Artiklar

  • Concerts witnessed in MMXIV

    12 feb 2015, 00:14 av haadeus

    I will list here the concerts I attended during 2014, and once the list is ready I will add some recollections and moods according to my limited memory. I am writing this in February 2015, and it is interesting to notice how much memories twist, change time and place and how much is thrown in the sewers of the mind. Oftentimes, when purchasing a ticket, one tends to think "well, it's a lot, but I'll see the band(s) x on top of the band I'm really into" but you'll just end up socialising with people, drinking, smoking, gazing at the Moon while the bands play, or just downright forget after a month that you even saw the band x play.

    Køpi-Hausfest: Ruidosa Inmundicia
    at Køpi, Berlin on Friday, February 21st


    Køpi-Hausfest is a yearly week-long celebration of the existence of the oldest house project in Berlin, and a major den of all things punk and DIY. On this particular date I recall seeing some German hardcore and punk bands play on all three stages, but the only band I went to see on purpose was Ruidosa Inmundicia. They rocked in a regular fuzzed-out no-nonsense fashion, as expected. After the concerts there was also a minimal-electro party in true Berlin style, with a dance floor crowded with cross-dressers and wild Polish punks.

    Satanic Assault Division, Galadriel, Grimegod and Negură Bunget
    at Blackland, Berlin on Wednesday, March 26th


    First time for a concert in the infamous Blackland in Prenzlauer Berg. The place was a bit more put-up than the regular places I go to, and actually doesn't differ much from many metal bars in the Nordic countries. Run-of-the-mill extreme metal blasting from the sound system, and moderately expensive beer with a deposit that one seldom remembers to cash in by the end of the evening.

    I don't have concrete recollections of the opening bands, apparently they were not worth of any redeeming nerve connections. Grimegod were supposedly a long-running band from Romania and they did indeed have a sound that reeked of the glorious nineties.

    The renowned Carpathian fiddlers of Negură Bunget were, simply put, excellent. Proper black metal fused with dark folk atmosphere and traditional instrumentation – and without even a hint of the redundant "battle metal" that many Finnish bands end up sounding of. The crowd that was present was rather modest, but apparently the band has gained more popularity during the last year, and in Spring 2015 they will play in the more mainstream locale of K17 with a lot higher entrance fee.

    Gomora, Grime and 16
    at Køpi, Berlin on Friday, April 11th


    This event was a full-blown night at the AGH stage of Køpi. Gomora opened the evening with their occasionally slowed-down brand of punk. Grime from France continued with a sound that went very much according to their name. By the point 16 hit the stage I was mentally and physically ready to receive the live sound of probably my favourite sludgy band. 16's music is slowed-down dirty hardcore, relentless pummeling without much of the long dragging dirges that most bands of this style tend to do. Slow enough to follow, fast enough to not get carried away – perfect for a stoned-out drunken Friday evening. In a hindsight, easily one of the best concerts I witnessed during the year.

    Graves at Sea and Sourvein
    at Lovelite, Berlin on Saturday, April 12th


    After still being stoked by the 16 concert the night before, another evening of sludge ensued. The venue was Lovelite, a locale I seldom hear any good bands playing at. It's a regular rock-oriented club in a more hip part of F-hain. Both bands sounded great, while you could still hear and see the mileage on these weathered touring artists, for better and worse. Graves at Sea offered the doomier side of the craft that Sourvein gave a more groove.

    Dark Easter Metal Meeting 2014:
    Wraithcult, Fäulnis, Eïs, Sear Bliss, Thulcandra, Agrypnie, Negator,
    Root, The Ruins of Beverast and Triptykon
    at Backstage, München on Sunday, April 20th


    This really interesting mini-fest was part of my spring backpacking journey through München, Switzerland and lake Konstanz. Root, The Ruins of Beverast and Triptykon shared my main interest, and shook my bones as vigorously as expected. The rest of the bands were quality too, but a bit too generic to get me excited. Mad props for cheap vegan burgers sold at the venue and the renowned Bavarian beer culture. München is also one of the few cities I know where one can enjoy quality Vöner, right next to the main train station.

    HGich.T
    at Bi Nuu, Berlin on Saturday, April 26th


    I went to see this cult dadaist -trash group sober, down and with mixed feelings of fear and anticipation. The mascot, the diaper punk, had some baboon-shouting meditation rite before the show, and the "songs" played were brought forth in a way that reminded more of shouted drunken karaoke most often witnessed on a ferry ride in the Baltic Sea. Quite an experience on its own right, but with the salty price of the ticket I'd rather put my money elsewhere.

    Cro-Mags and Terror
    at outside of Core-Tex and Trinkteufel, Berlin on Thursday, May 1st


    Cro-Mags and Terror playing on a street fest for free, quite a treat! The concerts, especially the latter, were riotous and violent. Actually the situation in the neighbourhood eventually progressed into an actual riot, and after checking the situation I stumbled to the shadow fest nearby, that stands as a protest to the main street fest. I recall the protest was about the commercial, tame and un-anarchistic nature of the main one, but there might've been more to that too. A really wicked Russian slam hardcore band played there.

    Motorpsycho
    at Postbahnhof, Berlin on Thursday, May 22nd


    Motorpsycho was a sort of boring and clean modern rock band from Norway, but since this was my first flyer-tossing stint I was glad to attend.

