Review
DISCLAIMER : VERY IMPORTANT - PLEASE READ ! Please be aware, that this Box Set contains an original weapon magazine. Shipping within the EU should cause no problem - however shipping beyond the borders of Europe could result in serious problems with your country's customs ( especially the USA ). For this reason PLEASE NOTE : MNS cannot accept orders for this item from outside of the EU nor does MNS accept responsibility for any problems that may occur or arise with your country's customs from importation of this Box Set. Any orders received for this item from outside of the EU will be cancelled and reimbursed. Thank you for your understanding.

Presented as a Super-Limited Edition of 999 copies only - hand-numbered and signed on an extra autograph-card ! - this is the Combat Pack Box Set of the Brand New Feindflug DVD "...Hinter Feindlichen Linien". Please note all material ( except the DVD ) in this Box is exclusively available in this box ONLY. This ultimate Edition comes with the following BONUS EXTRAS :

Full Contents Box Set
- Original East German Combat Pack of former GDR army NVA ( like new, with strap )
- Flag with tank picture artwork, size 80 x 120 cm, coloured !
- DVD in a media book ( same tracklist as 'regular' version DVD )
- 8cm Bonus CD with 3 Exclusive / Rare tracks
- Autograph signed by the artists
- Original magazine of a Kalashnikov AK 47 ( rare East German paramilitary training calibre 22mm )
- Exclusive Patch ( 23 x 6cm )
- Sticker, Feindflug letters ( 22cm wide )
- Pin, Feindflug letters ( 5 cm wide )
- Exclusive Metal logo pendant ( 4 x 5cm, with eye )

TEN years of Feindflug - the right time for an overwhelming video production like this. "...Hinter Feindlichen Linien" ( Behind Enemy Lines ) is the result of more than half a year of work, the material used for it has been collected since 2004 with the oldest footage from 1999. With their live concerts Feindflug have gained an almost legendary reputation over the years. Now those that have yet to sample the unique, intense Electro / Industrial bombardment and the thrilling and exciting atmosphere of a Feindflug live concert get the chance with "...Hinter Feindlichen Linien". This professional DVD production comes packed to bursting with Bonus Material including concert footage, Live Clips and Bonus outtakes, interviews, Videos, a Hidden track, a Short Film and much, much more. An essential collection and visual feast for all fans and newcomers to the war-torn EBM landscape of the Industrial scenes most important and famous acts...

Full DVD Details :-
- Total Running Time Of More Than 170 minutes !
- More Than 60 Minutes of BONUS MATERIAL :
Short Movie "Zonen" by Jon Svärdhagen with Music by Feindflug
Band Interview and More...
- Live Concert Video of The Jubilee Concert in Berlin, Recorded with 8 Cameras + Crane
- Tank Video of "Truppenschau"
- Outtakes
- Screen Format 16:9
- Dolby Digital Stereo / Dolby Digital 5.1
- Concert Video in 24 Channel Sound Mix
- Hidden Track with Private Greetings from Feindflug
- Multilingual Subtitle ( English + Saxon ! )
- Interactive Menus
- Presented in a Deluxe Exclusive Mediabook
--------------------------------------------------------------------------------
Format
DVD
--------------------------------------------------------------------------------
Tracklisting
Concert Video :-
01. Intro
02. Truppenschau
03. Kahle Bedrohung
04. B66883
05. Kalte Unschuld
06. AK47
07. Grössenwahn
08. Gulag
09. Stukas Im Visier
10. Leere Gräben
11. Kopfschuss
12. Menschenjagd
13. Machtwechsel
14. Roter Schnee
15. Neue Sieger
16. Sturmwalze(r)

Live Clips :-
01. Feindflug ( V.04 )
02. Glaubenskrieg
03. Kopfschuss
04. Würdelos / In Gefangenschaft
05. Tötungsmaschine Mensch
06. Roter Schnee

Bonus Clips :-
01. Truppenschau
02. Stukas im Visier
03. "Zonen" - short movie by Jon Svärdhagen
04. Glaubenskrieg
05. Bonusclip / Outtakes

+ Bonus Hidden Track with credits by Feindflug
--------------------------------------------------------------------------------
Record Label
Black Rain
--------------------------------------------------------------------------------
DVDTechnical Information
Picture Format : PAL
Region Code : 0 (all regions)
Screen Format : 16:9
Sound : Dolby Digital Stereo / Dolby Digital 5.1

NB :- PAL = European TV Format, NTSC = USA TV Format. Please check the compatibility of your DVD Player with the relevant TV Format, as well as its Region compatibility, before ordering your DVD. If you have any doubts then please email us.
--------------------------------------------------------------------------------
Release Date
21st July 2006

HEIMATAERDE=VERY GOOD!!!

Beloved - VNV NATION

True Love - Kartagon

It's no good - Depeche Mode

Battallon d'Amour - Witt

Strange Love - Depeche Mode

Diary Of Dreams' upcoming club concerts in Frankfurt, Heidelberg and Berlin, Germany, in September and October will be very special DOD gigs...

The set will feature an acoustic section. Many fans requested more acoustic versions and ballads, and Adrian, Gaun:A, D.N.S. and Torben Wendt will be pleased to try this out.
In further news, the band have been asked quite often about an official Diary Of Dreams fanclub. They have been pondering this for the last few months, and if all goes well, the new fan club will start within this year. As soon as we have any details, we will let you know.

Scene charity project Bruderschaft, the brainchild of New York City based DJ Rexx Arkana, are hard at work on "Return", the follow up to the band's chart-topping debut, "Forever"...

This second incarnation of this collaborative artist collective (pictured, from l-r) features the programming talents of returning contributor Sebastian Komor (Icon Of Coil/Moonitor), newcomer Johann Sebastian (State Of The Union), composer, new vocalist Tom Shear (Assemblage 23) and lyricist Rexx Arkana (FGFC820). "Return" is currently in the production stage, with lead vocals already recorded, while two other new original tracks featuring music written by Arkana and "Forever" remixer/FGFC820 member Dräcos and vocalists yet to be announced will also be included on the new EP. Stay tuned to VIRUS! magazine for continuous updates and release date information.

