip-hop vibe to things with their spaced

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out tinkling synths, electro beats, and rhymes like "Vapor phase / Not even a trace / We burn the bass," it's "Year 2080" that best highlights the pair's eclecticism. With blips and pulsing beats backing more futuristic rapping, the verses suddenly give way to a deep-voiced funk croon that recalls Die Warzau as the lyrics shift from Terminator-style robot apocalypse to stream-of-consciousness musings on broadband Internet connections and the lowly critical status of '80s electronic music. It's a sharp enough juxtaposition in terms of both sound and idea to make you wonder how much effort went in to editing these tracks after they were laid down, but from tracks like the subtly guitar-backed synthpop of "Suffocate" to the reggae/glitch crossover of "Negative Zero Is Forbidden," it becomes clear that Kurasu and Scien take the utmost delight in screwing with sonic expectations. Even more playful are this album's bonus tracks, which include "War Stories," an ode to classic video games complete with Nintendo samples, as well as "Lex Bollmora" and "Electrocute," two instrumental tracks that highlight the Vember Audio Surge software synthesizer Johansen created. There are also a couple of excellent bonus remixes, with Assemblage 23's Tom Shear (who also released the album on his own 23db Records) providing an atmospheric breakbeat-andwhirring mix of "Sci-Fi Epikusu" and Haujobb's Daniel Myer offering a dark ambient take on "Year 2080." While fans of simpleminded synthpop might find the density of Burikusu!!!'s work overwhelming, electronic music enthusiasts who like a sense of playfulness along with their experimentation will be hard-pressed to resist Kurasu and Scien's funky transhumanist onslaught.

Babyland - Cavecraft By: Tim Yapko Label: Metropolis Records Date: 3/15/09

Live electronic punk junk from L.A., kid.

What could be cooler than that? Check this out, “You Suck Crap”, “A Total Let-down”, “Who’s Sorry Now?”, “Out Live Your Enemies”, “2002”, “Past Lives”, “Decade One”, “The Finger”, and now, and in color, “Cavecraft”.

Two guys and a bunch of bangy, clangy noise makers. Primitive sounds that are made up of a couple of actual drum pieces, some, what seems to be, oil drums, some metal pipes and some synth/ drummachine voices. It might seem like it could be real silly but if you ever get the chance to see them live, don’t miss it. They have taken some fantastic ideas of different kinds of genres like Punk, DnB, New Wave, Techno and Synth Pop and created an energy that can take your breath away.

The first cut, “Last Ave”, begins with what these two guys do best, bang and clang very aggressively. This one will definitely grab your attention. The vocals kick in very quickly and not 10 seconds into it you want to just pound on something and pound on it right now! I’m ticked off, already. I love it!

The next one is a little bit softer with an older, slow, 80’s kind of feel to it, but very catchy. Good thing, too. That last cut could have quite possibly gotten me into some trouble. Smooth vocal style with the cling/clang behind it that balances it out very

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GRAVE CONCERNS E-ZINE well. You can hear the Synth Pop influence for sure.

The third installment on this noise making frenzy, “Rimer Drive Tiger” still holds strong onto the Synth Pop smoothness, but has that Punk feel that clearly defines the style of the band. I did mention that this is a two man band, didn’t I? That’s right, just two guys. The percussion on this one is fantastic. Of course, the percussion on all these cuts is fantastic.

Now, let’s jump ahead to the cut “Search and Rescue”.

Here we have the same Synth Pop feel as the second and third cuts, but the percussion seems to take a more drum line direction. I’ve got to say that this is one of the coolest things I have ever heard.

It’s kind of soft, but it’s kind of aggressive, too. Who would have thought a punk band could blow you away with a soft and aggressive style like that? Amazing.

BABYLAND 1989-2009 It needs to be said: BABYLAND is done. Smith quit the band in late August and I will not continue on with this project. I am filled with immense sadness about the loss, and this is in no way how I ever would have wanted this to end. Thank you to all who have supported and inspired me over the last 19 years with BABYLAND. It will take some time for me, but there is more music to come.

Julien-K - Death to Analog By: Matthew J. Label: Metropolis Records Date: 3/11/09

There's more than a little of Orgy in evidence on Julien-K's debut album, and that's no surprise; founding members Ryan Shuck and Amir Derakh were part of that band before its dissolution, and fans of that particular brand of radio-friendly industrial rock will find much to enjoy here, from the gritty but tersely stylish cover of Romeo Void's "Never Say Never" to the crystalline synths and well-placed guitar hooks of "Look at U." There's a lot more to Julien-K's sound than the remnants of their previous work, though, and Shuck and Derakh integrate hints of everything from synthpop and techno to straight-up gothic rock.

On the club side of things, title track "Death to Analog" starts off with thumping melodic techno in the vein of Underworld before launching into an industrial rock epic led by falsetto vocals, "Someday Soon" throws in some classic electro flavor with its funky beats and vocoder effects, and both "Systeme de Sexe" and closing track "Futura (DTA Mix)" are like electroclash gone evil with their looped porn moans, deliberately monotone bass lines and machine-like percussion. There are also plenty of nods to classic synthpop, as on "Disease."

If rock's more your thing, there's "Kick the Bass," built around a ringing guitar phrase that immediately recalls The Sisters of Mercy's "Dominion/Mother Russia," and "Spiral," which temporarily ditches the devotion to digital with real (or at least realistic) drums propelling the rhythm instead of the usual digitized kicks.

While Julien-K's crossover appeal might be a turn-off to

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some industrial purists, this is an accomplished and endearing debut that highlights Shuck and Derakh's diverse talents as writers, producers, and performers. Fans of dark but mainstream-accessible groups like HIM, Linkin Park, and Gravity Kills will especially enjoy this one, but any open-minded industrial fan with an ear for sharp pop hooks and exquisite production will appreciate what Julien-K have accomplished here.

And One - Bodypop 1 ½ Label: Metropolis Date: 3/18/09

I grew up on the 80’s, and as such when people cover the 80’s “classics”, 9 times out of 10, they destroy the freaking hell out of the original by making it way too gloss, ridiculously girl-poppy ( “Heaven”, by Bryan Adams, and “In my Dreams “Dokken Remade by ,????.God, I forget, thank the stars).

Such atrocities were only done because in my opinion, to make a quick buck, not to pay homage at all in the least bit, to the actual song, or artist.

This brings me to this album, which I would define as a fun live one. You can hear by the way they talk to the crowd before each song they cover, the way they deliver each song as if it was one of their own. I was rather impressed not just by what songs they covered, but how they came out overall.

Covering such songs as “Blue Monday”, “True Faith”, “The Sun always Shines on TV(!)” which is a New Wave must that most Americans don’t even know, And One always stays true to whatever song they are singing from the past, all the while though adding their own little personal touch to each almost making it their own.

The studio cuts on here are pretty cool too. “Paddy is My DJ”, and the new single, “Love is a Drug Abuser”, seem destined to be club favorites. They aren’t as Industrial-stomping as Pannzermensch, but they will be more than effective at keeping a crowd dancing on the floor.

My only wish is that they had made this all studio, as I have a feeling it would have been an instant club classic throughout. My personal feeling is a 4 out of 5 album. Those that do not like live albums though, will still find it enjoyable, I believe, which for them would give it just the 3 ½ instead.

Autoclav1.1 - Love No Longer Lives Here By: Matthew J. Label: Tympanik Audio Date: 4-26-09

Following up his recent remix collection, Tony Young takes the Autoclav1.1 sound into darker, grimmer territory on his third studio album.

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GRAVE CONCERNS E-ZINE Still emotive, still combining pianos and classical elements with trip-hop and experimental techno, this nonetheless represents a darkening of mood; Young's less sentimental here, not sorrowful so much as bleak. "Casually Losing Selected Memories" starts things off with dreary pianos

Fornever - If You Don't Like the World Change It

layered over soft breakbeats, and "All for You" deepens the sense of melancholy with rich synthesized strings. It's "All Long Black Spirals" that really takes things into the heaviest territory Young has yet explored; featuring guitars from Jamie Blacker of E.S.A., it mixes the sludgey crunch of metal-inspired power chords with crystalline pianos. An even more surprising guest shows up on "Hell Is the Face of Love," with Dave Pybus of black metal act Cradle of Filth contributing bass to the song's tense cinematic textures and cold, hard electro rhythm. If this album takes Autoclav1.1 into some unexpectedly aggressive directions, there's still more than enough tenderness and tranquility in evidence to please fans of Young's previous work; "We Shatter Sometimes" is particularly gorgeous, with deep breakbeats opening up below electric guitars and a sustained piano loop, "This Stranger Hope" is rich and symphonic, with cellos and violins surrounding a muted rhythm, and "Trails Without Pathways" surrounding a languid melody with fuzzy layers of choir and piano. Still recognizable as Autoclav1.1, this album indicates a growing maturity as well as an expanded musical perspective, and that's an impressive thing indeed coming from an artist whose earliest works already showed an incredible ability to mix musical complexity with emotionally affecting hooks and melodies,

Joshua Heinrich has been releasing music under the Fornever moniker for a decade and a half, further developing his sound and deepening his songwriting. His newest album continues the dance-tinged, effectsheavy pop of his previous album, but as evidenced by the hopefulness of the album title, it's less moody, more bittersweet. It also plays up the electronic elements of Fornever's sound a little bit more, with songs like "Sugarpop" and "A Little More Time for a Little Less" verging on synthpop despite the presence of guitars.

Heinrich's use of synthesizers, though, is anything but stereotypical, and his mixture of dreamy, shimmery guitars with laid back electronic sequences owes more to early gothic club acts like Clan of Xymox than to Depeche Mode. Nor is gothic music the main influence; the keyboards on "House of Cards" recall nothing so much as Peter Gabriel's pioneering early solo work. In essence, though, the newest Fornever album is less about Heinrich's influences than his abilities at subtly blending mood.