    Merrimack and Mayhem
    at C-Club, Berlin on Wednesday, May 28th


    This gig was a follow-up to the previous flyer duty. Merrimack didn't move me much, but they were not wholly crap either. Mayhem was the reason I was here anyways. Their sound was fuzzy, loud and relentless, as it should be. Csihar Attila's stage antics were deadly serious and kitsch at the same time. Good times were had with music that encompasses very essence of the bad times.

    Carneval of Subculture 2014
    at Strassenfest Köpenicker Straße/Schillingbrücke on Saturday, June 7th


    I was here, but I can't recall seeing any bands play. I was too busy with downing red wine, smoking the good stuff and meeting people. The weather was nice and sunny. Totenwald apparently played in the evening, but luckily I ended up seeing them on two occasions in the following autumn.

    Goatblood, Horrid, Satanize and Mystifier
    at Blackland, Berlin on Friday, June 13th


    Mystifier is a cult band for real cultists, a macabre Brazilian cousin of Beherit. I'm talking about high-pitched synth-laden bestial black metal of death here. Excellent show and cool, down to earth lads, none of that rock star cockiness.

    Mülltüte, Piss and Tragedy
    SO36, Berlin Wednesday, June 18th


    Tragedy were, once again, great. The location was the famous SO36, actually a very regular small rock club that has a long history in the underground rock music.

    Under the Black Sun Festival – Part XVII:
    Thursday: Nunslaughter
    Friday: The Committee, Voidhanger, Plaga and Mgła
    Saturday: Countess, Corpus Christii, Inquisition and Belphegor
    at Reiterhof Helenenau, Börnicke on July 3th-5th


    I plodded our way with Scottish comrades to the camping grounds in the darkness of the night, after a variety of events that can only be filed under Murphy's Law. After putting our tents up and doing the necessary rites to elevate the festive mood we headed to see if we're still able to hear some of the bands. The ticket booth was closed, but eventually we got in without tickets because the bouncer was a fan of Finland and Moomins in particular. Nunslaughter was the last in line with their brand of horror-movie death metal. Topped with the hilarious stage patter and vigorous moshing of the mascot guy, this was definitely the most fun show of the festival.

    Friday, just like rest of the weekend, was sunny and scorching hot. Most of the day was spent at the camp, which we relocated to the shade of the trees, nearby a colony of Polish maniacs and a couple of Dutch die-hards. Concert-wise Plaga and Mgła were definitely the highlights of the day.

    The next day I looked forward most for the cult act Countess, since Inquisition I had already seen once before. Countess pounded their barbarian tunes of Hell's rock and roll to a scarce yet devoted crowd under the midsummer sun. Inquisition had a neat light show projected to the spruce forest behind the stage that complimented the solemn mood of the music.

    All in all, UTBS was an excellent small festival in the woods, devoted to the black arts.

    / / /

    Church of Misery played in Cassiopeia, Berlin on July 21st. I was handing out flyers outside the venue as usual, downing a couple beers and maybe smoking a small one, amped up to see these Japanese hessians again. At the door, however, I was treated really snobbily by a young blonde to whom speaking English was apparently such a straining effort. The doorman basically forced me out and I was denied entry and any possibility to explain myself. At the Conan concert later that year, a friendlier member of the staff came to apologise about this incident (and to toss me some more flyers).

    Slave Hands, Kaleidobolt and woodrue
    at Vapaan Taiteen Tila, Helsinki on Saturday, July 26th


    First (and eventually, only) time visiting Finland in 2014. I flew to Tampere from Bremen on Saturday morning, strolled around in the sunshine and reminisced on the time I lived in this fine town. Most of the people I am in still in touch with were spending this weekend in the legendary punk festival, Puntala Rock, and hence I decided to take a bus to Hel-sink-i. I met up with an old friend from the infamous Northern-Northlands where both of us grew up, and headed for an outdoor punk happening by the seaside at Konttipiha, but eventually we only ended up seeing one complete show of hardcore and part of another, more -oriented band.

    But the main treat I was looking forward to followed after this outdoors side-route. An evening of sludge in a bomb shelter. While this country is constantly narrowing its citizens' freedoms, it is curious how such an "important" government location can be used for "free arts" as the name of the locale says.

    Slave Hands and Kaleidobolt were mid-paced 101-sludge. The sound in the venue was not the optimal, but improved by the point woodrue hit the floor. I recall this was a record-release party for a split with SemTex, and a track by them was performed by Woodrue. I think it still sounded pretty much of a Woodrue song. After the show I met up with a bald-headed gent of the local stock who kindly offered me his home-grown and told me of the times he spent in the French Foreign Legion. Good times in the summer of nightless nights.

