Tuesday: John Lennon. My favorite song writer.

Is this the wayy to Amarilloooo!
Tr la lalala! LOL! Back at number one!

I WAS BROUGHT TO MY SENSES LYRICS-sting
lyrics
>http://www.lyricsfreak.com/s/sting/132046.html

-----
free
mpg download of the song:

Link Here

*edited to make link not so wide - BBW

April 4th sees the release of "Shrieks, laments & anguished cries", the re-issue of Razed In Black's debut album. Out on Cleopatra it includes all new artwork plus 3 ultra rare bonus tracks, two of which were never released before, recorded during the same time as "Shrieks…" but not included on the album until now. Tracklist: 1. Sintro 2. Cyberium 3. Black 4. Control 5. nd'Nyl 6. Just let it go 7. Preacher 8. Pursuit 9. Future unknown 10. What's fair 11. Power 12. Forlorn 13. Cyberium (endurance Mix) 14. Metamorphosis 15. Purge 16. Feel Me

Heimataerde
non nobis, domine, non nobis, sed nomine tuo da gloriam

Heimataerde and the forbidden being.

In the dead of night the wiedergänger sneaks out of his grave to give
eternal life and to create a new religion.
Envisioned by Ash, this music project creates atmosphere and merges it
with dancefloor beats, putting the vampires spell on the listener.

Under the protection of Heimataerde

Heimataerde promises shelter for the Wiedergänger and provides means for
his reincarnation. It is in the Heimataerde where he rests in the
daytime hours; it preserves him from decay and hides him from the
deceiving clarity of light. But his former templar comrades and the
Master Superior claim the Heimataerde too, and know of this weak spot of
the traitor.


The eternal fight for Heimataerde

If I speak in the tongues of men and of angels,
but have not love,
I am a noisy gong or a clanging cymbal.
And if I have prophetic powers,
and understand all mysteries and all knowledge,
and if I have all faith, so as to remove mountains,
but have not love,
I am nothing.

The Heimataerde is in the centre of the fight between good and evil.
Visions of power and light, without shade or mercy want to triumph over
mortal love and sin. Who can tell the right side, when the day of decision comes?


www.heimataerde.de

The 11th edition of the LeFantastique.Night series will take place on April 2nd. Invited as headliner is the German act Pzychobitch who will perform on Belgian soil for the very first time. Signed to Minuswelt Musikfabrik, the band released the EP "The day before" in 2003 followed by the 2004 album "The day after" while touring with In Strict Confidence. This electro-industrial dance project by Sina will be supported by 2 belgian acts: the Daft signed Pressure Control (Ex-Vomito Negro) and Dreadfool. An afterparty is planned with Onyx (Arcanum Noctis) and Gore (The Dawn Visitors). Tickets are 12 euros in presale (FNAC & Botanique).

Usurper: Here Here! you said it!

gekrompen hoofd: but makes a pause...

Ogopogo: Thanks! Always good to see another true believer.

ANTICHRIST: English version

Usurper: You're quite welcome! Would have been interesting to see what he could have done if he wasen't shot!

Ogopogo: True! Although what we have...both as soloist & with the Beatles...is beyond compare.

Usurper: Very True! :)

Bringing together some of the most creative talent from two disparate scenes - This is TBM : Techno... Body... Music ! Andy LaPlegua of Combichrists blasts at his sweating and happily exhausted audience, which thankfully succumbs to his rhythmic attacks. TBM ? Based on the roots of legendary acts such as Kraftwerk, DAF and the 80's electronic New Wave movement in general, "Techno Body Music" builds itself upon the solid framework of minimal, rhythm-based electronic sound structures directly aimed at getting the body in motion. Fittingly this musical style was soon christened "Electronic Body Music" or EBM in short. Later, at the end of decade of its birth the EBM sound was simplified, its basic structure reduced to four-to-the-floor-beats generated by electronic sound devices, this style was simply called Techno. With no strict borders DJ's would cater to fans of both genres due to fact that the basic goal of both ravers and EBM aficionados was the same : to dance to electronic music ! In the Nineties, the two scenes started to alienate themselves from each other ( although the musical roots and goals still basically remained the same ) though artists involved with either scene still continued to actively exchange styles and ideas, albeit passively. With acts such as Combichrist, The Horrorist and Fixmer / McCarthy to one side on and DJ Hell, Sven Väth, T.Raumschmiere or Chris Liebing ( who regularly heads his set list with Nitzer Ebb's "Murderous" ) to the other, this creative sequence appears to have travelled full circle with TBM - "Techno Body Music" being its logical consequence. "Techno Body Music" innovates, breaking down barriers and walls - putting together ONE essential collection of two scenes across two essential discs. A new trend in electronic music ? Techno Body Music could well be it....