Incorporating the wistful melancholy of groups like Slowdive and This Mortal Coil with a sense of understated optimism, songs like "Forgetting How to Remember" with its sunny guitars and multilayered vocals or the lovely ambient-tinged "The Destination Doesn't Matter" highlight the best of both worlds: the upbeat transcendence of pop with the emotional depth of goth. Another solid album from a prolific talent, this release will please Fornever's long-time fans as well as anyone with a taste for languid, emotionally compelling music.

Imbroglio - The Oncoming Swarm By: Jay Watson Label: The Path Less Traveled Date: 4/28/09

I get this message from Imbroglio telling me to contact their label "A Path Less Traveled" to obtain a copy of their cd so I can review it. Man am I glad I did. This is one of the best American Grind/Sludge albums I have heard in a while...Imbroglio is a 4 piece outfit, originally hailing from Dayton, Ohio...these guys decided to pack it up and move to Syracuse, New York for a bit of a change of pace. This is their debut album, and what a fucking good job they did...The sound quality is perfect, especially for an independent release. The sounds are a pummeling mix of Sludge, Grindcore, Noise Rock, NYDM, Atmospheric, and even a little Spoken Word! The instruments used on this recording include guitars, electronics, drums, bass, and vocals. The album art is great, including dark imagery of a butterfly's skeletal remains, broken TV sets, weird bugs and what I think are prosthetic arms.

There are nine songs on this devastating disc, and everyone fucking kills.... My favorite tracks include "Imperial Swarm", "Suicide Pact", "Upside Down Diamond", "Peachgrove Whore", and "Excavating The...Killing Fields". I highly recommend this band, and I cant wait to see what they are coming out with next. An extensive tour, a new E.P., and a new full length in 2009.

Awesome. I hope they come play in Michigan! So DECIBAL MAGAZINE gave this album a 9/10...I have to agree, but I give it 10/10...Go find this album now, Grind enthusiasts!

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By: Matthew J. Label: Autumnal Release Date: 9/2/09

Informatik - Come Together (Digital Single) By: Matthew J. Label: Metropolis Records Date: 9/23/09

This digital single previews Informatik's next full-length album with a brand new track that continues their new direction, as established on last year's Beyond album, away from melodic EBM and toward a catchy poptinged industrial rock. Title track "Come Together" is dark but quick-moving, a definite pick for the dance floor thanks to its smooth bass line and catchy chorus; both band members also contribute club-oriented remixes, with Tyler Newman's version taking a buzzing techno approach and Da5id Din's mix opting for a darker, more EBM-influenced take. There's also a new mix of ethereal synthpop ballad "Don't Be Afraid" from the last album, and, best of all for fans, the exclusive song "Bottom Feeder," a crunchy guitar-backed offering that recalls some of the bitterness and edge of the band's earlier material while retaining the hooks of their current aesthetic. A promising hint at what's to come, this single is sure to keep fans happy and dance floors moving.

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GRAVE CONCERNS E-ZINE

Interview End: The DJ Julie Johnson

Grave Concerns E-zine has partnered up with End: the DJ and is an official sponsor of The Chrome Elemental Tour (Relapse) for 2009. Just back from a bittersweet event as the legendary Savage Garden in Toronto, Canada which closed after 15 years, we had a chance to talk with End: The DJ about that event and more about what we can expect from End: the DJ. He is known for his nonstop mix sets keeping the music AND the people on the dancefloor! Don't miss the latest, upcoming & exclusive Xmorph remixes that End: gets to share at a city near you during The Chrome Elemental Tour. END: is also a member of Komor Kommando livecoming soon!

Julie Johnson: On Jan 3rd 2009, you did a night at the Savage Garden, in Toronto, Canada. Can you describe how things went?

Were there any particular tracks you played that people went crazy out on the dance floor?

End: The DJ:Each month, Savage Garden has a monthly night, Revolution Vs. Machine produced by DJ Shok, that I was very interested in. But it was a bittersweet booking. As it turned out, it was Savage Garden’s last night open. As such, there were so many people, I’m told the entrance line went out to about two blocks. It was insane. The energy was already heightened for me as I had been curious about Toronto for quite some time due to Savage Garden being a legendary venue- 15 years is a long life for any nightclub. It was indeed the End of an era (pun intended) and I am very honoured to have been there.

JJ: Could you tell us how you became interested in your style of DJ’ing?

End: In the way of style of music, it’s the styles of electronic club music I’ve always loved, I just merely mix my love of them together. I always thought it possible, but I just love putting a certain ‘ying & yang’ stamp to it. Move your feet while losing your mind. It’s hard to completely describe…

JJ: Do you remember the first electronic band or music you listened to and how it made you feel?

End: In my youth, I started off with New Wave & Synthpop.

Musically, as much as I love all things light & dark, my most deepest, cherished & distinctive moments of listening to music came from the electronic dance parties years ago. Underworld, Orbital, Paul Van Dyk- they really moved me and others to some sort of altered state of emotion (without additives, thank you) that I really feel you can do with the darker side of club music, yet in a more reflective way. And it wasn’t until I heard Sebastian Komor’s music (Icon of Coil, Moonitor & Monofader), [:SITD:] and

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Assemblage23 that I realized this can be done & mixed with a heavier, darker yet just as deep method. I will admit, I am primarily into deep substantial rhythms followed by heavy floor moving beats. A killer one-two punch I always try to build towards in my sets.

JJ: Do you have a favorite song that you have remixed?

END: A very, very good question- that’s tough, but I know it’s something Seb has produced. He was my favorite producer before I was even fortunate enough to know him. My favorite works that I current play out today are from Ginger Snap5 and E.I.D. JJ: What goes into preparing for a night that you are going to spin at?

END: I like to take everything in once I am there. I never know what I’m going to be playing out until I’m there.

Maybe how I’d LIKE to start out, but that’s about it.

The atmosphere, the club, the people…I just soak everything in and then when I’m behind the decks, people are basically hearing how I’m reacting to what I’ve taken in. For better or worse, heh JJ: For you, how you go about creating a new mix? How do you want to make sure there is a connection to the song, to the dancefloor?

End: I like the choice of using ‘connection’, because that’s exactly right. I never simply play what I want, it’s a compromise of a certain tone you want to set along with the artists that I feel people should hear more of, those I love hearing from & working with.

JJ: You just released your first mix album, The Chrome Elemental, and it is available as a free download, why did you go with this format?

End: There are too many dark electronic music labels that think that the concept of a mix album is dead. Seb & I wanted to prove them wrong. It goes back into what I was stating before about how this heavier music can command as much attention as other styles of electronic club music. A live music experience & a club music night- a true nightclub, not a bar night or pool hall or lounge, much as I love those nights as well- they are two entirely different worlds. One is not better than the other, it’s just that my focus at this time is in the club environment, where the Industrial Dance & Cyber culture lives & breathes. I’m certainly not the first DJ who feels this way, definitely not the last- so Seb and I decided to just put the mix album out there for free as an experiment- one that has proven to be VERY successful for the artists & club music equally.

Interestingly enough, now there are a couple of labels wanting to

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GRAVE CONCERNS E-ZINE discuss my next mix album release. We’ll see what happens…

JJ: What do you think makes your stomping beats so appealing?

End: Hedonism, Unadulterated, and Hedonism. It just brings it out of you. Admit it…

Appealing? Thanks. That’s all due to the artists who I am lucky enough to help promote by playing out their work. They are amazing. I’m simply sharing my love of their work to everyone else. That and the fact that I am intentionally focused to clubs and the dance floors. There’s a place & night for everything- Industrial rock, metal, Darkwave- but I am focused on the dance aspect, so it’s all about beats: EBM, Industrial dance, Rhythmic Noize and so forth.

respect, because they are shouldering the responsibilities of not only getting the music heard, but keeping the social scene in their area thriving on top of that. With clubs, I am trying to help change their perspective on dark underground dance. The best clubs right now are already embracing all electronic music together, making their venue truly global.

JJ: Can you tell us more about the person that you are behind the mask?

To start out in a cliché way, music is seriously my life and my vice.

It has ruined past relationships because most people really don’t understand that. For others, music is an escape or a passion, a business or a hobby; but for me, it really is what made me who I am, what I look forward to waking up…the nightclub is my home, my home a way station to the next night. In contrast as a balance, outside of that, I’m rather introverted- I love films, poetry and just experiencing people & places in the moments between music nights, so I am always in thought and feeling very strongly about even the little things.

End: I thought I heard you were from San Diego, anything special for the show there?

You heard correctly- my home will always be San Diego, no matter where I go, especially, the Hillcrest & Mission Beach areas. My heart will always be at the Pacific coast and San Diego is where it all started. It has been many years since I’ve been back- seems like a lifetime- so to be able to DJ there feels very surreal. I am uncertain on how the underground scenes are doing there, but I plan to give it my all on January 31.

JJ: How long has it taken for you to build up your reputation as a DJ? End: The funny thing is- I mixed as a hobby, off & on. When I was producing shows & events in the Mid-Southern U.S. for a time, I was coerced into being a DJ for the venue I was working for by the owner around Spring/Summer of 2005. It just grew from there.

JJ: What was 2008 like for you as End: the DJ and what are your hopes for 2009?

End: 2008,oy. There are ups & downs, and then there’s last year. It was very life changing, very eye opening. The acquaintances & friends I thought I had turned out to be very self-servicing and the ones they warned me away from have become a sort of lovable dysfunctional family that has been truly supportive of all my music endeavours. It is kind of funny how things turn out. Thru it all, my old friends and my friends in music have been there for me, and 2009 seems to be taking off for all of them. It’s great karma It’s been, I am very excited for them, and as a result, very excited about what I’m doing. Seb’s Komor Kommando project has also been a pleasant shock. People are really loving his work and I’m all too happy about the upcoming tour with that.

JJ :How important is it to be an industrial DJ at this time? How do you motivate people to support the underground? How are you changing minds of club goers?

End: Any Industrial DJ- be it in clubs, online radio, college radiois as essential now as they have ever been with getting the artists’ music heard. DJs that are also event producers & promoters I

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JJ: Is there any one that you were like to thank for giving you encouragement to keep doing what you have been doing, if it wasn’t for who or what, where would you be today?

End: I have a handful of old friends who I have known for most of my life and so they are as family. I have no other family I truly claim other than my mother.