    Jalometalli 2014:
    Friday: Speedtrap, High on Fire, Dark Angel, Loudness and King Diamond
    Saturday: Ranger, Behexen, Uncle Acid & the Deadbeats, Samael, Triptykon and Testament
    at Ouluhalli, Oulu on August 8th-9th


    After being some summers away and unable to enjoy the previous yearly tradition of attending Jalometalli, I was really looking forward to this weekend, and High on Fire and King Diamond shows in particular. High on Fire was the epitome of post-Motörheadian , basking in the summer heat. King Diamond had the classic stage antics and props, and also an actual magic trick with a furnace in a coffin. Was it real or just a dream? It was magic, i know!

    impivaara, Tungsten Tungsten, Sottaaja and Laitos
    Oulun Taidemuseo and Kulttuuribingo, Oulu on Thursday, August 21st


    These shows were part of the annual "Oulu Night of the Arts" happening. impivaara had in the backyard of the art museum their dadaist performance that celebrated femininity and freedom of expression. I appreciate the Pussy Riot-esque attitude they had going on, but musically they left a lot to hope for. Afterwards we visited a Viking camp and historical museum, and finally ended up to Kulttuuribingo for the closing party of my friend's art exhibition Uutisista hyvää iltaa and the accompanying and artists.

    Unclean, Pain Nail, Fleshpress and Pyhä Kuolema
    at Veljesiltamat, Oulu on Saturday, August 23rd


    Veljesiltamat has been a special almost-annual event since its foundation, and as I recall I've had the fortune to attend all of them. A stellar evening of , , and played in an old mansion with a sauna and a small river to plunge into. If pre-natal soundscape has an effect on an unborn child, for better or worse, mine had a strong dose of harsh electronic noise before his birth.

    This was the second time seeing Pyhä Kuolema play. The first time was a hazy noon in an Estonian countryside church the winter before. On this occasion the man behind the sanctified name had company, and the resulting sound waves were more atmospheric and full, beautifully complimenting the noble mood of the locale. Stoned-out midnight sauna rituals followed. Eventually the attendees slowly retired to the night that hinted of end of summer in these northern latitudes, and for this migratory bird to return to more hospitable climates.

    Rainmaker, øjne and Glances
    at Ligera, Milan on Thursday, September 4th


    Because I anyways had to do one or more detours to reach Berlin, I decided to have a quick trip to Italy. While there, I checked the local underground shows and ended up to Ligera in eastern part of Milano, in the same neighbourhood where also my hostel was located. The bands I saw play, øjne and either of the other two, played hardcore with youthful enthusiasm.

    At some point around the turn of September and October I attended a tattoo fest at New Yorck in Bethanien, Berlin where I witnessed Totenwald first time. Cold, old-school, -fused with intriguing stage attire (or lack of it). Needless to say, I really liked them. After the show my Aussie bud finally surfaced from his lair nearby and we decided to escape the chilly autumn drizzle to Køpi, where an unknown female-fronted -tinged band, much in the vein of Blood Ceremony, played to an almost empty AGH hall (the bigger stage in the Køpi complex). They had their moments, but apparently not enough to make me look them up in the interweb afterwards.

    Mantar and Conan
    at Cassiopeia, Berlin on Tuesday, October 14th


    As a devoted fan of boring drone, I can safely say Conan is boring drone done wrong. It's not complete crap, it's just redundant and dull. Luckily I didn't need to pay for this trifle. Regardless, I had fun times with an old Lithuanian bro who was visiting the town.

    Nawaharjan, Temple Desecration, i i and Darkmoon Warrior
    at Blackland, Berlin on Thursday, November 6th


    Nuclear War Now Festival's warm-up gig. Fun and hectic evening, even if the bands were forgettable . II, i i or whatever you call it created the thickest atmosphere in the crowded bar.

    Einstürzende Neubauten
    at Tempodrom, Berlin on Tuesday, November 11th


    I know Einstürzende Neubauten has a special place in the hearts of many. Therefore I am sorry to admit that the concert left a lot to hope for. Considering that people (except me, since I was handing out flyers) paid over forty euros for the ticket, the lack of dynamics and sound that would fill the stadium was unforgivable sin.

    Goatwhore and Dying Fetus
    at Lido, Berlin on Friday, November 14th


    Another flyer stint, and once again I had problems getting into the venue, but eventually iron will triumphed and I got through. I also managed to get in with me an American music biz veteran who's ego seemed to take a slight blow when he wasn't let in on guest list – supposedly he was old friends with Goatwhore guys.

    ]Goatwhore played energetic with a contagious groove. Dying Fetus played a steady set of hit songs of their brand of that slams like a rhino in heat.

    Ast, Ancst and Thränenkind
    at X-B-Liebig, Berlin on Thursday, November 20th


    First bands to see in this house project in Friedrichshain. The bar side there consisted of two small rooms and no actual stage, so during this sort of hip show the place was packed full. I don't have much of story about these bands, y flannel shirt black metal all the way. Ast, the starter duo, were cool with their stripped-down approach. Ancst were more crusty and forgettable, albeit I only listened to them from the back of the crowded room. Thränenkind were once again one of those bands that worked really well live, vivid and rocking, but for some odd reason their records didn't make any lasting impression on me, before or after the concert.

    Totenwald and Dividing Lines
    at Køpi, Berlin on Friday, December 12th


    Both played neat old-school post-punk, Totenwald from Berlin and Dividing Lines from Leipzig. A basic damp cellar show with an audience of introverted blazed-out crusties.