Kraftwerk are awe-inspiringly amazing live. Supreme concentration delivering electronic dance music with unnerving precision. Synthesizers, computers, and electronics all more animated than the performers. The spectacle is unforgettable and at the center of the spectacle is the melodic, mantra-like, techno pop of the music of Kraftwerk.

Live, both old and new songs are oddly prescient. Technology and fortitude revitalize classic and illuminte newer material. That live experience is what is represented by Kraftwerk's two CD set "Minimum - Maximum". A perfect souvenir for anyone who saw Kraftwerk in 2004 or 2005.
Listening to "Minimum - Maximum", one begins to feel that Kraftwerk have improved upon their timeless classics. The new cryptic computer voice intro about Sellafield on "Radioactivity" reinforces the fatalistic theme of the dangers of technology without humanity. Or the almost violent feel of the begining of "Metal On Metal". Beats that move the song from industrial foreshadowing to modern techno body music.
Strong power beats jettison "Numbers" and "Pocket Calculator". "Numbers" gets one of the most dramatic overhauls of any song on "Minimum - Maximum". Here the "Numbers" displays the musicians it's influenced in citations, the list including: DAF, Yello, Front 242, Meat Beat Manifesto and Haujobb to name a few.
The technological tinkering and tweaking that allow the old melodies to enter a 21st Century music scene without sounding like a different song.
Some songs were tweaked less but the melodies remained timeless and carry nicely with only minimal revisionism. It's surprising how familiar and timely "The Model", "Autobahn", "Neon Lights" and "Trance Europe Express" sound.
The Classics are not the only songs to thrive in the live setting. The six songs from 2003's "Tour De France" all sound fantastic on "Minimum - Maximum".
Both "Vitamin" and "Elektro Kardiogramm" play like singles live. They have a sense of familiarity that suggest classic Kraftwerk songwriting. "Vitamin" with it's minimalist chorus belongs to the tradition of "Pocket Calculator" and "The Robots".
While "Elektro Kardiogramm" with it's use of breathing for rhythm creates a new space between the transportation anthems "Autobahn" and "Trans Europe Express" and techno body music thumpers like "Metal On Metal" and "Dentaku".
"Minimum - Maximum" sole new song is "Planet Of Visions". A song whose origins lie on the "Expo 2000" EP. This is a techno track aimed at the DJ's inspired by Kraftwerk and pays homage to both Detroit and Germany. It is a Kraftwerk track of the 21st Century. The new track is worthy and able to fit in among the retooled classics of "Minimum - Maximum".
Wether you are a completist Kraftwerk fan or a curious electronica or electro fan looking for a Kraftwerk primer, this record is perfect. An essential live compilation that spans three decades of music.
This is the perfect audio souvenir from the Kraftwerk Tour, let's hope the previously mentioned DVD will be released too.

Tracklist CD1
The Man - Machine
Planet Of Visions
Tour De France Etape 1
Chrono
Tour De France Etape 2
Vitamin
Tour De France
Autobahn
The Model
Neon Lights



Tracklist CD2
Radioactivity
Trans Europe Express
Metal On Metal
Numbers
Computer World
Home Computer
Pocket Calculator
Dentaku
The Robots
Elektro Kardiogramm
Aero Dynamik
Music Non Stop

Using the originals as skeletal outlines, "Vertical Mixes" simplifies and distilles 2003's "Vertical Theory". Creating textural atmospheric reductionist revisions or streamlined club mixes of the originals, "Vertical Mixes" is a brave remix album that captures and ensnares you.

Since 1996's "The Remix Wars", Haujobb has established a reputation as the remixers to seek out if you are a thoughtful artist wanting to expand your sound.
The inventive, genre-defying, provacative, melancholic and sometimes willfully difficult "Vertical Theory" had Haujobb incorporating their experience as remixers into their sound and song structure. Consequently the less complex and layered "Vertical Mixes" plays like the originals to "Vertical Theory's" remixes.
The first five tracks on "Vertical Mixes" are Haujobb without outside collaborators. Three remixes and two new originals that play like an album side (if you don't know ask your parents). Varying beats and samples but maintaining an overiding mood and atmosphere. The dub-like atmosphere gives the songs an illusion of being stark, when in actuality sounds and layers ebb and flow.
"Mind Crush" is the perfect example of this style. Cowbells, cymbal crashes, deep house beats and spoken monotone vocals all take turns intertwining with the atmospheric wash of synths. Overlapping and fading out, the song changes genres twice so subtly as to be imperceptible.
And that is the template for the the first five tracks on "Vertical Mixes".
Whether it's the 80's video game samples in the new track "Perpetual Motion" or the sonar blips in "Metric" (remix), everything is in service to the haunted shape-shifting atmosphere that is the unifying element of Haujobb's music without collaborators.
Things change with track six as collaborators are allowed to experiment with the Haujobb sound present on "Vertical Mixes". Both "S_ adow" and "Renegades of Noize" each get two remixes on the latter 2/3 of the disc. "Renegades of Noize" gets two great club overhauls. Haujobb vs. This Morn Omina's "We are the Renegades of Noize" is a power body techno version and the Asche remix is a dirty crunchy noise remix that wouldn't sound out of place on an Ant-Zen compilation.
"S_adow" is given a techno thumper beat that fades out into "S_adow" beautiful piano line in Shok's Scrambled Egg mix, while the Backlash remix looks back to earlier technology to deliver a retro-future sound. All suitable for the dancefloor while showing the versatility of the source material.
The other remixes on "Vertical Mixes" separate the elements of the Haujobb sound and isolat ethem in their own remix. Seabound deliver an uncharacteristically sparse and lo-tech remix of "Platform" that suggests the electronica/IDM scene before the imploded in the late nineties. Glis take "Slide" and deliver it up as if it was a dark electro track missing from the "Endzeit Bunker" compilation.
"The Noise Institute" (1994 mix by Iscoloscope) stays true to it's title. Delivering a big techno sound with house flourishes, taking us back to the simpler, less crowded dance scene of 1994.
"Metric (hecq reemiqs)" is the remix most complimentary to the first five tracks on "Vertical Mixes". An echoing drum beat with an ambient sound that is less haunting and suggests an Enoesque Haujobb. A brillant remix that is an essential listen and an obvious highlight.
As diverse as "Vertical Mixes" is, it is remarkably cohesive.
The divirgent sounds suggested by each song are all parts of the overall Haujobb sound of "Vertical Theory". The adventurous spirit and eclectic delivery lives up to Haujobb's description for "Vertical Theory". "A little dance, a little, EBM, a little industrial, a little ambient, and a little dance but with that Haujobb 'feel'".
Exactly.