They have all been very supportive even though we mostly lead very different lives. They are with me thru my ups & downs, my accomplishments & my major faults. Everyone I know thru music, mainly the artists I keep in touch with, we have this kind of tribal bond now, even though most of them I have not been around in person. Seb, Well, if it wasn’t for his music, I would probably not be a DJ today. After meeting him & now being a close friend, it’s been enough to keep my faith in people & music to keep me going past all of life’s interesting twists & turns.

JJ: Thanks for talking with Grave Concerns E-zine today.

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GRAVE CONCERNS E-ZINE

The Art of Cesar Cruz

AGAINST TIME

This piece came from my never ending fight to find more time in the day. Being a writer, director, and artist, you never have enough time to work on all your projects. Then of course you have family and all the other things in life that you need to take care of. I am a man of many interests so I am constantly doing something. We are all born to die. (Hopefully it comes peacefully and after a long life.) This is represented by the wings and skulls on the back of the model. (Which is me.) The model faces a moving clock in a very aggressive and stand offish manner. Meanwhile everything around him moves at a rapid and chaotic pace. Which is represented by the clouds and streaks running throughout the image.

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GRAVE CONCERNS E-ZINE Dreams are very important to me. They intrigue me and help make me who I am. Unfortunately, a lot of people like to disregard dreams as any significance to their lives. If you pay attention you can learn a lot about yourself and even the world around you. All my work comes from my dreams. Without them I would be nothing. This piece is very significant to me.

An open road lies before me with 2 keys joined together to form a cross within the sphere of a Moon.

Pyramids lay on either side of the keys at their bases. These pyramids represent knowledge and the astral world that the Ancient Egyptians believed in. Crows fly through the colorful sky eagerly waiting to bring you new dreams. The colors represent dusk and the oncoming night. I love the night. It is my favorite part of the day and it is when I am most active. As much as I am always extremely busy, I look forward to sleeping so I can dream.

KEY TO DREAMS This is the counterpart to KEY TO DREAMS. This is the "doorway" to my dreams. The keys in KEY TO DREAMS opens this ancient doorway guarded by dragons. The crows continue to fly through the sky. To me, the crows represent individual dreams themselves. They fly in an out through the night. Revealing pieces of yourself and the world around you. Large wings wait behind the stone doorway. These wings are what transports us through the dreamworld. Imagine stepping through these gates with wings that can transport you to other worlds.

THE DOOR 14|Grave Concerns E-zine #1

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GRAVE CONCERNS E-ZINE

DARK PASSAGES This is the piece that created the foundation for my upcoming film DARK PASSAGES. It started with this poem I wrote that describes the darkness and destruction of ones heart.

This destruction comes from the loss of trust, loss of honesty, loss of belief, loss of love, etc. Blood stains the image to represent all the blood, sweat and tears a person puts into a relationship. (No matter what kind.) The skulls represent the death of these emotions which is also put in words at the end of the poem "Everything Dies!" This theme is the centerpiece for the film DARK PASSAGES. The tag line for the film "Everything Dies" was taken from this image/poem.

Cesar Cruz is the owner of OutWorld Entertainment Website: www.outworldentertainment.com Contact: cesar@outworldentertainment.com

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GRAVE CONCERNS E-ZINE

Interview: Jenn Vix Jules Cohen Date: 8/30/09

danceable /upbeat tracks; "Lightning Girl," She Devil," and "Vampires."

JC: Will you be touring/gigs?

When will your new CD drop? Will it be available on itunes? stores? Amazon, CDBaby, or anywhere else?

JV: I'm planning on releasing this album during late autumn of this year. I've been going through a prolific time period. I decided to just go with that flow, and keep writing for a while. I figured that I'd just know when it was time to put it out. This release goes off to the mastering engineer in September.

I'm currently auditioning guitarists, and I plan on going out to support this album shortly after its release. It will be available at all of the regular online retail stores; Amazon, CDBaby, iTunes, etc... in both digital form, and CD. I will sell CDs exclusively through CDBaby.com.

I've decided to do a run of CDs, because there are still a lot of people who like them.

In the works is a performance music video. I'm looking to November for that. I'm talking with the video director now.

JC: Could you please list your sites.

JV:facebook Jenn Vix fan page http://www.facebook.com/pages/JennVix/29084204767

Jules Cohen: A new album is on its way. This is your 4th correct?

Myspace: http://www.myspace.com/jennvix

Jenn Vix: Yes, and it's titled "Electric Midnight." The reason for the name is that most of my recording on this was done in the middle of the night. I'm a night person.

JC: It's great that these two sites have song soundbytes and info on your mixing and mastering process and when the CD will land.

JC: What direction did you take with your new album?

JV: Thank you Jules.

JC: You too Jenn!

JV: It has more rocking type songs than "3," which was recorded during a very difficult, sad phase of my life; I was in a bad relationship."The new album, I feel, reflects my emotional strength starting to come back to me. I've even managed to let out some anger on this one, instead of just expressing sorrow, and musical mourning. There are however, a couple of moody/electronic songs on it, but they're different. There is a lot more guitar on this album. I've also taken two years to record it in my own private studio. I've actually recorded over 20 new songs during the sessions, so I've had a good amount to pick from.

There is an animated music video online for the new single, "Vampires." It's animated by Scott Bateman. He's a cool guy, and he's been featured on Salon.com for quite a while now.

The song is also running during the credits of his animated full length film, "Atom Age Vampire."

My manager is helping me to get my video to television, for broadcast on music channels.

Here is a link to my music video, "Vampires," on Vimeo: http://www.vimeo.com/2535093 JC: I love that video...it goes great with the tune!

How are you hoping this new CD will be perceived? How is it different than 3? Hopes Springs etc?

JV: I suspect that this one might surprise some of the people who see my main focus as a ballad/ethereal music writer. I have a couple of loud "shit kickers" on this one, as well as some more

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Taken from Jules Cohen Indie Artist Spotlight for GC.

Podcast: Horroraddicts.net Julie Johnson

For the past couple of seasons of www.horroraddicts.net, Grave Concerns E-zine has been featuring bands on this amazing podcast.

We are back with them for season four. This podcast is hosted by Emerian Rich with theme music by Saints of Ruin, who are new for season four. The podcast features horror movie reviews, horror book reviews, horror news, and much more for your horror needs.

Each episode features an artist that was recommended by Julie Johnson of Grave Concerns. Each band that is featured during the podcast gets a song played and a plug about the music, website and any other news from the band. Also, Grave Concerns E-zine gets a plug as well before each band so it benefits both parties. If you would like to be featured on Horror Addicts.net please e-mail Julie Johnson: gothgirl@berk.com for more information.

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GRAVE CONCERNS E-ZINE Dope Stars Inc. - 21st Century Slave By: Matthew J. Label: Metropolis Records Date: 9/23/09

The first full-length album from Dope Stars Inc. to be released on a North American label, this release is a perfect introduction to the Rome, Italy-based band's blend of hardhitting synthesizers, rock 'n' roll attitude, and sleazy futurism.

"Omegadrones" starts things off with Blade Runner samples and a shout-along chorus delivered over crunchy guitar overdrive and thumping techno beats, then segues right into the jackhammer beats and industrial metal riffs of anthemic title track "21st Century Slave." It's fist-pumping music seemingly designed for shouting along with, drawing inspiration from punk's revolutionary spirit as well as the more obvious electronic, industrial and metal influences; "Criminal Intents" even has a chorus of "Whoahs" that wouldn't sound out of place in a Misfits or Ramones song, and for all its epic power, the real highlight on "Neuromantics" isn't the thunderous guitar riff but lead singer Victor Love's infectious vocal melody. For all their intensity, Dope Stars Inc. are a rock band at heart, and while their lyrics are dark and pessimistic, there's also a strong undercurrent of party music in their arrangements, like the perky synths underneath the speedy metal guitar work of "It's Today" or the dance floor electronic grooves of "Digital Warriors."

There are also quieter moments, like the snarly but melancholy "When I See You Smile," which combines the grit of Marilyn Manson with a lush sort of boyish romance that recalls the heyday of the '80s power ballad. Aimed squarely at the dark rock 'n' roll set, Dope Stars Inc.'s blend of cocksure rock attitude, dance synths, and industrial strength guitars will especially appeal to fans of groups like HIM and Gothminister.

Xentrifuge - Converting Infinity By: Linda DeFlaminis Edited by: Nick DeFlaminis Label: NoiTekk Records Date: 10/5/09

It has been two years since Xentrifuge released their first album titled, "Light extinguished" under the NoiTekk Label. After another round in the studio, they have completed, and recently released their much anticipated, 10-song LP titled, "Converting Infinity” (released Sept 2009, once again, under NoiTekk). This new release, although harboring quaint facsimiles of their previous release, seems to be missing their deeper, more powerful EBM kick, however nicely iced with an overlay of dark noiz, this is a must have for the diehard Industrial / Power-noiz or Dark EBM aficionados.

Converting Infinity, enriched with whisper-like distorted

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vocals and a power-noise backing track, has also evolved into an apparent wicked onslaught of pure belligerence, darkness, and an evil rage created for the aggressive dance floor. Be sure to make frequent trips to the powder room to fix your lipstick, as this crowd will be peppered with individuals that will have the tendency to mosh!

Deciphering what this album means, based on the titles of the songs, they suggest their evolvement in several life occurrences, such as sickness and disease; hence the title: “Pathogen”, and its hard struggles without end; hence, “Infinity.”

Evidence of religious devotion of self-punishment “Penance”, told stories of being or feeling lost, broken down, fallen, something or someone changing in character, (converting) self destruction, something out of our control that changes or destroys something in one’s life. What we have become to call, the dark realities of life.

Every track on this new LP, from the opening track "Dormant" to the final track “Immune”, comes screaming at you ready to destroy and infect you to the core, and hit you with reality with each track.

No fillers here!