    Morbus Chron, Triptykon and At the Gates
    at Postbahnhof, Berlin on Saturday, December 20th


    This was another concert I got in in exchange of my time handing out flyers to other concert-goers. I took the aforementioned Aussie bud to be my aide and companion in this task. We were treated politely by the staff at the door (for once!) and listened a bit of Morbus Chron's sound check with the singer of At the Gates. We didn't see the actual show, because we had to go to the door to toss our junk (the flyers, duh), down a couple beers and to call those who didn't accept the flyers posers.

    By the point we were about finished, we popped some acid and went in to witness the mighty Triptykon. Their sound was huge and clear, and I could imagine a cool Alpine wind sweeping over me. After seeing them the fourth time, I have spent about same time listening to them live as I have by listening their records. We were also catered some slowed-down Hellhammer and Celtic Frost gems too as usual.

    I lost the Aussie culprit and socialised with the local German stock before heading back to the show room for At the Gates. I haven't been much into them before, but they really sold their craft to me that night. Some of their more preppy songs were a bit too much, but the overall atmosphere was grand. There was even a wedding couple doing some spins along a more up-beat instrumental moment. My heart melted a bit at the sight of their overwhelming joy.

    After the show the DJ, a middle-age forever-teenager, started playing some of the worst dance floor pop imaginable. I went to the set to talk to him but he responded coldly and called security to drive me off. The place emptied double-fast but we stayed for a beer and a joint. Soon the 50's dad hair jocks with glossy puffy vests poured in. Apart from some odd smirks and ironic Dio horn signs, the air, especially outside, started to reek of hostility. I can't recall how many times we were called Assi (basically a fuck-up, drop-out) and other things, but eventually we shouldered ourselves out before anything worse happened, and shouted some offensive nonsense to the huge queue outside the venue. All in all, a great success.

  • Dead High Wire - Endless Discussions Bore Me to Death EP recensie @ snoozecontrol.be

    26 feb 2015, 20:24 av GothicBowie666

    Dead High Wire-Endless discussions bore me to death

    Dead High Wire is een rock formatie afkomstig uit het Antwerpse. Ze brengen indierock gecombineerd met wat garagerock, new wave en postpunk. Een resem aan genres, m.a.w. Onmogelijk in een hokje te plaatsen de muziek van deze sympathieke heren. In 2012 brachten ze hun allereerste EP uit. Wij bespraken deze een jaar later, in 2013. De conclusie van onze recensie schrijver was toen eensgezind: ik kan elke track beschrijven want telkens zijn ze anders opgebouwd met een eigen unieke inhoud. Maar dat is natuurlijk aan jullie, de luisteraars, om te ontdekken. Op muzikaal vlak zit alles zeker goed. De gitaren kunnen hen gading vinden met de drums en met het vocale gedeelte. Ook omgekeerd en vice versa. Een uitdagende postpunk/indierock/new wave band afkomstig uit België.Pas heel recent brachten Dead HighWire één nieuwe EP op de markt, onder het label Oddie Records. Met de veelzeggende titel: Endless Discussions Bore Me to Death. Wij legden ons oor weer eens te luisteren, en kwamen tot deze conclusie:

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  • Concerts witnessed in MMXV era vulgaris

    11 feb 2015, 23:00 av haadeus

    Introduction & Disclaimer

    Hello dear reader. I am glad that you made it to this side of the internet. Some might even refer to this as to the very fringe of it. A place of wonder where non-Euclidean calculus is applied to reach the utmost pits, Darwinian evolution is defiled with putrid subterranean mutations and the common morals of society are cast aside and spat upon, while the Lady Justitia, that wretched skank, writhes in the gutter with torn garments, begging for next hit and further debauchery. But I digress. I think I know why you are here. You would like to read about a particular Artist that I have tagged to this post. Well, you're in luck today, since I like to write. I see an immediate, reciprocal relationship manifesting here between the two of us. I will cherish this beautiful moment until the day I hit the big sleep... or at least until when the nerve connections hosting the said memory are reduced to mere cinders. Which is, apparently, just a matter of time. Anyways, I've been pondering upon the prospect of writing a blog on a variety of musings – including music, of course – but for now I will settle with trying out the practicality of the journal feature of this fine, fine website service that I have been using somewhat regularly since November 2007. I will start with the most recent events I have attended, but depending on inspiration I might reminisce all the way down to my first metal festival in 2005 when I witnessed live the mighty Dissection. At the end of the day, I write for myself, but I do wish like-minded people (read: metal nerds) find my rantings enjoyable.

    Blackdeath, Ondskapt, Archgoat and Inquisition
    at K17, Berlin on Tuesday, January 20th


    First concert of the new year was one that I had been waiting for a couple months with growing anticipation, mainly because Inquisition had been one of my favourite "new" or "more modern" (read: active) black metal bands for the past odd-five years. K17 is far from an optimal location for this kind of line-up – instead of an underground metal den, the place is actually more of a rock-oriented night club in the northern Friedrichshain. I hadn't been to a concert at K17 before, but I have fond memories of downing cheap shots of spicy Mexicaner and dancing to DAF and other infamous Härte hits with a Swedish friend some time ago.

    By the way, going to a show sober, ordering alcohol-free beer, dreadlocked and not wearing a single black piece of clothing, topped with a khaki Om shirt can give you some odd looks from uninitiated Amon Amarth fans. I might have gained some questionable credibility back by speaking Finnish to Archgoaters and -goatesses, and by finally purchasing my very own Inquisition swag.