Tracklist
Mind Crush
Renegades Of Noize (remix)
Perpetual Motion
Metric (remix)
Platform (remix)
haujobb vs. this morn omina/ we are the renegades of noize
Slide (Glis mix)
Platform (Seabound remix)
Metric (Hecq reemiqs)
Renegades Of Noize (Asche remix)
S_adow (Backlash remix)
S_adow (Shok's Scrambled Egg mix)
The Noise Institute (1994 mix by Iscoloscope)

Assemblage 23's Tom Shear has begun work on new material for a possible full-length Nerve Filter release...

For the uninitiated, Nerve Filter is an Assemblage 23 side project that explores more experimental styles drawing on the influences of bands such as LFO, Bola, Boards Of Canada, Lassigue Bendthaus, Beefcake and others. About five pieces are currently being worked on with the hope that by year's end there will be enough material for a full release. Plans right now are to release the album on Tom's own 23db label. No release date has been set.

Rammstein have already begun working on a musical successor...

From the production period of the last album several songs did not find a place on "Reise, Reise" due to dramaturgical reasons but are now planned to be brought to light. During Rammstein's visit at a Berlin studio more songs were recorded. Today the mixing session of the new album starts which is supposed to be released in September. A title has not been affirmed yet, we will keep you posted!

The award for 'best album cover of the year' goes to Project Pitchfork's "Kaskade", there is no doubt about that. The tenth album of this unique monument is blessed with beautiful artwork, which we are used to from the band, and that creates high expectations for the music. And there is nothing wrong with the music either! "Kaskade" is a strong symbiosis of typical Project Pitchfork elements and the necessary progression, which makes the album recognizable, yet never old-fashioned. Remarkable is the bigger role for the guitars this time, but this doesn't go at the cost of the subtle nuances the band is known for. Once again the cryptic lyrics are great as well, so we can speak of one of the better Project Pitchfork releases; at least the previous album "Inferno" is totally overshadowed.

"Kaskade" opens surprisingly with the lovely, subtle "Instead of an Angle", whereafter the band increases power with the second song "The Future Is Now". This rhythmic song is perfectly fit for the dancefloor, just like the upbeat German song "Fleischverstärker". Other remarkable songs are the driven "Echoes" with powerful guitars, the beautiful "Dance in the Air", which contains a wonderful chorus and the nicely built-up final song "It's Spring". But the true highlights are the rhythmic and pushing "The Touch" and "Schall und Rauch", a subtle hymn, which combines depth with a very catchy chorus. So "Kaskade" is a must-have for Project Pitchfork fans and is worth a try for everyone who likes gothic, electro or industrial music.

After their latest successful album, "Prescription:Medicide", the Dutch electro heads Grendel enter the scene with a new EP.

Based on socio-political, critical lyrics, Grendel are offering us new songs, two remixes plus a new version of their hit "Zombienation".
The door opens and "Soilbleed (v.3)" welcomes us, a highly pulsating track with remarkable samples that sounds like if Leather Strip, Funker Vogt and Hocico swang and shared a cooking spoon.
In combination with VLRK'S distorted power vocs and the easy-to-follow chorus this is surely a candidate for long nights on the dark dancefloors. Sure, it's not really something highly original, but it's a well written and put into practice piece of work.
A very similar fragrance is spread by the next track, "Interrogation Leash" whilst the new version of "Zombienation" showcases an interaction between some minimalistic, nearly Kraftwerk-like beats plus a spooky voice and the trademarks mentioned in the first two tracks. In addition, it has kinda repetitive, infectious synth spot line.
"Aspiration Feed" is going hand in hand with the first two rockets. A good song itself, but it could differ a bit more with regard to the previous ones.
Germany's Agonoize and France's Obszön Geschöpf bring in their Suicide Commando influenced industrial flavor and add some nice crashing edges into it. Specially Obszön Geschöpf managed to give "Soilbleed" another face.
"Dream II", featuring Ordo Roasarius Equilibrio, is a calm, acoustic piece that you wouldn't expect on a Grendel record. A surprising end of an appetizing EP.

Tracklist
Soilbleed(v.3)
Interrogation Leash
Zombienation(v.2k5)
Aspiration Feed
Soilbleed (Agonoize remix)
Soilbleed (Obszön Geschöpf remix)
Dream II (feat. Ordo Rosarius Equilibrio)

On July 25th, 2005, Funker Vogt will release their new MCD, "Fallen Hero"...

The single is planned to be followed by the band's next full-lenght album, "Navigator", on September 4th, 2005.

"Fallen Hero" track listing
1. Fallen Hero
2. Fallen Hero (The Birthday Massacre remix)
3. Pain
4. Fallen Hero (vereinigt)
5. Fallen Hero (Underwater Pilots remix)
6. Our Battlefield

A relaunch of the band's web site is announced to take place around the album's release date.

cEvin Key gives us an update on Skinny Puppy's current and upcoming activities...