Clan of Xymox In Love We Trust By: Robert Eaton Label: Metropolis Records Date: 10/23/09

Venerable goth-rockers, Clan of Xymox, return with “In Love We Trust”, their latest release on Metropolis/Trisol. The album is typically atmospheric, brooding, and what you would expect from Clan of Xymox. For those needing the goth refreshercourse: Clan of Xymox is formed in 1984, in Nijmegen, Netherlands; and the band is fine form considering the passage of time. Old fans will be pleased to hear that even though Ronnie Moorings is the only original member still on board (Clan of Xymox/Xymox never had the most stable line-up) the record will sound instantly recognizable as Clan of Xymox. Still, the record is fresh enough to not sound archaic juxtaposed to some of their goth/darkwave descendants.

Those who mourn their stolen copies of Cleopatra comps of yester-year might think they have been transported back in time.

Tracks like the openers “Emily” and “Hail Mary” seem familiar already, even if they are new songs. The eerie “Judas” is a fantastic track, opening in to a big, symphonic chorus as Moorings moans away. There are touches of programming that come in after the chorus to remind the listener of the year. “Morning Glow” comes mid-album, and with its ringing guitars and a memorable chorus -it’s a high-point on the album. The album is not a nostalgia-trip, -nor has the band repeated the mistake of ‘94’s “Headclouds” by “updating” their sound to please an audience whose tastes had changed. The album is simply the band doing what it does best. If this album does what it ought to do, it should carry the resurgence of the band for old listeners and new. Besides the album, Clan of Xymox has also been touring with current live members: Mojca Zugna, Mario Usai and Yvonne de Ray. With the glut of bands currently selling the kids a derivative form of new-wave influenced rock, it shouldn’t be hard for “In Love We Trust” to find listeners. More importantly, it seems to me “In Love We Trust” adds something to an already impressive collection of releases.

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GRAVE CONCERNS E-ZINE Endif - Carbon By: Matthew J. Label: Tympanik Audio Date: 4/26/09

On his second fulllength album, Endif's Jason Hollis delivers 11 brand new tracks that, if not exactly establishing a signature sound, do at the very least establish a signature approach: nononsense power noise that isn't overly harsh on the one hand nor overly melodic on the other.

Tracks like "Surgery of the Soul" and "Ghost in the Machine" are rhythmic without being completely minimal, the bass-heavy kicks augmented by flourishes of static and distorted percussion. When Hollis does let melody creep into his music, it's raw without being deliberately atonal. "Churl" sees a sparse synth sequence emerge from static-laced drum patterns, and "Between Two Worlds" draws on the cutting analog lines of early acid techno without abandoning its power noise aesthetic. Similarly, Hollis isn't a slave to the generic four-on-the-floor club beat, but neither do his rhythms go for complexity for its own sake. "Reactionary" takes electro breakbeats and expands them into cavernous reverb; imagine an early '90s acid house party transplanted to a massive subterranean cavern, and you get the idea. Similarly, "Last Tribe," a collaboration with Replogen, is choppy, its beats fading rapidly in and out between distorted synthesizers and electric buzzing, but it holds together well enough that you can still dance to it, the glitches enhancing the song's structure instead of destroying it.

While this album lacks the nods to EBM's more accessible side that marked Endif's previous album, it's perhaps a more mature work for that, revealing a producer who's found his groove and is working at the top of his game.

Leaether Strip - Retention No. 2 By: Matthew J. Label: Alfa Matrix Date: 7/28/09

The second in a series of deluxe reissues from Leaether Strip, this double-CD boxed set features a remastered version of the 1990 album Science for the Satanic Citizen. After nearly 20 years, it's an album that's beginning to show its age, but it retains its power.

"Antius," for example, is primitive but effective; with its stripped down rhythms and vocals that seem forced into some semblance of a melody, it's a shot right to the gut, and there's a reason it's still considered a club classic. Even after being remastered by Claus Larsen, Leaether Strip's founder and sole member, there's plenty about this release that sounds dated, most notably in samples that are simply triggered rapid-fire rather than being fed through the digital manipulation that has become de

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rigueur these days, but at the very least they provide a sense of nostalgia. With the past decade or so giving the EBM scene a surfeit of George W. Bush clips, to hear his father's 1988 inaugural address sampled on "Torment Me" feels almost refreshing. What really gives this album its impact, though, is considering it from a historical perspective; the Hellraiser samples on "Satanic Citizen" may feel like old hat these days, but Larsen was one of the first to use them. Depending on how you feel about EBM, you may want to praise him or castigate him for setting a trend that still shows no sign of slowing, but there's no denying his influence. This album is a major branch of the dark electronic scene's evolutionary tree, with brooding cuts like "Cast-Away" and "Mohawk" providing the inspiration for acts like Wumpscut: on the one hand and more aggressive dance floor killers like "Black Gold" and "Nosecandy" eventually giving rise to the terror EBM of Suicide Commando on the other. While the deluxe packaging and a bonus CD of rewritten, re-recorded album tracks makes this a must-have for hardcore Leaether Strip fans, the historical significance of this album makes it a perfect starting point for anyone interested in the roots of modern EBM.

Punto Omega - Noche Oscura del Alma By: Matthew J. LABEL: Vendetta Music DATE: 8/30/09

Club-ready, aggressive, metal-tinged, atmospheric...the new album from Argentinean industrial act Punto Omega covers all the bases. It's got more than enough of a thumping EBM groove to keep bodies sweating on the dance floor; just listen to the classic beats and robotic vocal effects of "Palabras Muertas." It's also more than heavy enough for rock fans; the beats on "Fabricantes de Miedo" might be electronic, but it's the searing heavy metal guitars that give the song its punch. There's a lot more to Punto Omega's rock side than just a few metal riffs for extra punch, too. Title track "Noche Oscura del Alma," the album's centerpiece, is an epic that combines urgent trance leads with the slow thunder of doom metal guitars, all topped off by gravelly vocals, while the gothic guitar crescendo, crunchy chords, and dance beats on "Eterno Presente" come together like Killing Joke's heavier '90s-era work. If that all sounds unmercifully heavy, that's not entirely the case. While it's true Punto Omega probably won't be recording a piano ballad any time soon, that isn't to say that their music is all grunts and power chords. As a matter of fact, there are some gorgeously atmospheric moments on this album.

"Camino a la Unidad" stands out the most; though it's a brief instrumental interlude, it's incredibly memorable if for no other reason than its incorporation of bagpipes with industrialized orchestral ambiance. Even more powerful is "Promesas Lejanas," which brings a cinematic majesty to the band's blend of electronic and hard rock elements with judiciously placed symphonic patches. Heavy enough for mosh pits but possessing an unexpected grace, Punto Omega will appeal especially to fans of such electronic/metal crossover acts as KMFDM, Steril, and fellow South American act Vigilante.

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GRAVE CONCERNS E-ZINE Angelspit - Hideous and Perfect By: Robert Eaton Label: Metropolis Records Date: 10/29/09

Angelspit’s “Hideous and Perfect” may be one of the few releases by an emerging artist this year to live up to its hype.

Angelspit is femalefronted, noisy, and infectious. The mix of nominally pop melody with acerbic lyrics, and distorted guitars recalls the Genitorturers, and KMFDM for me. In fact, the electro-duo has just hit the road in support with KMFDM. The band is at the same time political and darkly sardonic and detached. The album’s sound is rich and warmly organic, with characteristic distorted analogue synths. The shared vocal delivery is tight and intense.

It’s hard to pick stand-out tracks on an album that is solidly good from beginning to end. All the same, “Fuck the Revolution” is a great track: it’s an anthemic song, if anthem-songs are being written these days. There is no doubt that is music meant to unsettle the listener, and not in a superficial or with sensationalism. The song that best conceptualizes the album in a terse 4 minutes and 01 second is “Channel Hell:” “the scene sucks because you suck/you killed it.” If this is any indication, this album doesn’t pull its punches or pick favorites for its vitriol. The next track, “Let Them Eat Distortion,” is equally unsettling in its stream-of-consciousness rush of imagery. The song builds tension as it works towards its conclusions. The result is tight and claustrophobic. It’s an intensely effective song.

Those that are familiar with the band from their earlier releases Krankhaus (2007) and “Blood, Death, Ivory” (2008) will find that the band is in fine form. In the genre of industrial/cyber punk, there doesn’t seem to be a harder-working band currently, if the long list of tour dates and steady studio and remix releases are any indication. For those who Angelspit is new to them: you’re in for a ride. For those who are familiar with the band, you will find a previously unparalleled intensity and maturity in this release.

Sonik Foundry - Mechanized By: Julie Johnson Label: Hitman Records Date: 11/16/09 Just released on Friday, the 13th, 2009 is the first ever Sonik Foundry release, “Mechanized.”

Nikademus is the creator, programmer and vocalist all on this release. The first thing I noticed was the incredible clean programming. Sonik Foundry displays wellbalanced EBM through the excellent

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programming. For me, the sound was fresh and unique, and unlike many EBM albums after a few songs they all sound the same, but not here on “Mechanized”. Not only is Mechanized dark, but it is also perfect to dance along to due to the many dark –up tempo tracks. Lyrics tend to focus on the evil in this world, thoughts of suicide, as several songs do mention this topic, in such songs as “Columbine Soldiers” and “Human Nature”, which tends to be the most harsh and dark track on the entire CD. The lyrics definitely come from deep-inside of Nikademus. The vocals remind me a little bit of a Gary Numan feel, but in slightly lower in key and sometimes in a monotone style before the vocal changes kick in that create this powerful melody that really grabs you in to sing along. I also like that vocals were clear, where you can actually enjoy both the singing and music. Not worry, Nickademus can show his vocal ranges, especially in “My Evil”. “Mechanized,” is a fantastic first release that easily could influence many EBM artists to come. With so many great songs it is hard to say which ones to listen to, well of course all of them. My personal recommendations from the new album “Mechanized” would be “My Experiment”, “Alone”, “My Evil”, and “Mechanized”. So, what are you waiting for, head on over to Hitman Records and pick up this release today.