Andre Faria: would you mind condensing your last post? its rather large and wide. thanks.

Tuesday: teacher

Kiss fan

which one could lick his eyebrows?

Tuesday: LOL...figures
I never was a big KISS fan...their first album was ok...bt every song after that kinda sounded the same....same way with Boston. but of course...just my opinion.

bwildman: Ok, I will have this in attention in further posts. Thanks

Since the early 80's, FRONT 242's ever-growing fanbase has always proven to be the 5th member of the band. A unique communion between fan and artist that has grown and matured over the course of more than two decades. Before the release of their next album, and after the astounding success of the re-release of their debut album "Geography" as a Limited Edition, and to thank the FRONT 242 community for 25 years of staunch support through their quite unusual path, they deliver to their steadfast fans a true and rich treasure, the first official FRONT 242 live DVD showing the band at its best during the impressive August 2004 performance in Lokeren ( Belgium ) in front of more than 17,000 people. This is a unique opportunity for the fans of electronic music to forever own a true piece of music history on DVD, immortalizing the legend and genius of Front 242.

http://www.tv5.org/TV5Site/musique/clips-1506-io_le_canto_per_te.htm

Tuesday: I got a tongue like that too,but I'm not dressing up like ronald macdonald.

Anyone heard of Siegall Schwall?

Ogopogo: there's a cure for that

nobleheart: LOL! good tunes :)

You cannot accuse Darrin Huss of being lazy. Not only does he remain creative within his beloved Psyche project, but he also lends his voice to countless other productions, such as the Parallel Project or Nonpoptale (the new band of former side-kick Remi Szyszka). "The 11th our" sees Huss go back to a past ally in Per-Anders Kurenbach, resulting in a sound distant from later, dance flirting, creations.
Not holding back, the opener "Bloodcurse" does indeed introduce us to eerie surroundings. Lines like: "In this world that time forgot, I am lost again. I lie awake somewhere alone, forever in a dream, a dream" further enhance the sense of desperation.
People keep mentioning that "The 11th Hour" is something of a continuation of the Psyche classic "The Influence", and even though it is difficult to contradict them, this effort seems to be nursed from even darker forces. I can spot a more distinctly human approach in the lyrics as well, making this album crawl down under your skin to dwell with the intention of staying there.
A bouncy side step, in terms of melody and tempo, comes with "15 Minutes", but it is still pretty much as dark as the rest of the disc.
Here and there, like in the dreadful "Defenseless", Huss and Kurenbach can not transmit their vision, but seen as a work of art, "The 11th Hour" performs very well. This is a pretty pessimistic take on the nether regions of the human soul and psyche, and I tend to prefer more upbeat and melody driven work, but credit to Huss for staying true to what he obviously loves, be it futurepop or darkwave tinted pop like this.

Gothtronic is the platform for the lover of dark music. With this we mean the musical genres that originate from or are represented by the Wave-Gothic-industrial subculture, such as is active since the late ‘70s of the last century. We however do not limit ourselves in promoting just a couple of genres but we do the whole width of the dark music spectrum, including dark electronics, but also ethereal and medieval music, dark folk and melancholic metal. It’s not only music we deal with, but we also have the intention to build out this website with sections for movies, clothing, art and comics, user gallery for visitors and in depth articles. Of course you can react in the guestbook or debate on the forum.

www.gothtronic.com

ughaibu: Yes, but it's bicycle.

Wasn't the hole song Bernard Cribbins? And it's called 'Right Said Fred'.

The 80’s postpunk and British indie music slowly but steadily make a comeback. Bands like Interpol, Radio 4, Astral and The Stills use the musical heritage of the 80’s in a refreshing way in their modern alternative music. References to The Smiths, Suicide, Joy Division and The Cure are hip again. Now we have something hot again with The Search. Sweden's newest export, The Search, proves with their debut album that you don't need to be noisy or extravagant in order to do the job. Their sound brings to mind influences from eighties bands such as The Cure, Joy Division and Sad Lovers & Giants. The band combines a very crisp wavy guitar approach with a classic rhythmic backbone consisting of bass, drums and keys. Their prog-post-punk sound makes the experience of listening to this album one that you wish to repeat over and over. Throughout the album the powerful strums of the bass and synthesizer, absolutely separates their music from other bands-being their strongest element. Overall, this is a good post-punk tune that builds nicely to a climactic frenzy then fades out slowly. Don't miss out on this one!