"We just wrapped up production on the new DVD for SPV called 'The Greater Wrong Of The Right LIVE', directed by Bill Morrison. It is a collaboration between XYZ films in Canada and SPV Germany. Two discs include the complete live show with encores in 5.1 or Stereo. Extras include live footage from 'Too Dark Park', 'Last Rights' and two documentaries. One documenting the 1988 European tour shot by the band. Sleeve design by Steven Gilmore and Fodor. The show was mixed by Ken Hiwatt Marshall who will also join the band live mixing the European dates of the 2005 'Greater right of the wrong Euro tour' starting in August. Dates will soon be announced for this, but we can announce the confirmation of M'era Luna festival in Germany. The new Skinny Puppy team has also started production of a new LP for SPV."

Get excited! After the incredible success of Interlace's "Imago", the group will release a new single this year for one of their most powerful and enigmatic songs, "Crystalline Hush"...

They are currently in the studio working on the tracklist and a possible live video bonus to accompany the single tracks.

Heimataerde

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


Heimataerde und das verbotene Sein.

Der Wiedergänger, der im Dunkeln der Nacht aus dem Grab schleicht um unendliches Leben zu geben und eine neue Religion zu erschaffen.

Dieses musikalisches Projekt, welches im jahre des herrn 2004 von Ash heraufbeschworen wurde, erschafft cluborientierte tanzbare Musik, die dem Hörer eine Stimmung offenbart, die ihn auf Anhieb in den Bann zieht.


Im Schutz der Heimataerde.

Die Reinkarnation in der Heimaterde ist sein schwacher Punkt, einen Punkt den die Krieger des Ordens auszunutzen versuchen. Während sie am Tage auf der Suche nach dem Wiedergänger sind und die Heimataerde für sich beanspruchen ist er ihnen schutzlos ausgeliefert.


Der ewige Kampf um die Heimataerde..

Die Vorliebe, harte Elektronik auf weiche Melodieläufe stoßen zu lassen, wurde zum Leitfaden dieses Projektes.

Wenn ich die Sprache der Menschen rede und der Engel,
Und hab die Liebe nicht,
So bin ich wie tönendes Erz oder die hallende Zymbel.
Und wenn ich prophetische Kraft der Verkündigung habe
Und weiß die Geheimnisse alle und alle Erkenntnis,
Und wenn ich allen Glauben habe, daß ich die Berge versetze,
Und habe die Liebe nicht,
So bin ich nichts.


Ein Symbol des immerwährenden Kampfes zwischen Gut und Böse, bei dem jeder irgendwann die Entscheidung treffen muss, zu welcher Seite er sich schlagen wird...




... nur welche ist die Richtige?

This is one of the most dancefloor-friendly bands I’ve heard in a while.

It is classic futurepop with an 80’s inspired vocal style and hard edged synth driven music.
Every song is great and ranges from melancholy ballads about love and loss to equally lamentative songs about the sorry state of man and his/her world today.
Beautifully layered synth patterns with emotive vocals bring a rich sound that begs for the dancers to begin. It all started in 1999 with P-O Svensson and Magnus Lofdahl and has morphed and grown up till now with founding member P-O and Kalnins rounding out the roster currently. The band has produced a single (“Fate” 2004) and several other singles on compilations with “Plastic World” (MCD) being their latest offering.
“Fixed” is available early May and I solemnly promise you, this is an album to reckon with. If you like Iris, De/Vision, Mesh and Covenant, you will be enthralled with this awesome band. Happy listening and keep dancing as well!


Tracklist
Fix
20th Century Plague
Big Brothel
Fusion
A New World Arise
Plastic World
I Know
Like Leaves
Misery
Fallen Star
Symphony of Hope
Psycho Blonde
Phosphor

CULTURE KULTÜR
Reborn
Salva Maine (main vocals), Wolfran (backing vocals, sampling) and Josua (key+button pressing) aka Spanish future pop creators Culture Kultür return with a new full-length CD beginning of June...

Four years after the album "Revenge" the three piece will be back with the new record, "Reborn".
Expect some future pop pieces that are destined for the dancefloors. On Out Of Line, June 6th.

baddessi:I don't listen to that kind of music...it's too popular and commercial...it's sell-out music

I think it's common having bad bands making covers of good songs...lack of creativity!

I hate Limp Biskit!I can't stand that street-criminal attitude!Hell...

Andre Faria:The new album of NEW ORDER sucks it´s just a piece of crap!
I wish they had never come back like this...they just destroyed what they did in the past...

The industrial dance goth rocker's album "Kiss The Goat" was released ten years ago. Now we got served the Anniversary edition featuring restored artwork and two rare bonus tracks.

The band surrounding former Thrill Kill Kult member Thomas Thorn kicked up a fuss when they appeared in the scene back then.
With their mixture of tongue-in-cheek satanic worshipping, industrial grooves, sawing guitars and demonic vocals, Mr. Thorn (vocals, keyboards, programming), Sabrina Satana (vocals), Gregor Mephisto (guitar, sound effects), Rev. Dr. Luv (keyboards, samples, programming), Richard Frost (drums, percussion, programming), and Otto Matrix (sound effects) offered a sinister outfit that you could only love or put in the cheesy corner.
However, the band had their individual way to present their mystically effecting, powerful music.
Pulsating drums, driving guitars, exploding synth sounds and deep bass were combined with all kind of spooky ingredients like spoken words, monk choirs, creepy screams or whispers, and loads of other devilish voice samples.
The songs offered many faces - fiery, psychedelic, catchy, sexy, thoughtful, evil, monotonous, spectral. "Kiss The Goat" - the album was produced by Keith "Fluffy" Auerbach (Ministry, Revolting Cocks, Pigface, Skinny Puppy) - includes all aforementioned elements. Strange but true, it even reminds me of a collaboration between Thrill Kill Kult, Ministry (85's "Twitch" era), and James Rays Gangwar (Mr. Ray being part of Sisterhood before he did his own stuff).
Some of us may know this album and trax like "Hellfire" (the remix not being too different), "Dakshineswar/In The Temple Of Flesh", "Slaughter Of Elysium", or "Evil Genius (The Queen Of Sin)" from various club nights, but for those who don't I can recommend to check this album out.