Onethirtyeight - London Transmissions Matthew J. Label: Tuesdays Music Date: 12-13-09

With his interest in old black and white horror films, you wouldn't be surprised if Dan 138 took his musical project, Onethirtyeight, into the same well-trodden territory already explored by groups like The Cramps, The Misfits, and their countless followers, but his first full-length release is more experimental than punk, drawing more on the sound collages, samples and strange retro radio vibe of groups like The Residents and Negativland than on the three-chord riffs of horror punk. It's true, compositions like "One Night in the Cemetery" and "Davis Baby" mix elements of folk, Americana and rock into comparatively conventional songs that recall The Eels, albeit more interested in Hammer horror films than self-doubt and longing. But many of 138's compositions come off less as songs proper than as atmospheric sketches, like "The Man Who Made Monsters," which starts off with sparse piano and guitar before being joined by manic rattles and kazoo, or "A Row of Pigs Heads," all eerie layered cries, whispers, and bits of tinny piano floating in a haze of static. By far the most fascinating, if disturbing, offering on this album, however, is "Spider Baby, Baby," a sort of modern retro radio play presented as an audio recording of a scientist's notes on a particularly horrible experiment. It's presented completely straight, apart from its bouncing bass line and nervous guitar buzz, rendering the final moment and its burst of chittering piano keys all the spookier. 138 is currently working with filmmakers to create videos of many of the pieces on this album, which is sure to be an excellent fit, but even without the visual component, these eerie transmissions make for some singularly evocative listening.

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GRAVE CONCERNS E-ZINE C/A/T - We Are Still Alive By: JimZombie Label: Crunch Pod Date: 12/20/09

There is so much to write about with C/A/T’s latest release. I could spend hours talking about the social and political aspect of the album. Equally I could spend as much time again on the musical aspects of this well polished EP. We Are Still Alive is one of a few albums released this year that has appealed me on both a stylistic and intellectual level. Bring the politics and thought back into music, art is meant to be activism.

We Are Still Alive is not only an album of awesome ear candy but also thought provoking and political. The album is introduced not with fat dance beats, which seem to dominate so much current industrial but with scratchy brooding synths and a sample warning us of the dangers of shadowy organisations that act as puppet masters of the US government.

With the tone established the following tracks explore themes of exploitation, control, confusion and apathy. We are offered the idea that we are not going to experience a sudden apocalypse triggered by specific events but rather, we are living in the apocalypse (now). We are living in an age of decline, alienation and moral ambiguity. Nothing is clear, “good” and “evil” have fused into a perverted intertwined symbiotic cancer that has spread throughout society. What comes next is annihilation… or not; We Are Still Alive leaves us with an alternative to extinction. Through a sampled conversation, possibly from “The Day the Earth Stood Still”, “The Brink of Self-Destruction” offers us the possibility of social evolution that will pull us back from the brink. One way it is apocalypse, either for the old order or for the species as a whole.

While the meat of the album is socially oriented, tracks like “Dead to Me” offer a diversion from an album that may otherwise be too much of a noodle fryer for some. This track is more of the dancier C/A/T style but still gels well with the rest of the slower (but just as hard), more serious tone and themes. As I said earlier, this album is well polished. Melodious and, to use that cliched term, brooding and to use that other cliched term, dark.

From “51X Revival” to “Dead to Me” all the fat has been trimmed and we are given a tight, balanced, acidic progression that shows why C/A/T is one of the best current industrial projects.

Do not miss this release; undoubtedly the grand herald of even greater things to come with 2010s Chaos And Terror.

The Awakening Tales of Absolution and Obsoletion By: Robert Eaton Label: Intervention Arts Date: 12/06/09

The Awakening, though based in the US since this previous year, hails from Johannesburg, South Africa, and is the premier

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goth rock act to come out of South Africa.

Singer/songwriter/producer Ashton Nyte has been the driving force behind The Awakening, which formed in 1995, and has released 8 full-length albums. “Tales of Absolution and Obsoletion” is the follow-up to 2006’s “Razor Burn.” The Awakening has toured extensively through the US with Spirit Child, Leper, and London After Midnight.

For fans of goth rock, this is about as good as it gets without a time-machine back to the Cleopatra era. “Tales of Absolution” is a well-produced, contemporary goth-rock album, always carried by Nyte’s intense and brooding vocals. “Ivory (part 1 & 2)” at 6:20, is somewhat long, but creates a perfect and ethereal back-drop for Nyte to showcase his melodic range. The morose lament, “Frozen” is eerie and spare, everything the name would suggest. “Where the Shadow Goes” picks up the pace, but the momentum fades in the chorus. The better part of the album continues in much the same plodding, atmospheric vein. Probably the most striking song is “Prayer for the Song” which is jangly, dramatic and even operatic at times.

In spite of the fact Nyte has a hell of a set of pipes, I can’t think of a lot of reason to rush out to get this album rather than just dig back in my CD collection for some old goth favorites. Still it’s a superb-sounding album with well-crafted songs. Despite “The Awakening’s long career, the album fails, for me, because it fails to sound too different from the source material that inspired it.

16 Volt - American Porn Songs By: Robert Eaton Label: Metropolis Records Date: 12/21/09

Veteran industrial/metal main-stays, 16 Volt, returns with the fourteen -track “American Porn Songs,” you could say it’s a return to form. The work of Eric Powell and Mike Peoples, the album is typically guitar heavy, featuring a who’s who list of guest appearances from members of Pig, Frontline Assembly, Ministry and others. “American Porn Songs” is the follow up to 2006’s “Full Black Habit,” and 16 Volt’s second album released on the Metropolis label. After spending a good deal of time just fighting with labels, “American Porn Songs” reflects the newfound stability, and is as good as anything 16-Volt has produced in its career.

From the opener, “Alkali,” 16 Volt’s guitar heavy industrial is exactly what you would expect a 16 Volt album to be.

16 Volt’s wall of guitar dominates the album, with precise programming and lyrics oozing with angst. The title track, American Porn Songs, rockets through its 4 minutes at a frenzied pace, then breaks into a heavy-as-hell half-time feel at its end. It’s a solid album, through and through. The song “Blessed” is a claustrophobic romp. The song sneers at its listener. It’s as heavy as anything that 16 Volt has produced in its career, a great song. “It Turns All Bad” has a haunting melodic drone. The song is slow and ethereal in the verse, and capped with a crushing chorus.

For those that have been following 16 Volt’s career, this is an album that does their whole discography justice. For the morethan casual fan, this is not an album you want to skip. For fans of guitar-heavy industrial, there is nothing lack-luster about this album.

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GRAVE CONCERNS E-ZINE

Interview Tom Shear of Asemplage23 Linda DeFlaminis October 6th, 2009 It has been over a decade since Tom Shear was inspired by Depeche Mode in 1988. This multi talented man, creator of inspirational music, has done it again with his new LP entitled, “Compass”. I was fortunate enough to be able to interview Tom on behalf of Grave Concerns E-zine, and although his website answers most questions, I found a way to find out a bit more about him.

He’s a regular guy, living a life fulfilled with happiness. He has a successful music career, his own label, a supportive and wonderful wife, and as Tom clearly pointed out, “My life kind of kicks ass, I wouldn’t change a thing!” He could on the other hand, use a vacation during a heavy snow fall with a beer or two in hand :o)!

Linda DeFlaminis: Hello Tom! How are you?

Tom S: Just starting the shipping out of all the pre-orders for the new album, so I’m very busy, but in a good way.

LD: You must be excited about “Compass.”

LD: I see you are now booking for your upcoming US tour, any particular state(s) of interest?

TS: It’s still in the early stages, but it’s shaping up to be similar to the previous US tours we’ve done. A couple new spots, but I don’t want to talk about specifics until contracts are signed and all that good stuff.

LD: What genre of music do you consider your work to be? Has this changed over time with each album? If you can create your own genre, what would you call it?

TS: I think it’s the listener’s job to categorize music rather than the artist, so I don’t give a whole lot of thought to it, to be honest.

Personally I think electronic music in general has too many subgenres, but I get why people do it. I’m really more concerned with whether people think the music is good or not than having it fit into some specific style.

LD: With your many albums released, I noticed on your website, the equipment/software used, increased.

Would you mind briefly, without giving away your secrets, describing your music-making process to your fans and others bands that may have interest in using similar software programs available today?

And out of the many software programs which is your favorite and most user friendly?

TS: Yeah, I’m a bit of a software packrat! Recently, though, my studio computer died and I had to get a new one, so a lot of the older plug-ins I had won’t run for me anymore, so it has sort of forced a slightly simplified set-up on me, which I think is actually a good thing. But the Cliff’s notes version of my process… I

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usually get an idea in my head away from the studio. I generally work the idea for the song out in my head quite a bit before I sit down at a keyboard. I figure if the idea is any good, it will be easy to remember, and if I lose the idea, it might not have been so great after all. Then I generally record a very basic demo into Logic – like just a bassline and a simple drum beat, or chords and drums, etc. I keep ‘definite’, ‘maybe’, and ‘probably not’ folders for all of these ideas based on what I think the potential is. Then, once I’m ready to start work on an album, I sort through these to find what I feel are the strongest ideas and flesh them out into full arrangements. As far as software… Logic is the main hub for everything I do. It’s a lot more user friendly than it used to be back in the day, but it’s still an amazingly deep program with a lot to learn about.

LD: Tom, you are the composer of the music; do any of your live band members help you during the music making process? If not, what are your rehearsals generally like before your performances?

Do you have a set time each week in which you practice, or are rehearsals more spontaneous?

TS: We’ve never rehearsed together, actually! We all rehearse the set individually, but because we’re all spread out in different parts of the country, rehearsing together really isn’t practical or possible.

But no, the live guys don’t contribute to the albums at all. The albums are all my babies. Haha

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GRAVE CONCERNS E-ZINE be?

Tom S: My life kind of kicks ass. Wouldn’t change a thing!

LD: That’s an incredible feeling….good for you! :o) LD: How do you find balance between your musical career, label (23db Records), day time job, and family life?

TS: Assemblage 23 is my daytime job, so that helps. Trying to do this and balancing it with a job would be tough. Even 23db has a pretty light release schedule. Obviously it adds a bit of work to my plate when we’re putting something new out, but I’m not afraid of a little hard work. The biggest challenge is always balancing all the music stuff and time with my wife. Fortunately, she used to be a musician too, so she understands when I need to go off on tour, or when I have a deadline and can’t hang out as much. She rules.

