Questa giornata è dettata da un’unico interesse…le CLIENT.

Le vidi la prima volta proprio a Lipsia al WGT, in uno spazio decisamente piccolo e fu un concertone. All’epoca erano usciti i primi due dischi e in quell’occasione oltre a loro c’era un uomo.

Da un po di tempo invece la formazione è tutta femminile. Quell’anno parallelamente c’era il concerto degli Umbra et imago (dove nell’estasi del gesto ad una una figurante presero fuoco i capelli) dunque la fortuna volle che alla Client non ci fosse tanta gente.

Questo è ciò che capita al WGT spesso bisogna decidere cosa vedere, altre volte la fortuna vuole che ci siamo gruppi richiama persone e gli ambienti si svuotano.

Prima del concerto c’è un altro evento molto interessante e cioè il Requiem di Mozart al Völkerschlachtdenkmal , il grande monumento della battaglia di Lipsia poco fuori dal centro.

Quest’opera che ricorda la vittoria contro Napoleone è molto imponente e il suo colore scuro incute timore a chi lo vede per la prima volta. Non solo da fuori ma anche da dentro è molto impressionante. Infatti ai lati ci sono dei guerriere di pietra, alti quasi come la struttura.

Quale migliore location dunque per un concerto di musica classica.

Il posto è già pieno dunque bisogna trasferirsi al piano di sopra.

Nonostante la presenza di molti tedeschi, ogni pausa è accompagnata da un applauso. Nonostante anche l’ intervento del maestro d’orchestra sta storia continua ancora per un po’.

Grandissima atmsofera ed un’esecuzione perfetta, con alla fine ovazione tipo stadio mi fanno passare una bella oretta in relax.

Finito il “concerto” presa la pioggia, mi dirigo verso il Palazzetto del ghiaccio dove ci sarà il concerto delle Client.

Infatti giungo sul posto poco prima tra un cambio del palco e l’altro e molta gente inizia ad uscire.

Senza molti sforzi riesco a guadagnare un posto sotto il palco veramente mitico.

Il concerto è segnato essenzialmente da due cose. L’acustica non proprio perfetta e problemi tecnici.

Un’ora di concerto è un po’ sacrificato, comunque sono in grandissima forma. La maggior parte dei pezzi sono tratti dall’ultimo lavoro, “Command”, e qualcosa dai primi lavori. Le ragazze hanno un gran stile, non solo nel look, ma anche nei movimenti.

Inoltre hanno una grande attitudine in quanto sono sempre in turnè, e nel mondo dell’elettronica non è poco visto che molti dischi nascono (e muoiono) in studio. Basta vedere le collaborazioni e i produttori per capire che non è solo un progettino ben confezionato ma c’è molto di più.

Ritorno all’Agra per fare un giro e da lontano vedo che dal palco di ASP partono delle fiammate allucinanti; il pubblico ovviamente è in delirio…

Ma ecco che girandomi vedo l’eroe della giornata. Un uomo, almeno penso, in una tuta di latex totale (solo con due buchi zona naso per respirare) incatenato e portato in giro dalla sua padrona. Ovviamente i tipi si avvicinano e cominciamo un grande discorso. Dovevano andare alla festa fetisch ma non sapevano (…ma a fare cosa ho pensato io… forse lei, lui alla fine cosa poteva fare) e che il tutto è un po’ come la società, che sei intrappolato ecc… (però alla fine ti pigli due soldi). Il momento magico è però arrivato infatti pretendo di fare una foto con la coppia…ma il tutino non viene perché riflette. Mi dirigo verso la macchina pensieroso….

]]> http://lit.nivis-regnum.com/reportage/30509-wave-gotik-treffen-report/feed/ http://lit.nivis-regnum.com/reportage/300509-wave-gotik-treffen-report/ http://lit.nivis-regnum.com/reportage/300509-wave-gotik-treffen-report/#comments Tue, 30 Jun 2009 09:22:25 +0000 DC http://lit.nivis-regnum.com/?p=1742 GIORNO 2: Women in uniform, sometimes they look so cold, Women in uniform, but, Oh! They feel so warm!

La meta della seconda giornata è l’Anker.

Serata all’insegna del neo folk, tanto per cambiare, con la triade Neutral, Ostara e Sixth Comm.

Dall’altra parte, al Volkspalast, ci sarebbero i Cranes ma dato che l’ultimo disco di che ascoltai fu “Wings of Joy” prima di assistere ad un’oscena deriva rosa-pop e l’aver ascoltato racconti di ultimi live al limite dell’indecenza opto per la terna (e le storie erano vere..chitarrista e bassista dei cranes hanno suonato seduti ma non per problemi d’età…).