    Blackdeath had a properly raw and menacing sound. The vocalist, wearing a Laibach-esque headgear and Immortal-tier spikes, produced vocals that reminded of raking nails over a chalkboard. The drummer seemed to be pummeling through the set with the exact same beat over and over – and that's how their songs ended up sounding, too, for the uninitiated. I do have one LP, "Bottomless Armageddon" by them stashed in a safe location in the cold north, so that at least some droning will be preserved for the post-apocalyptic generations.

    Ondskapt sounded modern Swedish, looked modern Swedish, felt modern Swedish. They had the whole kit; skulls, capes, candles, ash/flour scattered all over. I checked most of their set and went to have a coffee and coke at a nearby Turkish Späti.

    Archgoat delivered again exactly what was expected. Relentless, lo-fi, rather droning black metal, very much in the vein of the first Beherit LP. The low end was now more audible than last time, and the smell of blood was less prevalent. The high and low points of bigger stages – apparently you can't have both. I liked the sharply pronounced and no-nonsense stage patter "Vokal. Up." and "Peer. Peer." that echoed of my past life elsewhere. I cannot say that I recognised any pieces from their recordings, but that kind of things are anyways secondary when witnessing an Aural Assault. After the concert I met a 20-odd year-old guy from Helsinki who told me how Archgoat was the band for him. He was following the band to their next concert, too, and told that his first tattoo would be an Archgoat one. I support the devotion.

    Inquisition conquered the stage around midnight. I thought beforehand that the wait for the headliner would turn out to be strenuous, but the time passed effortlessly. The sound was clear enough and the duo played a good mix of old and new songs. Even one track from the dark nineties was played as an encore, but I cannot recall which. The stage's lighting work added a trippy effect to the already astral mood of the concert. Seldom do I feel after a show that I could easily have the same again tomorrow – or at least the next week. And this was already the third time I had the privilege to witness them play. Good times.

    Chamber and Antlers
    at Kastanienkeller, Berlin on Friday, January 30th


    Kastanienkeller is a nice crammed cellar underneath a posh pseudo-leftist café in the heart of Prenzlauer Berg. Every time I have visited the place, they've been blasting quality stuff from Melvins to Bathory. The beer is cheap, too.

    Chamber was a rather modern-sounding, slightly fuzzy, somewhat atmospheric black metal band. Actually they didn't stick to my backbone that well, but I'd dare to say they were influenced by . The audience was really not much into it either, and I found the vocalist's learned, stiff stage mannerisms rather out of place. Him taking his shirt off, with the audience still standing around in slightly chilly room with their overcoats on, was a bit cringe-worthy. Cool hardcore tattoos, though. During the concert it occurred to me strongly that "that guy could be me." There was none of the otherworldliness many artists are able to create around themselves, but this might have been also due to the inadequate setting.

    Antlers had a good dose of in their black metal, without being too punk instead of metal. At times they even had a very first wave sound to their songs. Even if I had no expectations for the evening, this kind of captivating, nicely repetitive, no-nonsense metal is exactly what I want to hear for my few euros spent when I decide to attend an event on Stressfaktor that mentions black metal. I found it a bit amusing that Antlers was once again one of those bands that have various shirt designs available before any records are out. Supposedly an album is coming out during summer. Or maybe I just remember wrong, I might have enjoyed some Friday air. I'll be looking forward to their future endeavours with interest.

    Monowelt and Kiss the Anus of a Black Cat
    at Urban Spree, Berlin on Friday, February 6th


    Urban Spree is a club in southern Friedrichshain. I think most of the time it's more of a dance hall, and this night the parts apart of the concert room were off-limits. Outside, a couple of quirky specialist kind of guys were spilling gasoline recklessly without managing to properly set a fire in a barrel.

    Monowelt was a young duo from Berlin, playing rather minimalistic type of and with an emphasis on the electronics. The resulting sound was fuzzy and loud, and the vocals and guitar were too silent in the background. Maybe this was done on purpose, but I would have liked to hear a bit more variation, both in sound and in material.

    Kiss the Anus of a Black Cat had a quite lengthy, yet very enjoyable show. I dare to say their brand of worked a lot better in live setting than on record. There was more air, feel and grit in the compositions. After the show, outside by the aforementioned barrel-fire I got harassed by a Russian girl whom I might or might not have said something inappropriate in my broken ру́сский язы́к. Eventually she tore off my Nasum's "recycled all-seeing eye" pin that had travelled with me in over ten countries. She did return it, but apparently on a whim I decided to give it to a goth maiden who managed to make an impression on me.

    Sunshine & Lollipops, Backstab Legends and Dismembers
    at Das Edelweiss, Berlin on Friday, February 20th


    Just hearing of a concert taking place in the infamous Görlitzer Park raises some curious eyebrows. I've personally had my run-ins with the night (and day) life of the seedier parts of Kreuzberg, and therefore have learned to tread carefully in these parts of the German capital. I stumbled to the location slightly late, and listened to the first couple tracks by Sunshine & Lollipops from outside, quickly downing my regular travel beer. A young junkie tried to sell me heroin, which I actually found to be rather shocking in all his bluntness. Weed and speed dealers to whom I just give a polite "nein, danke" are a staple in this neighbourhood, but heroin? come on, I am not that desperate to kill the pain. The guy had the cheek to ask for a cigarette, and upon hearing me not having any, he lighted one behind my back. A gent, I tell you.