LD: That’s cool, nothing better than having a career/job that you absolutely love to do, go to, and work on!

LD: What image do you think your music conveys to your fans?

TS: I honestly don’t know. We’ve never been much of an ‘image’ band. The high-backed leather chair in the promo photos for Meta became a bit iconic for awhile. I got asked more questions about that chair on the last tour than probably almost any other topic.

Haha (Tom in the Black Leather high-backed chair mentioned in the interview, and as fans stated, he’s, “The king of EBM on his throne, in need of an ottoman!")

LD: What are your immediate music career goals? (Next 1 to 3 years.)

LD: and let me say, what inspirational, admirable, creative babies they are Tom!LD: What has been your biggest challenge as a band? Have you been able to overcome that challenge? If so, how?

TS: Probably not strangling each other after 6 weeks crammed into a tour van. Alcohol helps.

LD: Yes being crammed into a van can be stressful, trust a soccer mom that travels a lot! Pack the crew in the back with a TV that you can attach a Play Station to, hand them the controllers and you’re all set!! :o) Yes, Alcohol can have its bonuses. For me a nice relaxing glass of red wine does the trick.

LD: Between the years 1988 (when Assemblage was officially born) and 1998 (when Assemblage 23 gathered enough positive acclaim to attract the attention of record labels), what was going through your mind? Did you ever want to give up? Did you ever think you would be where you are today? Have you ever looked back into that time frame and now wish you did something differently? If so, what?

TS: No, I never expected things would’ve gone as far as they have.

I’m still constantly amazed by it. It was frustrating before I got signed because virtually everyone I played demos for raved about them and asked me why a label hadn’t scooped me up. I could only really shrug my shoulders and keep making music simply because I loved it. I wouldn’t have done anything differently, I don’t think.

It would’ve been nice to have experienced a few more years when the music industry was in good shape, but ultimately, I’m glad everything happened the way it did.

TS: Survive. The music industry is getting tougher and tougher, so honestly, if I can just maintain what we’ve built up over the past 10+ years, I’ll be happy.

LD: I totally agree, the music industry is getting tougher. Illegal downloads don’t help artists either.

LD: What are your long-term career goals? What is the ultimate direction for Assemblage 23?

TS: I don’t think you necessarily CAN have long term goals these days with how rapidly things change in the music business. I just make music I’d enjoy listening to and hope it keeps appealing to others out there. Where that will take me, who knows?

LD: If you could change one thing about your life, what would it

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GRAVE CONCERNS E-ZINE LD: It has taken you this far, it will take you further. Sometimes it’s hard to focus on long term goals, when there is so much attention needed with a shorter term.

TS: I wouldn’t say I have much of a thought process at all when I get up, but I usually check my mail to see what horrors the day has prepared for me to deal with. haha

LD: How would you define the word “success”?

LD: What inspired you when composing your new LP titled, Compass? In your mind, how does this album differ from your others?

TS: Being happy. You can sell 1.5 million copies of your album and live in a mansion with a view, but if you’re not happy, to me, you still haven’t succeeded.

TS: I can’t say one individual thing inspired me. I just knew I wanted to do something different. For years, I’ve mainly been listening to stuff like Trentemoller, the Presets, the Yeah Yeah Yeahs, etc., so I wanted to let those influences come through a bit more. I think this album probably is the most different thing I’ve done in awhile, but it still has the features that I think draw people to A23 in the first place… I hope!

LD: Couldn’t have said it any other way!! Sometimes when watching VH1, MTV or the entertainment Channel I really take a good hard look at the lives of celebs, they have it all, but don’t, yah know? As much as I’d love to be in their financial situation, I would not want the stress and drama that comes along with their heavy bankroll.

LD: If you were to write a review about Assemblage 23, as 23db Records, what would you say, how would you describe Assemblage 23 to their fans?

LD: What are your views on the current Industrial/Electro scenes?

TS: Heh, I’m going to sound like the grumpy old man here, but honestly, I’ve pretty much lost interest in it. So few bands have their own identity anymore, it’s just a bunch of Vanguard presets and whispering through a distortion pedal to sound evil. I think there are far more interesting things happening outside the scene with stuff like dub step, electro house, and IDM doing a lot of the real innovative stuff.

LD: How do you feel about the current economy? If you were able to change it, what would you do?

TS: The economy sucks, but it’s much better than it was this time a year ago. When the recession first hit, it really spooked people and people just stopped buying anything. Hopefully, things will keep turning around and we’ll start to see those unemployment numbers going in the other direction.

LD: We all are hoping for the same.

What advice do you have for people who want to form their own band?

TS: Do it because you love it. If you’re having a good time doing what you’re doing, you can never really fail.

LD: Spoken like a true inspiration!!!

LD: What is something about the human race that really gets you down…makes you wonder…how could that person do that, act that way or say that?

TS: The overwhelming greed and selfishness. That’s what triggered the economic collapse and we’re seeing a lot of it right now with the health care debates in this country where so many people seem to have this “fuck the poor, I’ve got mine” attitude.

TS: I totally agree with you.

TS: Eh, I’m really not comfortable judging my own stuff. Best to leave that up to the listeners.

LD: I understand completely, I find it hard to talk about myself as well. You are your toughest critique, though.

LD:: If you had the chance to travel back in time, where would you go, what year would it be, what would you want to leave as a reminder of your time spent there, and what would you bring back into the present with you?

TS: I’d much rather go forward in time.

LD: If you were granted three wishes what would they be (you cannot ask for more wishes either, haha)?

TS: My first wish would be for someone else to grant me the wishes so I COULD ask for more wishes. Haha Then I’d probably wish for all the people in the world to exist in peace and harmony, and for myself, my family, and my friends to have long, healthy, happy lives LD: hahah you found a loop hole by asking a friend to make more wishes, LOL! LD: If you were granted one special power, invisibility, invincibly, or immortality, which one would you choose and why?

TS: Probably invisibility. The potential to fuck with people is too great to pass up.

LD: Is there anything else that you would like to let us, your fans, know? Anyone you’d like to mention?

TS: Just thanks to everyone out there who has supported us!

LD: You are just waking up, what is the first thing you think of, and the first thing you do?

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GRAVE CONCERNS E-ZINE DVD Review: Gothkill Michelle Hussey “Rocky Horror for the Goth Crowd” Wild Eye Productions Date: 8/4/09

I had the mixed fortune of watching this move, “Goth Kill” this evening and am not really sure where to begin.

Being Goth, I was not sure whether to be amused or insulted, possibly a little of both. There is certainly a lot of offensive things about this movie, primarily the really awful storyline and horrendous acting.

But I think that is part of the charm to this movie. It is very campy and silly, much like Rocky Horror.

“Goth Kill” is about a man named Nick Dread who runs a Satanic Cult and comes back in another life to collect souls for his kingdom. The movie opens with him and a bunch of followers at a religious ceremony in a field in New York City. You see him say a whole lot of so-called “satanic” mumbo jumbo and then he talks about how his “followers” are to join his clan of 100,000 souls he must collect for his own kingdom. He then pulls out a shotgun and shoots everyone. The screams were hardly those of fear and pain, all the while Nick laughing this over the top maniacal laugh. Them movie then jumps to a prison cell that looked an awful lot like those at Al Catraz in San Francisco Bay. He states that he is in jail and is sentenced to death. His “priestess” from his church comes to read parts of the Satanic Bible with him in his cell before he is executed. They do this ridiculous “chant” and you learn from their conversation afterwards that this chant assures that he will come back in another person’s body to finish his collection of souls. As his priestess leaves the prison, a Christian priest accidently runs her over and she dies. You then see what has to be the most pathetic looking crackhead on Earth steal the Satanic Bible. The movie jumps to an innocent 19 year old girl named Annie who is moving to New York City to live with her friend who over the past year has become oddly “goth”. Annie’s friend tells her that Goth’s party like no one else and that they will go to a goth party later that evening, but that Annie needs some hot new goth clothes. They go to this “goth clothing store” called Machine and Annie tries on all sorts of PVC and velvet and chainmail and corseted outfits. She finally settles on a PVC vest thing and PVC shorts and a seriously hardcore spiked collar and boots. As she is purchasing her items, the sales girl hands her friend an invitation to the Notorious “Scorpion Society”…..the VIP of all Goth events. Then somehow you see Nick Dread being executed via hanging……because you know that hangings still occur in New York City and all. He dies and ends up in a black dark room and is royally pissed off that he does not have his 100,000 souls that Satan promised him. He goes on for 5 minutes on this temper tantrum about how Satan betrayed him.