Arrivo e i Neutral sono già sul palco. Stasera sono in formazione speciale, infatti ad accompagnarli sul palco ci sono i Joy of Life (anzi metà). Questo gruppo post-punk inglese degli anni 80, è stato ripescato proprio l’anno scorso e fecero un gran concerto. Non hanno una discografia molto vasta, ma “Hear the children”, è un disco tuttora molto interessante. Quest’anno sono ritornati in veste speciale. Il risultato è buono ma i Neutral, che sono russi, cantano in inglese e questo li penalizza un po’ nel senso che ogni tanto risultano un forzati. Non capisco lo scopo di tante energie sprecate e accenti spesso al limite della parodia.

Cambia di palco, un’occhiata ai banchetti e poi partono subito gli Ostara.

Nonostante diversi ascolti casalinghi proprio non mi entusiasmano. Non tanto per la musica che, voglio dire, non è proprio originalissima ma per la voce di Levithan. Gli Strenght throught joy mi piacciono, anzi “the force of thruth…” è un piccolo capolavoro ma con gli Ostara è un’altra musica. Un cantato pop ammiccante tipo singolo per l’estate sinceramente non fa per me.

E’ ora il momento di Sixth Comm, che avevo già avuto la fortuna di vedere qualche mese fa ad Halle (vedere report). Patrick Leagas è bello carico, con tanto di divisa da guerra della seconda guerra mondiale (tedesca) ed elmetto. Stasera mi sembra un po’ meno in forma rispetto al concerto precedente, forse perchè strutturato in maniera diversa. Ad Halle le percussioni avevano un ruolo importante stasera invece ci sono più campionamenti.

Nonostante divise e diviselle, su e giù dal palco, tutto è andato molto bene.

Non capisco come mai, invece, dopo il festival sul forum del WGT ci siano tante discussioni e dal “vivo” nessuno dice niente. Potere dei media?

Everybody, who thought that this band ran out of steam - beware of the best TYSKE LUDDER album ever! Once being called Oldschool-EBM legend, TYSKE LUDDER easily manage it to step out of their own shadow and start a new chapter in the band’s 20 years history with new and fresh sounds combining Electro- and EBM-sounds. Harsh beats collide with soundscapes that fight against Albert’s dominant and unique voice - tracks like “Shookz”, “Frya Frisena” or “Bastard” will definitely smash up your ass.

Thematically, TYSKE LUDDER again don’t mince matters, it is all about dealing blows, not taking hits. As a bonus, you will find the great cover version of JESUS AND THE GURU’s provoking “Panzerlied”.

The first edition will be released exclusively in a numbered digibox with signed autograph card, poster booklet, special CD packaging and a metal pin. This edition is strictly limited to 1000 copies!

Biography:
In the beginning of the 90s Tyske Ludder set the course for their work as pioneers in the european E:B:M and Dark-Electro scene. Coming up from the Wave- and New-Romantic scene they developed very early their meditations on the predominance of technology in our society. Nightmarelike visions of the then-raging war in Yugoslavia as well as the recurring military enforcement of the United States’ claim for world domination represent the other thematic constant in the work of the German Whore. Through the years their musical model developed from heavy Electro-Sounds to some kind of ominous dance music somewhere between Industrial and the aroma of a nuclear blast.

In a unique melting procedure the band around vocalist Albert-X was again and again able to produce avant-industrial dimensions of sound which very often divided the followers into two enemy camps. That is how altogether three album originated in the mid 90s.
The scarce live gigs of the four electro-activists constitute the third column of the concept of Tyske Ludder.
At the beginning of our new millennium it has become very calm around Tyske Ludder. Disagreement on the further development of the band’s musical blueprint and colliding conflicts of interest made this step necessary.

In 2004 the band started working on new material and in the same year they were back on stage. Since November 2005 Tyske Ludder belongs to the blackrain-family and released their new album „Sojus“ the fans watched out for a long time. The limited first edition, including a bonusmaterial disc, was sold out after a few days. Only some months later, in autumn 2006, the first 3 albums were re-released even with several rare and amazing bonusmaterial that was also available as a 111 limited trinity box.

On the „Wintergewittertour 2007“ across Europe Tyske Ludder took the credit for their activities. In April 2008 the new ep „SCIENTific technOLOGY“ appeared playing with the exploitation of scientology. In Summer 2008 Tyske Ludder toured about 8.000 km across southern Europe. The show at the elitist “Elektrisch Festival” in Zwickau with Bands like Absolutly Body Control formed the last part of the year. On the following sampler Tyske Ludder contributed 2 exclusive live songs. At the end of the year the northmen signed with the booking agency W.O.D. that brought a fantastic tour as the support of DAF on their German tour in January 2009. More shows for 09 are in the pipeline, among other things at the WGT in Leipzig, the Summer Darkness in Utrecht and the M’era Luna in Hildesheim. Now Tyske Ludder releases their new album “Anonymous”…

The resume: Tyske Ludder 2009 => be forewarned!