    Sunshine & Lollipops was a self-confessed duo from the very Hauptstadt. They had a proper sound going on with a couple neatly slowed-down pieces that I enjoyed the most. It might have been because of the overflowing sex appeal of the band members, but I think I've never seen this many girls in bright lipstick and retro skirts in a black metal concert. After the show I took another step towards being a cautious adult, when I cracked open a pack of active carbon filters and a bag of Knaster herb mix. While doing this and chatting with the doorman, a fellow immigrant, we heard raging insults and shouting from the park. A moment after, a crazed-out lad charged towards us with a thick piece of a branch, but luckily he was enough in this world to notice that we were not the culprits he was after... soon enough the Polizei arrived to the scene and I headed back indoors for the next band.

    Backstab Legends had the floor full of the aforementioned crowd with their brand of nihilistic . Their style is really difficult to pin-point for me, but let's just call it a merit of creativity. I think I spotted some leanings to nineties punk scene and . Oddly enough, some slower intros to songs reminded me of epic 70's metal bands. The Texan-led wolf pack did not let the audience to take the easy way by spewing forth insults between songs and poking out some tacky and/or well-placed middle fingers.

    By the point the Dismembers duo hit the stage and started blasting their barbarian tunes of Venom-esque dis-punk'n'roll, a great deal of people had already left the venue. I think the herbs in liquor and in smokes I had consumed along the evening might have played a part, but their primitive aggression really hooked me in. A proper soundtrack for the apocalyptic hordes.

    THE OMNIVERSAL EARKESTRA
    at Abstand, Berlin on Monday, February 23rd


    A proper classic jazz orchestra playing in a crusty squat on a Monday night? Count me in! I wanted to attend at least one of their weekly shows in February after seeing their poster on the street, but only managed to attend their last one in this venue. The following month of March they'll play a variety of places in Kreuzberg, and if my daily schedule allows I might attend another of their shows. Their music was, simply put, celestial. The orchestra, armed with drums, classic double bass and various blown instruments, played a variety of apparently well-known seventies tunes, including Sun Ra and such, with enthusiasm and vigor. The songs and the band was introduced by ragingly theatrical gentleman who shouted political polemics, joked around, and occasionally completely lost himself into dance. Excellent show with small entrance fee, and Astra beer served for one euro. This is what Mondays should be made of.

    Nekyia Orchestra, Boden and Bait
    at XB-Liebig, Berlin on Saturday, February 28th


    Nekyia Orchestra played straightforward modern with an uniform low grunt. No big atmospheric interludes, no classic doom or southern rock influence, just a steady tread of negativity.

    Boden blew me away with their unfortunately short assault of searing, -y sludge much in the vein of Burning Witch, but with otherworldly morbid, screeched female vocals and spacey interludes. Great band, have to look up their records sometime.

    Bait was not the Deviated Instinct member's side-project I expected it to be, but a German modern mid-paced band with some occasional moments that reeked heavily of melodic black metal. Their dark and desolate tunes, not that far from Tragedy and their ilk, were a pain/pleasure for my ears.

    The next day, Sunday, I went with my partner, son and mother-in-law to a political music event in Theater unten Dach, Prenzlauer Berg where old proles played their leftist folk/schlager ever-greens and reminisced on the turbulent times in the German Democratic Republic. In total it was rather lukewarm man-and-guitar music, but the final geezer had a pleasant pacing in his story-telling, and a nice nasal vibrato in his voice that he could have emphasised even more for maximum impact.

    Cinema Cinema and Dead Sentries
    at Schokoladen, Berlin on Monday, March 2nd


    I agreed ex tempore to a friend's invite to check out what this joint in seldomly visited Mitte has to offer. Supposedly the place has been previously known as a smaller hive of local underground rock culture, but nowadays the place has a bit too commercial aura to it. I visited this place a year earlier, and would have gotten in for free(!/?), as a guest, to Islaja gig, but sadly she had already finished her show and I headed elsewhere.

    Cinema Cinema were a seasoned two-piece band from Brooklyn (I think nobody in the room missed this fact) that reminded me of Clutch at times. A prime pastiche of nineties American rock'n'roll.

    Dead Sentries played a more timeless form of American . Simple, loud and entertaining like a Kreuzberg metro tram around midnight.

    Nekyia Orchestra, Chambers and Whorls
    at XB-Liebig, Berlin on Saturday, March 7th


    I caught the final death grunts and instrumental fadeout of the familiar Nekyia Orchestra. It seems to me they're becoming somewhat of a house band for XB, and any house could do a lot worse than that.

    Chambers and Whorls played -fused (or the other way around, your choice), very much in the vein of the bands that played the week before. Albeit relentless, captivating and emotional, I might have had by now a bit too much of this style and crave for something else.