What I want to know is why is he pissed if he was supposed to

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come back to life? Anyways, the movie goes back to the Scorpion Society. Annie and her friend are allowed in and it has to be one of the lamest Goth events I have ever seen. It has all the clichés of a goth Night: scantily clad Go-Go dancers, pretentious and mediocre DJ’s spinning in some fenced in area, all sorts of elaborately dressed goth people in their hardcore goth best. They had a tarot reader and this really pathetic bodybuilder looking guy who was wearing a helmet and a costume suitable for a GWAR concert. The Scorpion Society is this pseudo vampire group and the guy who runs it is a complete tool who is just scamming all these wannabees for their money. He meets Annie and her friend and gives them some roofie laced wine and they are taken into the back, all drugged up and restrained down where they will be “intiated”, or rather gang raped. The Tool Vampire (I don’t even remember his name, I just remember that he looked and acted like a complete tool.) reads from a book that he found from some crackhead on the street that he thinks is smoke and mirrors. But in reality this book is really the Satanic Bible that the crackhead stole from the priestess in the beginning of the movie. All of a sudden Nick Dread is inside Annie’s body and Annie is in the dark isolated hole that Nick was in. As this is happening, the lame security guy is unzippering his fly so he can rape the drugged up Annie, but the new and Improved Annie (with Nick inside of her soul) breaks out of the restraints and cuts off his penis. Nick starts yelling and carrying about how awesome his new body is and how he loves his new “cans”, but then suddenly realizes that his host body is a virgin, “an innocent” and he is infuriated and tells these people how they are scum for trying to defile a virgin and gets angry and kills a few people. Then he tells this really confusing story about how he got started, how he was a catholic priest during the Inquisition and found that the women he was torturing were not witches but wealthy and that the poor people exploited them and that it was wrong to burn them alive. But the other priests are using this as a façade to steal their money. When Father Dread says that he will go to the Vatican with it, he and the witches are burned alive and he vows that he will denounce Christianity and heaven for it is evil and makes a pact with Satan. He tells how Satan tells him that he can have his own kingdom in hell with 100,000 corrupt souls to torture for all of eternity but that he has to kill them all himself no matter how many lives he has to come back and live to do it. So then Nick goes on a killing spree and kills everyone in the club because they are either corrupt or mindless followers who allowed themselves to be betrayed. The only exception is that he does not kill Annie’s friend who is suddenly awake and freaking out and she keeps begging Nick to give Annie back her body because she is young and innocent. So Nick, says that he will because he feels bad and does and when he returns to hell, he has his kingdom. The END! What a tale, eh? Seriously. An antisocial serial killer who has a conscience? WTF???? The story is just bad. The acting is even worse. The special effects are…..BAD!!!! This movie is totally a Mystery Science Theatre 3000 keeper. But as bad as this movie is, it has some serious cult potential. That is the biggest selling point to this movie. In the extras to the movie, they talk about how they screened it in the East Village in New York City and people started coming in dressed up like the characters at other screenings. There is even a drinking game for this movie! Rocky Horror is great and all, but it is so over played now and a new cult following is long past due. I believe this could be it. And because of this potential, I am giving it a 3 star rating. It doesn’t get 5 because the acting is horrendous, the storyline is contradictory at times, and the special effects are pathetic, but it gets 3 for mocking the so called “elite” Goths and their scene, fabulous goth and cyber attire, and being so campy, you had to laugh. So grab your socially repressed underground goth friends, drink some mead and Bordeaux, and enjoy this bloody yet hilarious flick!

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GRAVE CONCERNS E-ZINE Liquid Divine - Autophobia By: JimZombie Label: Metropolis Date: 12/27/09

Liquid Divine Autophobia Autophobia is my first experience of Liquid Divine and I must say it is a wonderful combination of many dance and electronic genres from synthpop to ambient, drum & bass, EBM, IDM and more. All these genres are drawn together, combined and processed to give us some of the best electro synthpop of recent time.

Autophobia opens with the rhythmic cosmic-tech Fallen Men. Right now I’m type-dancing away to the song. For those of you unfamiliar with the art of type-dancing, it involves grooving around in your chair while tapping away at your computer.

Following this up is the instantly catchy drum loop and arpeggiated synth intro to Planet Zoo. Featuring intriguing lyrics and vocals coupled with a good grove factor make Planet Zoo one of the winner tracks of the album.

There is a sort of cosmic, electro-organic spirituality running through many of the tracks, sort of a neopaganism for a post human age. Throughout the album the astute attentive listener will notice a strange (but not unwelcome) pragmatic neutrality to Liquid Divine’s lyrics. At time there is a sense, conveyed both through music and lyrics, of being outside of everything like an observer looking in.

Perhaps the greatest track of the album is iHuman. It is a perfect summary of everything the album is. The song should not only be a type-dance hit, if there is justice it will create a stir in the clubs along with the heavily D&B inspired Frontend.

It is with the close of Frontend that the album really ends for me. The rest of it could have been left off. Sure, some would have complained about the length but poo to that, length didn’t stop the sales of millions of Radiohead records. Still the rest of the album is there, so what of it? We see a bit of a more popelectro inspired work with Comagirl which features female vocals and a more traditional arrangement. Not a bad track, just lacking the interest of the earlier tracks. While the tracks following Comagirl return to a sound more typical to the earlier album they don’t have the same catch. At the very least these tracks are a little more for those that want it. Autophobia is a must for fans of music with brains and creative wonder. I eagerly anticipate Liquid Divines next release.

Project Rotten - Machine Made Flesh (demo unsigned) By: Robert Eaton Date: 12/06/09

Project Rotten is a band out of Sweden, and their first official release is the seven-track “Machine Made Flesh,” technically a demo, released this past August. The band is composed of members Rubber Ducky, (Menschdefekt), Anagnorisis, and X/209. The band states its

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influences to be “horror and gore.” Apparently this is not just posturing: the demo includes copious sampling from all the classics of said genre, and enough additional obscure samples to draw comparison to MLWTKK’s sampling fetish.

As far as the music: Project Rotten’s “Machine Made Flesh” recalls the electro of Taktical Sekt. The music is dark and beat-heavy, and while the demo lacks slightly in polish, the songs are inventive enough to overcome that obstacle. The demo’s 7 tracks are full of surprisingly discordant synths, and Rubber Ducky’s screaming vocals. “Confessions of a Killer,” the opener, makes good use of sampling and programming to create an atmospheric, stompy dance-track. “Cenobites” is disturbing and would make a great addition to any DJ’s EBM set. “Flesh Burn’s” reminds a bit of God Module. This seems to be a band that can write a good song, but still seems to be finding its voice. “Knife Goes Through” is probably the harshest song on the album, and one of the most interesting. Even so, the song is hampered by somewhat uneven production.

Uncompromisingly dark and hypnotic, fans of terrorEBM will have something to look forward to when Project Rotten drops a full-length. Until then, “Machine Made Flesh” will no doubt satisfy the listener. Stick Project Rotten in the back of your mind as an act to watch.

Following on from the successes of last years “Goth Day”, DJ Cruel Britannia and DJ Martin Oldgoth have again joined forces to celebrate all things Goth on Saturday May 22 2010. ““Goth Day” is a day to celebrate all things Goth” says DJ Cruel Britannia. “It is a day where the scene gets to celebrate in its own right and gets the opportunity to make its presence known to the rest of the world!”

May 22 was chosen as the date for “Goth Day” following BBC 6 Music in the UK announcing that it was looking at various musical subcultures, Goth being one of them, over the weekend of May 22 2009. In the space of a week, DJ Cruel Britannia and DJ Martin Oldgoth decided that it should be celebrated properly, and “Goth Day” was born!

“Various members of the scene came up with ideas to celebrate what being “Goth” was to them, including dressing a little more “Goth” for work, contacting local radio stations to get Goth songs played, making “Goth Day” cakes, changing their avatar on social networking sites and forums to the “official” Goth Day smiley etc. Basically it was a day to have fun and show the world that they were proud to be “Goth”.” Says DJ Martin Oldgoth.

“Goth Day” 2010 is only a few months away, and preparations are already underway to make it bigger and better this year. Plans include getting clubs and promoters across the world involved to make their usual club night more of an event, including raising money for charities or local good causes!

“Goth Day” even has its own website, www.worldgothday.com, where there is a host of resources, such as downloadable posters, smileys and radio adverts, as well as a forum to post your views and more importantly what you are doing for Goth Day. The website will be updated with events and news as it comes in, so keep checking back for more information.

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GRAVE CONCERNS E-ZINE Assemblage 23 - Compass Linda and Nick DeFlaminis Label: Accession Records/Metropolis Records Release Date: 23rd October 2009 Wow! Tom Shear has done it again with his newest release “Compass.” Although there are some similarities to previous albums, this one you can hear a change into a new direction. For those of you that have not yet discovered Assemblage 23, this is the album you must have and I’m sure you will become an instantaneous fan! For those of you that are already Assemblage23 fans, you are in for a sonic treat. With his catchy tunes, and clubby nuances, Compass is sure to keep you going on the dance floor and your fingers off the next button on your iPod! Compass proves to be Tom’s greatest work yet, with a great deal of lyrical diversity encompassing several topics and storylines from song to song, this album is a treat from beginning to end, sending your listening taste buds on a journey, hence the album’s title “Compass”. The album’s diversity truly allows you to take several story paths depending on what song order you decide to line up in your playlist. In addition to the diversity in the album’s lyrics, the musical composition from song to song takes many turns, keeping you interested, sampling a different flavor with each and every song.

Commenting on a more detailed level of granularity, individually, each song differs a bit from beginning to end.

Although Toms songs for the most part, follow a standard musical composition structure, hence Intro, Chorus, Verse, Bridge, chorus, outro etc. Each element is slightly different then the last. In other words, and for example, the second and third verse and choruses in “spark” are different than the previous, making the composition slightly progressive, e.g. using a different synth sound like an arpeggio sequence in the first chorus, and perhaps a subtle trancegated synth sound in the last chorus.

Caustic - This Is Jizzcore Matthew J. LABEL: Crunch Pod DATE: 8-30-09 "Mature" is the last thing you'd probably call Caustic's Matt Fanale, who would probably take it as an insult anyway, but his latest album actually does display maturity in a very real sense.

That's not to say that he's toned down the comedy or the tastelessness, of course, and "Cock Blockin'

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Beats" and the power noise-meets-R&B parody "Lady Business" prove that, as does "Teabaggin'," featuring some obscene but hilarious rapping from The Gothsicles' DarkNES. Musically, though, Fanale's grown; "Feral" features some real rhythmic complexity, its ominous textures and breakbeats more a blast to the brain than a punch below the belt, and "Formula 420," a collaboration with Assemblage 23's Nerve Filter side project, spices up distorted electro beats with glitches and a hint of piano melody. There are also several homages to the classics, most obviously on "Radio Raheem," with its eclectic list of influences, but also on "I Wanna Stay Wasted," a sort of a capella pastiche of classic street punk, and "Bacia la Capra," a deliberate nod to the clanking sample-laden groove of early Revolting Cocks.

This is pretty much the best thing Caustic's ever done, and making a good thing even better, the first edition of this album features a bonus CD of remixes. The best comes from Tonikom, who adds a dark breakbeat texture to the hardcore bellows and power noise beats of "Pull the Pin," and from Cyanotic, who turns the fist-pumping "Agent of Chaos" into a frantic blast of jungle beats and wildly thrashing guitars, but there's also an alternate version of "Lady Business" by Fanale himself that features different and even more sexually explicit lyrics, including the expository line, "This song is about cunnilingus, baby," which will help those Caustic fans too slow on the uptake to pick up on the song's more metaphorical elements.