Tracklist

01-Invitation to Damnation
02-Hellfire!
03-Dakshineswar/In the Temple of Flesh
04-Abattoir Eternal
05-Slaughter Of Elysium
06-Incubus
07-Evil Genius (The Queen Of Sin)
08-Love Is The Law
09-Jack The Knife
10-Bitchcraft
11-Creepy Crawler
12-Night Of The Buck Knives [Coming Down Fast Mix]
13-Kiss The Goat!
14-BONUS - Hellfire! (Cykophuk Remix)
15-BONUS - Root Of All Evil (Bring Me the Head of Bob Larsen...)

I have decided to deem Heimataerde's "Gotteskrieger" the first 'must have' CD of 2005!

Fans of Wumpscut, Grendel, and The Retrosic will fall in love with "Gotteskrieger" upon the first listen. Fans of music with super heavy beats and cool synth lines will fall in love, too.
Throw in some harsh (but intelligible) vocals, a ton of cool samples, and occasional classical and medieval elements, and you have something for everyone who likes dark music.
There is stuff for the addicted dance-floor enthusiast, and also for those who just like hard music that scares the average citizen.
This CD manages to be truly beautiful and melodic at times, yet never loses its evil qualities. This is quite an accomplishment. Of course, there are other bands that also pull this off, but the majority only succeed in making songs that sound like a mish-mash of musical elements that don't seem to fit together properly. Heimataerde pulls it off wonderfully and, after repeated listening, I've yet to find a weak spot on "Gotteskrieger".
The vocals are in German, which is perfectly fitting for the music; it is a very powerful language, and this is very powerful music!
I simply must make mention of the beats on this CD; they are some of the most diverse and heavy beats I have heard in a long time.
"Gotteskrieger" never becomes repetitive. There is quite a bit of variety to be heard, but you always know that you are listening to Heimataerde, as the music has a certain something that connects them all.

01-Non Nobis
02-Die Offenbarung
03-Endlos
04-Du Fehlst Mir
05-Gott Ist Mit Uns
06-Deus Lo Vult
07-Moerder
08-Immortals
09-Die Laeuterung
10-Gib Mir
11-Ich Hab Die Nacht Getraeumet
12-Wiedergaenger
13-Gibt Es Wirklich Einen Gott
14-In Nomine Domine

THIS ALBUM IS A MUST HAVE FOR EVERYONE WHO ENJOYS POWERFUL DARK MUSIC!!!

I really can't pick out one or two standout tracks because they are all excellent. Don't even think twice about picking this CD up. Buy "Gotteskrieger" at your earliest convenience; you won't be disappointed!

Adrian Hates is one busy man; besides being the founder and owner of Accession Records, he is also the man behind Diary of Dreams, one of the darkest bands on the Metropolis Records roster. Characterized by a blending of effective production, distorted arrangements of electronics and guitars, tortured vocals and poetic lyrics, Diary of Dreams have been climbing the goth/industrial ladder for nigh onto seven years now. Their last album, Nigredo, was a concept album that detailed mythologies partially based in reality and partially in their own nightmarish visions. Now, the sequel, MenschFeind, has been released.

Leaving alone the disturbing cover imagery (which looks like a combination of “Silence of the Lambs” and “Village of the Damned”), this music is disheartening. From the heavy beats and ominous vocals, it would seem that the purpose of this album is to leave the listener in a state of discomfort, almost to the point of being utterly frightened. Adrian’s vocals are deeply melodic one moment, turning into a whispered growl the next. A good example is the title track, in which the chorus is sung in a low guttural tone that sounds like a demon calling your name. The use of atmospheric piano melodies in songs like “Haus der Stille” and “Killers” keeps these songs grounded in some recognizable reality that the listener can hold on to, while the electronics sound otherworldly. The beats are crushing, stomping their way into your psyche, and clearing the path for Adrian’s vocals to make their way to your very core.

While the sound of Diary of Dreams is not totally original, it is effective and not usually done this well. The songs progress in such a way that makes sense to the listener, embarking on a journey from one end of the atmospheric map to the other. The only problem is that these progressions are almost too logical, making the songs too long for extended listening. They start strong but before long the need to move on becomes apparent. The only exception to this is “Treibsand,” which is the shortest song on the album (though not by much), and the closest the listener will come to a club-friendly dance track. Of course, it’s difficult to have dramatic changeups in electronic based music, so the comparison to Type O Negative would exist only in the atmosphere that is produced, as well as the vocal tones. Adrian’s baritone doesn’t demonstrate too much of a range, sounding very low on the bass almost constantly. This can get boring after a while.

Diary of Dreams is not without talent—their songs are well-constructed and well-produced. This would make a good album for a goth nightclub in need of background noise, with its effective ambience and depressive tones and oppressive beats. The lyrics may sound like they’ve been lifted from the poetry archives of “Vampire: The Masquerade,” but they serve their purpose in pulling the listener into the band’s realm of disquiet. MenschFeind is a decent album, with its melancholic melodrama being both its strength and its weakness. There is little variety between tracks, making each track sound like different movements to the same song. Some could interpret this as a virtue, like a sense of classical composition (helped by the symphonic leanings of the closing track, “Pentaphobia”). However, it also makes the album sound the same from beginning to end. Par for the course for Diary of Dreams, but perhaps a sign also that the band should start looking into stretching out into other territories for fear of falling in the pit of tedium.

Track List:
01. MenschFeind
02. Haus der Stille
03. Day-X-Relic
04. Killers
05. Treibsand
06. The Cage
07. Pentaphobia

Neuroticfish is out in full force once again. Gelb, the highly anticipated full-length album featuring the track “The Bomb” released in EP format late last year, is now available. Since their inception by Sascha Mario Klein in 1999, Neuroticfish has consistently produced one dance hit after the next. This welcome release follows true to form, with 13 new tracks, continuing in the vein of recent releases like Les Chansons Neurotiques and Surimi.