    Ravencult and Drowned
    at Cortina Bob, Berlin on Sunday, March 15th


    I was invited by a friend to check this gig out. I was planning to go to Cortina Bob already earlier for a High Spirits show, but eventually decided otherwise. C-Bob is a crammed metal pub near the aforementioned Görlitzer Park with moderate price beer, house-made liquorice shots and stellar King Diamond blasting loud from the speakers. Outside the lot I struck a lively conversation with a couple of southern German businessmen, and garnered attention from a reporter who was immensely curious of these gentlemen's craft. I am yet unsure if we ended up on tape or not.

    Ravencult played their morbid metal with an utmost regard to the dark forefathers of the first wave. Oftentimes their uniform pummeling was more in the strictest sense of the term, than some of the recent shows I've witnessed at the local house projects.

    Drowned continued the spirit of purity in tradition and poured forth the most rancid old school I have heard in time that seems like ages. I particularly enjoyed their occasional, yet brief, descent into slower dirges, but in general the hammering remained very much mid-paced.

    NOSK, Schürhaken Körner and Convulsif
    at XB-Liebig, Berlin on Wednesday, March 18th


    An event on a grey Wednesday evening titled 17th Irreversible Brain Distortion Night is a sure go-go. The first band, NOSK, I believe, played what I'd call with drums, contrabass mistreatment, and blown instruments. Occasional distorted, inhuman screams in the vein of Xasthur were layered on top of the loud experimentation. First time in a while when one needed earplugs, which a fellow Finn at the bar counter was kind enough to provide.

    Schürhaken Körner was a quirky keyboard-laden rock band with enthusiastic, rather high-pitched singer. They label themselves as and , but according to what I heard I'd also add that they might've been the closest thing to I have heard live in this country.

    If an artist doesn't define themselves with a genre, but mentions a band as their genre, especially when the band in question is the mighty Darkthrone, my interest has been awakened. The masked hoodlums of Convulsif, however, didn't sound even remotely of Darkthrone, even if their occasional, more metal-oriented moments in-between the droning free jazz were those of the blacker kind. Once again I might add that drone is a difficult craft, and requires proper build-up of atmosphere to endure longer dirges. While this band might've not developed their sound to that extent, in total their show was positively interesting. Probably due to the theme of the night, after the concert I had some of the more memorable bar-counter encounters and conversations in the recent while with some travellin'-ramblin' freemen.

    Ära Krâ, Downfall of Gaia and Der Weg einer Freiheit
    at Bi Nuu, Berlin on Thursday, March 19th


    Finally, a new flyer-tossing shift that I caught on less than a day's notice. The early evening hours passed surprisingly well, greeting people in the brisk wind while dodging dealers and bottle-collectors, and smoothening my slight hangover with a flask of Weinbrandt. I caught a bit of Ära Krâ's show from the door. They sounded like decent dark with some interludes. It would be actually cool to see some small-time band play in the vein of Shadows Fall and Killswitch Engage, but I quess that style is not so hip anymore...

    The place was super-crowded when Downfall of Gaia, the only band in the evening I knew beforehand, played. I went in too late and wasn't enthuasiastic enough to elbow myself rudely to the front like I normally do, so eventually I just chilled in the bar-lounge. They sounded cool and bass-heavy, but for some reason I wasn't in the zone at that moment.

    Der Weg einer Freiheit took me by surprise. I had never even heard the name, but apparently people in the front of the stage even knew some of their lyrics and basically everyone I spoke to before the show gave a lot of hype on them. Der Weg played modern, atmospheric with nuance, beauty and contrasts. The very first song with eerie clean vocals, along the lines of Urfaust at their more sane moments, stuck to my head the most. While this band is rather far from something to slam dance to, there was a guy next to me air-punching his imaginary foe with extreme intensity, occasionally beating him/her in the floor on his knees. I tried to steer clear of him, since even one elbowful of that ferocity in the face would end me up with broken teeth. Kids/jocks living their extended puberty: leave the meth out of my metal shows.

  • Essence Of Mind - Wrong Cd recensie @ snoozecontrol.be

    3 feb 2015, 18:31 av GothicBowie666

    Essence of Mind - Wrong

    It’s not the first time I review something from this band and it won’t be the last either. It’s clear that this band grows and evolves as times passes by. It’s also nice to see that the fans keep track and that the press keeps handing out positive reviews and so am I with this new EP!

    The single edit of Wrong is an up-tempo track with a roaring sound, stomping beats and great mixing! The vocals sound a bit strange (distorted by a machine), with now and then some heavy screaming. It’s an earworm, it sticks like superglue! The Diskonnekted mix developpes the beats a bit more, adds a warmer sound a more bass. The vocals sound more aggressive in this version.

    lees meer
  • Industrial Documentary Movie - "Industrial Soundtrack For The Urban Decay"

    15 dec 2014, 22:39 av Self-MadeWolf

    "Industrial Soundtrack For The Urban Decay" Hitting the streets soon !

    A film by Amélie Ravalec & Travis Collins
    www.industrialsoundtrack.com/



    Industrial Soundtrack For The Urban Decay recounts the untold story of Industrial music, taking you on a journey through the crumbling industrial cities of Europe to America's thriving avant-garde scene.