There are also three bonus tracks, including the affectionate and funky "Big Goth Mama," the old-school '80s electro pastiche "Funkbot vs. Spunkbot," and a deliberately offensive Combichrist take-off entitled "This Fuck Will Shut You Up" that, though amusing for all the obvious reasons, also stands up surprisingly well on its own. Smarter than he'd like you to believe but still gloriously irreverent, Fanale is sure to alienate another large chunk of the industrial scene with this one, but his fans are sure to admire his musical growth. Caustic: it's not just a novelty act anymore.

Depeche Mode- Sounds of the Universe Karen Roche Label: Mute/Capitol/Virgin Sounds of The Universe is the much awaited 12th studio release from English electro gods Depeche Mode and their first since the release of Playing the Angel in 2005 (and the subsequent live album release Touring the Angel in 2006).

Sounds of the Universe is, overall, a typically polished example of the music which fans have come to expect from DM and will not disappoint most people, having something to offer for DM fans both old and new.

The overall feeling of Sounds of The Universe is that it comes from an older, wiser and more reflective DM who have yet once again set out to communicate their continuing evolution through their music and have all in all succeeded.

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GRAVE CONCERNS E-ZINE From the fantastically dark and yet funky collaborative tracks between Dave Gahan, Christian Eigner and Andrew Philpott ( “Hole to Feed”, “Come Back” and “Miles Away/The Truth is”) to the recently released track “Wrong” which has a more commercial feeling to it with it’s trademark angst-ridden lyrics (There’s something wrong with me chemically/Something wrong with me inherently) and its atmospheric melody which all combine to slowly build (along with it’s infectious drumbeat) to what the English would call “an absolute floor-filler” this album delivers on the whole, an exceptional mix of emotive melodies, no-holds barred lyrics and wonderous synth use.

There are times however, when the listener is left waiting for something ‘more’ to happen such as with the opening track “In Chains” and again to a lesser degree with “Fragile Tension” when all starts promising but, despite beautiful lyrics, neither track seems quite “finished” it’s as if some element has been left out of the final mix, but these instances are few and far between and are easily forgotten when the listener rediscovers the sheer brilliance of DM at their lyrical and musical best in the shape of tracks such as “Corrupt” which is just awesomely good and so reminiscent of DM in the mid-80’s (without being dated ) that it might just be THE track of the album and is a perfect example of why DM are still, two decades on from their original incarnation, one of the most adored bands around. Deep, dark, catchy, fab keyboards and vocals/lyrics to sin for what more could one ask for?

Kommando XY -Welcome to Gestrikland Robert Eaton Date: 8/31/09 “Welcome to Gestrikland” is an album of 10 songs of martial-sounding industrial that will sound familiar to fans of bands like Liabach.

Kommando XY hails from Gavle, Sweden. If the album’s ten tracks lack slightly in polish, that lack is made up for. The band matches a guttural vocal delivery, lyrics not in English, and minimalist Nitzer Ebb-like programming. It’s a time-honored formula, one that has been made good use of, and is not likely to disappear any time soon. This is not at all to say that “Welcome to Gestrikland” is a retread over too-familiar territory, by any means. It’s refreshing, if anything, to hear good floor-stomping music which also seems to have a sense of humor as well. Points of the album certainly are a match for the material’s inspirations. It’s worthwhile to take the trip to “Gestrikland,” as it were.

Kommando XY states the themes for their music as “masculinity, booze, and life.” If that’s your sort of thing, with a lot of screaming in Swedish, and aggressive Nitzer Ebb sounding programming, this album is more than worth checking out. This is the sort of album that you may find yourself chanting along to, even though you’re not ever sure what you’re saying.

Suicide Commando - Die Motherfucker Die Robert Eaton Label:Metropolis Records Date: 10/23/09 Anyone following Suicide Commando’s career knows that Suicide Commando’s forth-coming album, “Implements of Hell” is bound to be a monster.

The tester for the album is the four-track “Die Motherfucker Die” single. The CD single has remixes by Noisufx and C-lector and I can’t say that this could be cast as a disappointment. Since 2006’s “Bind, Torture, Kill,” Suicide Commando’s Johan has not exactly been quiet. Suicide Commando released “X20,” toured, and added to his family. Don’t imagine that being a family man has mellowed the man. This time the topic is another notorious serial killer, Albert Fish. The full album is slated for release January 2010.

The title track is a hard-hitting sample of all the reasons Suicide Commando has remained one the most relevant and consistent acts in harsh electro. “Come Down With Me,” is the single’s other track: it is more ethereal and atmospheric than “Die Motherfucker Die.” The track features a dirge-like choral motif, which is appropriately eerie. The C-lector remix of “Die Motherfucker Die” has some surprising techno-esque elements, but it’s still a great take on the song. There’s plenty of the familiar aggression that characterizes a Suicide Commando release.

While fans don’t have long to wait for a full album, the remixes on this single are likely to be worth the price as they are likely to be floor staples. For those that don’t catch the single, there will be a digipack of the full album released in January, which will likely have these as well of other remixes of the album’s tracks.

“Genesis Does” just slams in a really brutal and relentless way, even if what can be deciphered of the lyrics is really pretty ridiculous. (“Genesis” seems to refer to the video-game system popular in the states during the 1990’s.) “Kvinner” moves along at a frenetic pace. Vocalist Jocke M.’s snear almost visible in the vocals he delivers. Unfortunately, the song ends abruptly, and without much development. “Vargavinter” is slightly more melodic then some of the other tracks, at least during interludes between verses. This isn’t an album where a band is showing a great deal of range. The band simply is what it is. However, for a lot of old industrial fans, that’s enough. Kommando XY hits right on the head of what made a lot of the classic industrial acts that they list as influences great.

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GRAVE CONCERNS E-ZINE

The Best of 2009 Acording to Grave Concerns Staffers 2009, with so many great albums and events, was a great year for the industrial scene. The staff of Grave Concerns list some of their favourite albums and happenings.

9. Norcal Noisefest XIII Compilation 10. Genghis Tron - Board Up The House Remix LP's (Vol. 1-Vol.3) 11. The Placenta Family Tree Compilation (Discs 1 & 2)

Julie Johnson

Best Shows I went to in 2009: DAN DEACON - @ The Wesley in Mt. Pleasant, MI Norcal Noisefest XIII - @ Luna's, The Green's, & EMRL in Sacramento, CA

Albums:

Robert Eaton

1. Depeche Mode- Sounds of the Universe 2. Lady Gaga- The Fame Monster 3. C/A/T- We are Still Alive 4. Revco- Sexo Olympico 5. 16 Volt- American Porn Songs 6. SITD- Rot 7. Ministry- The Last Dubber 8. Green Day- 21st Century Breakdown 9. Sonik Foundry- Mechanized 10. VNV Nation- Of Faith Power and Glory

Albums:

JimZombies

4. Psyclon Nine "We the Fallen" miles away from the terror-ebm of "Divine Infekt," but a great album from a band that doesn't shy away from taking industrial in a different direction.

Albums: 1. C/A/T - We Are Still Alive EP 2. Angelspit - Hideous and Perfect 3. Liquid Divine - Autophobia 4. Skold VS KMFDM 5. Acid Christ - The Art of Breaking Apart Best gig: God Module (Holy Grail – Canberra, ACT, Australia) Best club: Chrome (Holy Grail – Canberra, ACT, Australia) Looking forward to in 2010: Amphi Fesitvial (Cologne, Germany) Matthew Johnson Albums: 1. Babyland- Cavecraft 2. ESA- The Sea and the Silence 3. Angelspit- Hideous and Perfect 4. AFI- Crash Love 5. Stendeck- Sonnambula 6. Caustic- This Is Jizzcore 7. Totakeke- The Things That Disappear When I Close My Eyes 8. Wumpscut- Fuckit 9. Diary of Dreams- (If) 10. Project Pitchfork- Dream, Tiresias!

Jay Albums: 1. Bubblegum Octopus - The Album Formerly Known As...8 Legged 2. Dance Moves 3. Yatagarasu & Bubblegum Octopus - Take Controll 4. Xrin Arms - Olive Juice 5. Yatagarasu + Dental Work - Dances With Wolves 6. Agoraphobic Nosebleed - Agorapocalypse 7. Black Dice - Repo 8. Dan Deacon - Bromst

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1. Kommando XY "Welcome to Gastrikland" cool, abrasive industrial in the vein of Nitzer Ebb, and with a sense of humor.

2. Angelspit -"Hideous and Perfect" Definitely one of the best albums of the year.

3. Suicide Commando -"Die Motherfucker Die single" can't wait for the full-length.

5. C-Drone Defekt - "Distopia" a must have CD from the Alfamatrix label.

6. Clan of Xymox "In Love we Trust" - great sounding modern goth album from a classic goth band. this release shows that goth rock is still relevant, and still deserves our attention.

7. Project Rotten "Machine Made Flesh" (demo) - Project Rotten is a band to watch in 2010, and this demo, and their follow-up EP is a reason to pay attention.

8. Velvet Acid Christ "The Art of Breaking Apart" VAC never ceases to put out great albums - still one of the most relevant bands in the scene.

9. The Deep End - "The Haunting" Single (digital release/download) a great track from one of the premier death rock/dark punk outfits in the US. Also, a sine of good things to come in 2010.

10. Tantrum - "Fuck You I'm Drunk/ Stronger than Cats" aggressive and can pack a floor. The uninitiated need to tune in.

Favorite tour of 2009: Skinny Puppy -the tour was more subdued than other years, and the set was an odd one, but, it's Skinny Puppy, for fuck's sake.

Things I am looking forward to: New Unter Null, and new Nitzer Ebb. Blogs to watch: Combichrist's tour blogs on Vampirefreaks. - probably the most entertaining tour blog you can find online.

Amanda-fucking-Palmer: (Amanda Palmer/Dresden Dolls) her insights and perspective have angered more than a few, but one of the best blogs about making art in the digital age. amandapalmer.net

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