New listeners will discover a thoughtfully constructed synthesis of goth/industrial music, highlighted with techno elements and intelligent lyrics that mark their signature style, sometimes likened to Depeche Mode. While “The Bomb” stands out as one of the strongest tracks on Gelb, fans will not be disappointed with the rest of the album, which offers an engaging variety of tunes to get you dancing. Notable songs include “Why Don’t You Hate Me?” and “Waving Hands.”

Track List:
01. Loading…
02. Why Don’t You Hate Me?
03. The Bomb
04. I Don’t Need the City
05. I Never Chose You
06. Waving Hands
07. Short Commercial Break
08. Ich Spure Keinen Schmerz
09. Are You Alive?
10. You’re the Fool
11. Solid You
12. They’re Coming to Take Me Away
13. Suffocating Right

It has been said, in various promotional contexts, that this second Fusspils 11 album has been eagerly awaited by the fan base. I honestly did not know they had one, as their debut "Gib Ihr einen Namen" pretty much sounded like a half-finished Funker Vogt product. "Elektro-polizei", released no less than six years after its flaky predecessor, could also be deemed close in sound and attitude to Funker Vogt, but that all lies in the craftsmanship of mastermind Gerrit Thomas. Whatever comes out of him and his Lager2 studio creatively tends to lean towards three basic foundation stones: static beats, effective melody alterations and dynamic production work.
"Elektro-polizei" has engaged the forces of five men and one woman, but it is still essentially Thomas' wand that is puppeteering the action. My favourite vocalist (well, he's in the top-three) Tim Fockenbrock (Ravenous lead singer) lends his always impressive skills to the Peter Maffay cover "So bist du", giving it so much life it's blooming into electropop perfection. This one, alone, makes the album worthy of attention. Why they don't use him more is a mind boggling mystery.
A number of additional covers, like "Wo die wilden Rosen blühen" (a snappy electro attack on the classic Kylie Minogue/Nick Cave duet) and "Bodo Ballerman", actually add to the overall quality of a disc suffering from lack of variation musically. Jens Kästel, Fockenbrock, Peggy Johanson and Thomas himself make sure to broaden the spectrum vocally, but only Tim excells in that department.
With a tear in my eye, I am beginning to recognise the condition a friend pointed out to me some time ago; that Funker Vogt, Fusspils 11, Ravenous and Fictional nowadays all sound pretty much the same. I am still not convinced, but I would love for, say, Ravenous to put a halt to my growing hesitation.

A press release from the Depeche Mode camp was sent out recently, giving us the information that the trio's next album is supposed to come out this autumn. As we have told you before, this new as yet untitled album is produced by Ben Hillier, who has produced Elbow, Doves and Blur, amongst others. The band is recording in Santa Barbara right now, and according to Dave Gahan, the mood is great and they're excited about the new material.

http://www.depechemode.com

It's hard to believe that Nine Inch Nails' mile stone, "The Downward Spiral", has been out for ten years. Their label, Interscope, took this fact as occasion to do an exquisite re-release...

People who know The Cure's deluxe edition of "Three Imaginary Boys" know that Universal come down handsomely when it comes to deluxe edition's packaging. In 2005, "The Downward Spiral" comes in the same double digipak as The Cure's first record, and of course it includes different tracks than the '94 original issue.
Disc one is now an SACD, playable on super audio as well as normal CD players, even if just SACD player owners will get to know all details, as the record was completely mastered and mixed in Dolby Digital 5.1 surround sound.
The most interesting thing about this release is, especially for collectors, the package's second CD for which Trent Reznor pushed out some b-sides, demos, non album tracks and remixes.
Look forward to new, other or rare versions of classics like „Burn“, „Dead Souls“, „All The Pigs, All Lined Up“ or „Liar“. This re-release combines fine contents and packaging equally, and it's also an optimum appetizer for the new studio album, "With Teeth", due May 3rd, 2005.
The only problem with this double CD is the same one that The Cure's "Three Imaginary Boys" came with: fans already own this album, and it's really unfair to force them to buy another edition, even if there's no doubt about this record's quality.

Tracklist
CD1
1-Mr. Self Destruct
2-Piggy
3-Heresy
4-March Of The Pigs
5-Closer
6-Ruiner
7-The Becoming
8-I Do Not Want This
9-Big Man With A Gun
10-A Warm Place
11-Eraser
12-Reptile
13-The Downward Spiral
14-Hurt

CD2
1-Burn
2-Closer (Precursor)
3-Piggy (Nothing Can Stop Me Now)
4-A Violet Fluid
5-Dead Souls
6-Hurt (Quiet)
7-All The Pigs, All Lined Up
8-Memorabilia
9-The Downward Spiral (The Bottom)
10-Ruiner (Demo)
11-Liar (Reptile Demo)
12-Heresy (Demo)

NamNamBulu has been rising at light speed in the electro scene, and "Alone" is another solid MCD from these up-and-comers.

To be honest, it doesn't really offer anything new in terms of style or sound, but it definitely isn't average, either. NamNamBulu have always had a very mature, polished sound that gets people moving and thinking.
The song "Alone" has some excellent lyrics that are brought to life with a great sense of emotion, courtesy of Henrik Iversen. Iversen has a very powerful voice that is unique and instantly recognizable. Vasi Vallis' song structures are excellent as usual.
I do have to say though that the opening of "Moments" was kind of disappointing, simply because it sounded just a little too much like VNV Nation's song "Epicentre". Actually, if Ronan Harris jumped on the mic, it would be a VNV Nation tune. "Moments" just has that VNV sound. I don't mean to take anything away from NNB, but this song was just lacked their distinctive sound. The 'Addicted to Endanger' re-mix of "Moments" fairs a little better, as the synth sound was changed up a little. But, the re-mix lacks Henrik's distinctive vocal presentation, and thus fails to satisfy me personally. The instrumental, "Contamination", is put together well but becomes overly repetitive after about three minutes. Overall, "Alone" is, as I previously stated, a solid addition to the NNB library, but doesn't offer anything overwhelming.