Due to be released mid-May 2005, is Glis’ 4th album entitled "Nemesis" and benefits from a blockbuster featured appearance by Front 242's frontman Jean-Luc De Meyer who contributes guest vocals on 2 tracks with adapted lyrics from Charles Baudelaire's "Flowers Of Evil".

For "Nemesis" Glis incorporates harsher distorted vocals and much darker EBM-industrial compositions than before.

Additional guest vocals on the album are performed by Implant, Seize,
Manufactura and Tau Factor.

Release Date: April 12, 2005
By Ilker Yucel
Assistant Editor

VNV Nation
Matter + Form
Release Date: April 12, 2005

THE PAST

In 1995, EBM was in a bit of disarray. D.A.F. had not performed in almost 10 years. Front 242 had abandoned their sound for something more layered and guitar-oriented, something much closer to their industrial imitators; a move which ultimately led to the band members pursuing side projects. Nitzer Ebb had released their final album. The old school EBM was over, allowing not only mainstream industrial to take over, but also paving the way for techno, rave, and eventually hip-hop to take over the clubs. Out of this came a new breed of EBM and electro bands to pick up the torch and dominate the dance floors. One of these bands, now a legend in their own time, is VNV Nation. Fronted by Ronan Harris, and backed up by percussionist Mark Jackson (who would join later), VNV released Advance and Follow in 1995. It was an album marred by poor production, a next-to-nothing budget, and almost no promotion. Nonetheless, the music of VNV Nation was making its way into many DJ's setlists. Characterized by abrasive beats, cold electronics, and anthemic lyrics that dealt with anything from serial killers to military intervention, VNV Nation struck accord with much of the industrial dance crowd looking for a new leader in the battle against the status quo.

1997's Praise the Fallen solidified VNV's sound up to that point, improving aspects of production and delivering a much more cohesive and slightly more militaristic message. With songs like “Honour” and “Joy,” the band came across as something of a marching band for electronic/industrial soldiers off to war. However, it was also with Praise the Fallen that the band started to showcase a broader emotional range; songs like “Forsaken” and especially “Solitary” showed the band's leaning toward building a better future and finding strength and hope where there seems to be none. In 2000, they released Empires , an album that became the standard for most of the upcoming electro crowd, and also introduced the world to a new genre: futurepop . Equal parts EBM and synthpop, VNV's music became more and more melodic and more structured, almost abandoning the original industrial elements (save for the hard electronic beats and the use of samples, though they have been downsized with each successive album). Other bands started to get caught in their wake, following and even imitating their sound. Among them, Covenant, Apoptygma Berzerk, and Assemblage 23; all bands with their own level of notoriety, became the forerunners of the futurepop sound. The re-release of Advance and Follow in 2000 was a pleasant reminder to older fans, and an introduction to newer fans, where VNV Nation started. With updated production and some re-recording, the 2000 rerelease unveiled some of that album's hidden magic. It also served as a sign to VNV's latest mode of thinking: looking to the past to create the future.

2002's Futureperfect showed the band blending the best of both the past and the present. With artwork and lyrical themes that recalled the heyday of the 1940's (look to Fritz Lang's film Metropolis as well as the German Bauhaus art movement), Futureperfect was performed and produced entirely on software, belying the band's previous usage of vintage synthesizers. Songs like “Epicentre” and “Fearless” bore resemblance to the past sound of VNV, while instrumentals like “Structure” and “Electronaut” indicated the band was ready to move in a new musical direction. At the time of its release, Futureperfect boasted to be a major event in the world of EBM. In hindsight, some of its elements simply did not work as well. “Holding On” was their attempt at a piano ballad, hindered by Ronan's inability to emote appropriately; this proved to be a major dilemma with the whole album, as Ronan's voice simply didn't seem fit to deliver this type of emotion. This seemed on par with much of the criticism that surrounded VNV from their detractors who often claimed the vocals to be too monotone and lacking in variety. The album also featured a much softer side to VNV Nation, with songs like “Beloved” and “Airships,” which led to disapproval from fans who favored the band's harder EBM sound of old. The much-delayed release of their DVD Pastperfect was met with much praise and anticipation. Wrought with footage from the Futureperfect tour, as well as backstage antics, and the pleasures and pains of being on tour, the contents of the DVD were extensive and well worth the wait.