    Official Trailer
    http://vimeo.com/86841887

    Release date: 2015

    Starring: Throbbing Gristle, Cabaret Voltaire, SPK, Test Dept, Click Click, Non / Boyd Rice, Clock DVA, Re/Search - V Vale, Z'EV, Sordide Sentimental, Hula, In the Nursery, Hands Production, Klinik / Dive, Ant Zen, Orphx, Prima Linea
  • Fotoverslag: Arbeid Adelt! + De Legende @ snoozecontrol.be

    2 dec 2014, 16:10 av GothicBowie666

    Sat 29 Nov – Arbeid Adelt!, de legende

    Arbeidt Adelt! bundelt op haar kersverse verzamelaar (3CD-box / Warner) maar liefst 60 electropoptracks uit 33 jaar studio-absurditeiten. De band werd opgericht in 1981 door Marcel Vanthilt (psuedoniem Max Alexander) en Jan Van Roelen (psuedoniem David Salamon). Ook Luc Van Acker, Willy Willy en Dani Klein zouden later deel van de band uitmaken. Succes kwam er al snel met de hit ‘De dag dat het zonlicht niet meer scheen’, een nummer dat oorspronkelijk ‘De dag dat de dokter geen pillen meer voorschreef’ moest heten, maar tot ergernis van John Terra die eerder een schlager met de zelfde titel had uitgebracht, werd gewijzigd.

    Ook ‘Lekker Westers’, ‘Death Disco’ en ‘Stroom’ staan in het collectief geheugen van een generatie gegrift … een generatie die omwille van historische calamiteiten zoals de Koude Oorlog en het Angelsaksische neoliberalisme (Thatcher!) de harde, militante sound van de band gretig verslond. Dit wil niet zeggen dat het jonge podiumgeweld van vandaag de dadaïstische electropop van Arbeid Adelt niet weet te smaken, zo getuigen de remixes en adaptaties van onder meer Vive La Fête en Grupo di Pawlowski.

    Marcel Vanthilt onthulde op 2 oktober tijdens een interview in ‘Café Corsari’ dat zijn interieur uit gestolen backstage-goederen bestaat. Wij gaan alles schone stukken van Den Azalee (wie kringt die wint) vastlijmen met superglue!

    On stage: Marcel Vanthilt, Luc Van Acker en Jan Van Roelen.

    bekijk de foto's
  • mixtape

    22 nov 2014, 17:12 av mattbellover

    The Horrors Have Covered These Songs http://8tracks.com/mattbellover/the-horrors-have-covered-these-songs

    Fuck genre, let's make love! - Side A
    http://8tracks.com/mattbellover/fuck-genre-let-s-make-love-side-a

    Fuck genre, let's make love! - Side B
    http://8tracks.com/iamfeby/fuck-genre-let-s-make-love-side-b-2

    Will be updated with links everytime i make mixtapes. Feel free to open the link and stream the mixtape. Press the love button if you like my playlist.
  • A Strange Play - An Alfa Matrix Tribute To The Cure review @ snoozecontrol.be

    7 nov 2014, 20:33 av GothicBowie666

    Alfa Matrix The Cure

    Ja, hier is het coveralbum van The Cure. De zoveelste hoor ik heel wat mensen zeggen. Deze keer zijn het allemaal artiesten uit de A. Matrix stal die hun best doen.

    De eerste track die ik moet aanhoren is een electro versie van The Lovecats door Junksista en helaas klinkt het bij momenten teveel als te futloos kattengejank! Lovelorn Dolls doen het dan weer stukken beter met hun electro versie van de klassieker Just Like Heaven, om van bij te smelten. Ik voel gewoon dat dit de perfect vrouwelijke Robert Smith versie is: alles zit gewoon boenk erop om het met een beetje dialect te zeggen. De stem, de muziek, de mix van dit alles: er is niets wat nog beter kan. Kant Kino feat. Mari Kattman mag Charlottes Sometimes aanpakken. Het origineel is bijzonder bitter en melancholisch, hier krijg ik eerder een poppy VNV Nation gevoel. Mari’s zit dan weer barstensvol melancholie en dat maakt het dan weer beter. Absoluut niet aan te horen is het techno achtige Anniversary van Aesthethische.

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  • Zastranienie - Danse Macabre

    3 nov 2014, 20:51 av zastranienie

  • INCA BABIES (UK, post-punk) In Russia

    2 jul 2014, 19:31 av St-avros

    More Info: https://vk.com/incababies

    26.09.2014 | DEATHCAVE ST.PETERSBURG 2014: Inca Babies (UK, post-punk) in Da:Da club | ул. Гороховая, 47
    http://vk.cc/2Iu0az

    Shortparis
    Hapalochlaena_Maculosa
    Ghost Lane
    _________________________________
    DARK FOLK & POST-INDUSTRIAL СЦЕНА
    _________________________________
    Boo Boo
    (Москва, ex-Французское сопротивление/Die Schwarze Katzen)
    Opus Daemoni
    Cyclofillydea

    27.09.2014 | DEATHCAVE MOSCOW 2014: Inca Babies (UK, post-punk) in Grand Bourbon Street | Потаповский пер., 5 строение 2
    http://www.lastfm.ru/festival/3888315+DEATHCAVE

    Scofferlane
    DoppelgangeR
    Fanny Kaplan
    Shortparis [Петербург]
    Hapalochlaena_Maculosa [Петербург]