Tracklist
1-Alone
2-Alone (Extended Mix)
3-Moments (Duette Version featuring Endanger)
4-Moments (Addicted to Endanger)
5-Contaminated

A first impression was brought to us with the fiery advance single "Born To Be (Hated)". So, now it’s time for the album by Mexico’s electro weirdos. Will it deliver the dangerous stuff electro heads are longing for?

Well, also their meanwhile fifth studio album is no lovely sweety for romantic hearts. Hocico's music still is what it is: a harsh and disturbing dark/splatter electro assault, combined with Erk Aicrag's aggressively distorted vocs and sparkling melodies. Following up the basis laid down with their prior album "Signos De Aberracion" (2002), Hocico created a modern mixture of unmercifully hitting beats and threateningly seething soundcsapes but also loads of gloomy ambient parts. „Bizarre Words“ is a good example for this interaction as it’s both aggressive and spheric. Whilst listening there’s kinda feeling that the two musicians more than on the last record picked up some of those certain rough splinters from their early days. Don’t get me wrong, it’s not that they did a step back in their evolution. It’s more like they brought their „punky“ roots home to themselves again and found a good way to mesh it with their up-to-date technology costume. „Sprit Of Crime“ amongst others is one of the potential club tracks. Lyrically dealing with jealousy, the song effects exciting cause of its breaks within the way through. Hocico managed to serve a neatly composed album with the right dose of devilish energy and apocalyptic atmosheres.

Tracklist
1-El Infierno Que Viene
2-Tales From The Third World
3-Bizarre Words
4-Spirits Of Crime
5-Born To Be (Hated) - original odium
6-Love Posing As A Prostitute
7-Ecos
8-Oracion Nocturna
9-Death As A Gift
10-Padre No Nuestro

After last year's full-length attack "Assimilation: Chapter One", the German electro industrial crew returns with a new EP.

Like we know it from their previous releases, Mike Johnson (Sero.Overdose, Infekktion, Virtual Embrace), Oliver Senger (Sero.Overdose, Infekktion) and Chris L. (Unknown, live keyboards in Dance Or Die) are painting their sound pictures with similar colours as the Belgian pioneer Suicide Commando. Some people noted them as copycat, some stated they're only influenced heavily.
However, what you can't deny is the fact that Agonoize are talented with regard to create smashing, easy-to-get-into-your-head stuff for the dark dancefloor. Tough rhythms, harsh'n'noisy industrial sounds, simple keyboard melody spots and heavily (not very varied) distorted vocs is the mix we're given.
Please forgive me that I'm oldfashioned and won't call their style, like it's trendy these days, "endzeit electro". It's dark electro with an apocalyptic touch.
Sometimes with a fast pace ("Chains Of Love", "Eye On You"), sometimes in a midtempo region ("Sick", "Running"), sometimes slow ("Evil Inside").
And offering solid standard throughout. Not more, not less.
So if you're into Suicide Commando, old Wumpscut or generally hammering electronics, you won't do wrong to check this release.
The promo version didn't offer the remixes, so sorry, no words on them.

Tracklist
1-Chains of love
2-Sick
3-Running
4-Evil inside
5-Eye on you
6-Masturbation generation
7-With the eyes of a criminal
8-Sick by Destroid
9-Chains Of Love straight electro version
10-Sick by Captive Of Society
11-Chains Of Love by Combichrist
12-Sick by Analogue Brain
13-Sick - live video

Mike Johnson (Agonoize, Infekktion, Virtual Embrace) and his crew are back with the second release.

Compared to Agonoize or Infekktion, Sero.Overdose's music shows the pop side of the menu. With a focus on harmonic sounds and rhythms, plausible pop melodies as well as Andre Hartung's clean, varied vocals, the Berlin based band created a relaxed piece of work between synthpop, future pop and relaxed electro.
Whilst balancing on that mix rope, Sero.Overdose deliver ballads ("Killer", "Spirits") as well as midtempo tracks ("Ever", "Sometimes") and stuff to move your body to ("Never", "She"). So this diversely painted picture is a plus point.
The songwriting itself is done in a solid way, but - and this is a bit of a minus - some totally overwhelming kicks are missing.
It's a nice record with some nice and emotional moments, but in a way you feel you've heard it all before many times. Apart from Andre's noteable vocals, the individuality's missing a bit. Kinda flaw that many artists within the synthpop and future pop branch have.
However, you can hear Sero.Overdose invested much work to come up with a feelingly album, and everyone into De/Vision, Colony 5, Angels & Agony and Covenant's smoother side wouldn't do wrong to
check them out.

Tracklist
1-Ever
2-Rain
3-Missing
4-K
iller
5-Sometimes
6-Never
7-She
8-Horizont

9-Spirits
10-Over
11-Stay
12-Harmony
13-
Hoffnung
14-Wir
15-She (version)

The question with regard to Wumpscut's new effort "Evoke" whirred through the air for a long time. Will Rudy Ratzinger celebrate harsher sounds again or is he continuing the milder direction of the recent past?