Now that we've had a taste of history, its time for the future, with the impending release of VNV Nation's new album Matter and Form , due on April 12 th , 2005 on Metropolis Records. This album marks the ten-year anniversary of VNV Nation; as such, Ronan Harris and Mark Jackson are returning to the basic foundation of the band and starting from scratch. Elements of the band's music until now are always present, but coupled with a new focus and a new willingness to expand their horizons. On the band's Web site some months into 2004, Ronan had posted that the software-only approach of Futureperfect was being done away with, favoring a return to the analog beauty that made the sound of past VNV albums so rich and textured. Also, for the first time in the band's decade-long history, they are employing the skills of an outside producer, in this case the world-renowned German producer Humate. The band embarked on a tour at the tail end of 2004 to introduce fans to some of the new material, while also placing snippets of the album on MySpace.com, as well as releasing the Internet-only single “Chrome” in March, 2005, showing the band's readiness to stay up to date with the technology of the times. More than anything Matter + Form reflects the band revamping their sound, doing away with any preconceptions their fans may or may not have about what they should sound like.

THE FUTURE

ReGen has the privilege of being one of fifteen publications to receive snippets of the new album prior to its release. Here, we offer a sampler, a preview of what listeners can expect from Matter + Form . Every VNV Nation album has begun with either an instrumental or a spoken-word piece. Matter + Form is no different, beginning with the ambient and even mystifying track, simply titled “Intro.” Immediately, listeners can expect that the band is treading on new ground; bearing little resemblance to any form of melody, and only possessing the sparsest of beats, this introduction can best be described as an electronic György Ligeti (a la his instrumental passages in 2001: A Space Odyssey ). “Chrome” kicks off in fine VNV form with a pumping rhythm, straightforward beats, and some punchy electronics that show the band's newfound experimentation in sound; there are some guitar-esque tones at play in this track, already something new for VNV Nation. Detractors of Ronan's past singing style will be put off by his new style that emphasizes not only a wider breadth of melody, but even incorporating a backup harmony vocal, something that had been lacking in their music before. The lyrics are as aggressive and the chorus as catchy as always; it's no wonder this song was chosen as the kickoff single. “Arena” will come as a shock to many, not just because of its almost happy-go-lucky chord progression which mirrors the happier modes of synthpop, but also because of the drum sound. They almost sound acoustic as opposed to the barrage of electronic pounding we've come to know and love. This offers a welcome change of pace; the song is still catchy, but very uncharacteristic of VNV Nation, which may take some getting used to. However, the electronics are still in full swing and it is a pleaser for the dancefloor. “Colours of Rain” is a subdued piano and symphonic piece that echoes a Chopin Nocturne. Also, unlike previous VNV instrumentals, there is a surprisingly warm, almost natural sound to this track, completely belying the band's reputation for strictly electronic instrumentation. The next two tracks, “Strata” and “Interceptor,” are a pair of hard trance instrumentals that will probably remind most of older VNV, though they are far less repetitious than most music in the genre. The levels of synthesizer tweaking from the snippets alone are astounding. The bass lines are infectious, and the beat is unrelenting. “Entropy” begins quietly, sounding vaguely similar to Futureperfect 's “Carbon.” This changes immediately as a distorted synth line segues us into a hard EBM track that will keep people moving their feet. Ronan's aggressive tone sounds clearer than ever on this track, making the song sure to be a staple in future live performances. For those who could not stand Ronan's vocals on “Holding On,” you will find much solace in “Endless Skies,” a sweet ballad that probably is the closest VNV Nation will ever come to a love song. Ronan has a much better grasp of his voice on this song, conveying the emotional content with greater clarity. The melody on this track, while simple, can bring tears to the eyes. The pace picks up again with “Homeward,” a pulsing EBM track with those familiar synth melodies and an arpeggio bass line that are irresistible to dance to. Ronan's new command of melody is shown again with the heartbreaking chorus. While not as forceful as “Entropy” or “Chrome,” the song is one of the catchiest and most danceable tracks. “Lightwave” presents us with another hard trance track, but again with enough analog synthesizer tweaks to keep it from descending into repetition and boredom. Closing the album is “Perpetual.” With a drum sound like the one heard on “Arena,” and the simple chord progression, this is VNV's attempt at a rock song; without guitars of course. Seriously, it is danceable, but unlike much of VNV's music, there is a distinct sense that it could easily be performed on guitars.