The latter is the case. Which means that fans of Rudy's prior 2000 crashing electro phase probably once more will sigh big time. People, who're following Rudy's music for a shorter time period and don't have those back to the roots hopes, or longterm fans who're a bit more open will find a solid release. Not overwhelming, but no disaster either.
Rudy wanted to evolve, and he did that. That`s a necessary thing for a band, and I basically respect and welcome that. How the evolution is finally turning out, that's written on another piece of paper. Rudy went the way he felt comfortable with - painting his tunes with a harmonic colour.
Based on repetitive lyrics, the bulk of the songs is slower paced, with sweet pop melodies, strings or atmospheric areas brought in ("Hold", "Obsessió", "Maiden") and 4 songs with focus on female vocals by Jane M. and Rudy's girlfriend Clara S.
Whilst those kind of tracks have been a smaller part on Rudy's records in his earlier years, they're now flown into the center of it all. In addition, the songs seem not so dark like in the past, the general fragrance is a more brightened one.
If you're looking for some more energetic moments, you've to stick to "Rush" with it's included siren sound, "Churist Churist" with it's artificial language lyrics or "Breathe" with it's provokingly aimed voice samples. Not new in the :W: world, and an ongoing discussion.
What else? With "Tomb" and "Krolok" (including voice samples) you can find some dreamy, a bit monotonous instrumental pieces on the record whilst the creation "Don't Go" offers a vocal interaction between Jane M. and Rudy (clean voice!), some pulsating beats but altogether a smooth flair.
Summarized said, the album only "evokes" an okay impression. There are some fresh and catchy moments and it's technically well done, but the real thrill is missing a bit. Electro must not necessarily be hitting and attacking and speedy all the time, even reserved paced stuff can be intense, heavy or exciting. But this isn't continuously the case on "Evoke". Some more vitamins next time and we'd all be happy.

Tracklist
1-Maiden
2-Churist Churist
3-Don't Go
4-Evoke
5-Tomb
6-Hold
7-Krolok
8-Breathe

9-Rush
10-Perdition
11-Obsessió
12-Churist Churist by Recently Deceased
13-Maiden by Nersoton (vs :W:)

Due to massive request, NamNamBulu's first EP, "Blind?", will be re-released under the new name "Blinded!" via Infacted Recordings on April 25th...

The former six track (remastered) EP got extended with seven bonus tracks.

Tracklist:

1 Now Or Never
2 Ignorance
3 Surviving
4 Guardian Angel
5 Trapped
6 Nightmares
7 Now Or Never (reconstructed)
8 Beaten (V.2.0)
9 Surviving (outdated)
10 Ignorance (Perceive mix)
11 Trapped (unplugged)
12 Memories (Vox Celesta rmx)
13 Memories (Pearls of Dew rmx)

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.

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

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

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.

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

Quick on the heels of the largely successful Bone Peeler, Wumpscut has released Blondi, a six-track MCD as a pre-release to their forthcoming album Evoke, coming to stores April 4. Tracks include two songs and four remixes for a total of six tracks. Fans of Bone Peeler will find more attention to well-constructed synth patterns, enhanced by Rudy's unique talent for creating a sense of impending doom. “Rush” is well-paced, danceable a beat and engaging lyrics. The version by Dismantled is powerful and unyielding, while listeners will find Naked Beat's version to be slower and more atmospheric. Der Blutharsch finishes trio of “Rush” remixes with a heavy, guitar-laced edit. “Don't Go” is a fast-paced, longing duet with Jane M. The Eighty 64C mix takes a different direction and has the hint of an '80s euro dance mix element to it. Since its formation in 1991 by Rudy Ratzinger, :Wumpscut: has become synonymous with dark, hard-hitting dancefloor hits and this is no exception. Blondi is certain to join the increasing number of instant :Wumpscut: classics.

THE DOWNWARD SPIRAL?GREAT ALBUM FROM NINE INCH NAILS!
RE-RELEASED IN SUPER AUDIO CD RECENTLY!

Andre Faria:DIE WEIBCHEN SIND HERAUS AUF DER STRASSE!PASSEN SIE AUS DEN KÜHEN!PASSEN SIE VON DEN HUNDEN UND VON DEN AFFEN AUF !!!

Andre Faria: I BELIEVE YOU'VE SEEN WORSE!

This is a really strong album from German electro-industrial act The Retrosic. While the :wumpscut: influences are still somewhat apparent, the band has definitely come into their own with this release. The only problem is that they forget what type of band they are a few times here.

The majority of music offered here is dark electro-industrial with menacing electronic programming, heavy beats, moody melodies, creepy sampling and angry growling thick German accented male vocals. All of the songs that sound like this are great. It's too bad that they don't make up the entire album.

There are four songs here that are out of place - "Elysium", "Passion (1st Sign)", "Sphere" and "Tears In The Rain". "Elysium" is a Middle Eastern chant song that sounds like something Delerium would create. "Passion (1st Sign)" is dark and somber with female chanting. "Sphere" is a light and upbeat EBM instrumental. And "Tears In The Rain" is a short spoken word track. These four tracks really mess up the album. They ruin the flow and make me want to listen to the album less.

I think bands should stick to a certain style throughout their recordings. If they have a desire to do drastically different sounding music, they should do it on a side project.

PS.THIS REVIEW DOESN'T REPORT MY FEELING ABOUT THIS MASTERPIECE...I THINK THIS RECORD IS ONE OF THE BEST RELEASES OF 2004 IN THE DARK ELECTRO-INDUSTRIAL GENRE,MUCH BETTER THAN WUMPSCUT RECENT ALBUMS!
ANTICRHIST

Adrian Hates returns with his best Diary Of Dreams album yet. I didn't really like the previous Diary Of Dreams recording Freak Perfume, but this Nigredo album is great.

While the Diary Of Dreams sound isn't really different here, it's definitely polished and refined taking all of the best elements from the past and putting them on one recording.

The music is created with electronic programming, nicely paced beats, dark dramatic melodies and some guitar. Adrian Hates sings deep and clear with a lot of power and passion. He's an emotional singer that unleashes his lyrics with true feeling.

There's a lot of variety on this album. There's a good mix of energetic songs, mid-tempo songs and dark ballads. Everything is masterfully created and structured with creative elements.

JamesHird: WHY ARE YOU SAYING THAT?YOU DON'T KNOW WHAT IS GOING ON!
IF IT WAS YOU,YOU WOULDN'T BE SAYING THAT...