All in all, Matter + Form succeeds in many regards. It picks up on practically all of the shortcomings of Futureperfect and refines them into something that outshines their previous efforts. It shows the band returning to the basics of experimentation and almost ignores all points of reference. This is not VNV Nation as we've ever heard them before, and in this reviewer's ears, the change is most welcome and the result is nothing short of astounding. The formulas of past VNV are gone, making room for the band to explore new formulas and completely redefine themselves and the genre they helped to bring to the forefront. Therein lies the dilemma. The change in sound and style will no doubt upset longtime fans who have certain expectations of what VNV Nation are supposed to sound like. Others may be turned off by the high number of instrumental tracks, when Ronan's lyrics have become such a vital component to VNV's success. However, as testament to the band's return to their roots, one must remember that both Advance and Follow and Praise the Fallen contained more instrumentals than vocal tracks as well. There is a degree to which Matter + Form could even break into the mainstream; with songs like “Arena” and “Perpetual” taking a turn toward a still-electronic, but more rock-oriented style, there is definite potential for music listeners outside the genre to pick up on VNV Nation. These songs could be played on the radio, whereas before it seemed that VNV were exclusive to the clubs. Make no mistake, this is no sell-out effort; Matter + Form breaks down any boundaries the band and/or their fanbase may have placed upon itself. Futurepop was meant to be an amalgamation of differing styles of electro ranging from EBM to trance to synthpop, and as the originators of the term, VNV Nation stay true to this fusion of genres. As Ronan himself said in interviews on the Pastperfect DVD, like it or not, the sound of Empires and Futureperfect is over. Instead of lying in bitter defeat at the downfall of the genre they helped create, the band paves its way forward, staying true to their philosophy and their namesake, “Victory Not Vengeance.” With Matter + Form , listeners can expect a musical revelation; it is perhaps VNV Nation's most diverse album, and yet their most focused. On April 12, 2005 , the electro genre will receive a major wakeup call from VNV Nation's Matter + Form .

Track List:
01. Intro
02. Chrome
03. Arena
04. Colours of Rain
05. Strata
06. Interceptor
07. Entropy
08. Endless Skies
09. Homeward
10. Lightwave
11. Perpetual

ANTICHRIST: Is it safe to assume you're not a fan of the likes of Slim Whitman and Don William?

ANTICHRIST: I appreciate your enthusiasm...but please try not to provide such long posts....condensed versions will be greatly appreciated.thanks.

Andy LaPlegua (Icon Of Coil) returns with yet another side project, this time called Combichrist, and it is, in my opinion, his best to date.

If you're looking for an album filled with deeply touching lyrics that you can smooch your significant other to, then look elsewhere because you won't find a single song that would lend itself to this type of activity.
On the other hand, if you want songs that will help you to share with others how pissed off you are, how much you hate the world, or you're just feeling a little bit malevolent, then "Everybody Hates You" is right up your alley!
The beats and the synth work are spectacular throughout "Everybody Hates You", and that is the album's strong point. For the most part, the songs have a faster pace, and the beats really pound on this album.
The lyrics are, at times, overboard to the point of making it seem like LaPlegua is just trying to be as shocking and offensive as possible.
A good example of this is the song "God Bless", where we are treated to a song which has lyrics that are nothing more than the naming off of various mass murderers and serial killers.
After checking out Combichrist's website, it became very apparent that LaPlegua isn't exactly seeking political correctness with the monster that is Combichrist, and I personally think that is a good thing. It is about time someone put out an album that conveys the message "I'm pissed off and I hate you all, so go f*** yourselves", takes no prisoners, and makes no apologies.
It is a risky move in today's entertainment world to be so aggressively negative, especially when you take into account the popularity of LaPlegua's main project, Icon Of Coil. I give him a ton of credit for taking the chance and not looking back. A good album for those times when you're in a bad mood.
Stand-out songs on this one are "Enjoy the Abuse", "Blut Royale", "Happy [edited] Birthday", and "I'd Like to Thank My Buddies".
(The European limited edition version contains a 9 track bonus disc of mostly atmospheric pieces that certainly don't seem to fit into the Combichrist sound. That's what I think, anyway. They're cool to chill to, but that's about it.)

Tracklist:
1-This S*** Will F*** You Up
2-Enjoy The Abuse
3-Today I Woke to the Rain of Blood
4-I'm Happy Anyway
5-Blut Royale
6-Who's Your Daddy, Snakegirl?
7-Feed Your Anger
8-God Bless
9-Like to Thank My Buddies
10-Happy [edited] Birthday
11-This My Rifle
12-Lying Sack of [edited]
13-Without Emotions

P.S. I'D LIKE DEDICATE THIS GREAT GREAT RECORD TO ALL MY BUDDIES AT B.K.

AHAH, I´ve made the review of this album some time ago and dedicated to Bruno Jesus...