Bandmember:
Z67 (percussion|shouting)
ÅLBERT (voices|showing)
ØLÅF (machines|shooting)

Discography:
Bombt die Mörder? (1994|2006)
Dalmarnock (1995|2006)
Creutzfeldt (1996|2006)
Sojus (2006)
SCIENTific technOLOGY (2008)
Anonymous (2009)

Genre:
EBM / Electro

Tracklist:
01. Frya Frisena
02. Shokkz
03. Gebet
04. Psychoaktiv
05. Fix the beat
06. Bastard
07. Narben
08. Panzer
09. March
10. Maschinenstaat

Releasedate:
June 6th, 2009

Year of foundation:
1990

Order Tyske Ludder “Anonymous” CD:

http://www.poponaut.de

Order Tyske Ludder “Anonymous” Box-Set:

http://www.poponaut.de

TYSKE LUDDER @ www:

http://www.tyske-ludder.de/

TYSKE LUDDER @ Myspace:

http://www.myspace.com/tyskeludder

Label:

http://www.blackrain.de

The unique sound of A SPELL INSIDE is difficult to explain. Maybe it’s the interesting combination of catchy melodies, compact basslines and pumping rhythm-tracks, maybe it’s the striking voice. Who knows? But it’s self-evident that there is something very spezial here – perhaps you could describe it as some kind of „Technical romance“. Call it the revival of the 80s in a very modern and inimitable way. In addition to this, there is brilliant songwriting, with every song finding ist way straight on the heart. All together this creates a very spezial ASI feeling; an atmosphere which is carried by melancholic synth-sequences.

History:

A SPELL INSIDE was founded in 1989 by Melrow (vocals, programming) and PeKirk (synths, samples). After some funny sessions the whole thing became bigger and bigger and one year later KlauRo joined the band as a guitar-player. A Spell Inside was born. This moment was the real start of ASI and it was the aim to create a modern electronic style with some slight guitars. Because this was a sound which one couldnt find at any other bands at that moment.

1991 the first demotape was produced called “The wrong spell”. There were six songs on it e.g. “We turn to grey” which has been the titletrack of the first album just a few years later. Until 1994 two more demos were recorded - A Spell Inside and Revenge. Above all it was the last one which was very attentive. Some songs were played on several local radio- stations, radio Marabou and the WDR. 1994 it was the time for the first recordings in a real sound-studio. The result were six songs which represented a summary of the period between 1990 and 1994.

1995 the first record deal was made and the label Discordia published this material with the debut MCD “Return to grey”.

One year later the first longplayer followed called “Visions from the Inside”. It was an album which was overwhelmed with a lot of praise by the specialised press.

Zillo:

“… it seems so as are A SPELL INSIDE the next big synth-wave-pop act in germany after Wolfheim, Blind Passengers and De/Vision …”

Encouraged by the big success 1997 the MCD “Brothers” followed. There were four tracks on it including a remix of the well-known club-hit “Sinnbild“.

But unfortunately there was the failure of the label Discordia just after the release and so it didnt get the large attention which it would have been deserved. After this break-down A Spell Inside only released one song more named “Träume” on some compilations in 1998.

Then it calmed down with the band. There were some other projects - e.g. Michaels “Behind the Scenes” - and private reasons for this long break. It should take over two years for the next little sign of the band: 2000 one satisfied the wish of many fans and re-release with “Stories from the Inside” all former - partial out of stock - material on a double-album. Then in 2001 it was time to start the come-back. So A Spell Inside produced a brandnew album “Hit”. They needed more than a half year to finish this production. The release was in 2002 through the label Triton.

And in october 2004 A SPELL INSIDE releases their brandnew album “Vitalizer” at the new label SCANNER followed by „Essential“ in 2004.

Style:

The unique sound of A Spell Inside is difficult to explain. Maybe its the interesting combination between catchy melodies, compact basslines and pumping rhythm-tracks, maybe its the striking voice. Who knows? But its self-evident there arise something very special which you can descripe as some kind of “technical romance”. Call it the revival of the 80ies in a very modern and inimitable way. Besides there is a brilliant songwriting and every song finds the way straight inside your heart. And all together creates this very special ASI feeling; an athmosphere which is carried by melancholic synthi-sequences. Call it a style which hasnt reached, yet.

Upcoming:

A SPELL INSIDE are back with their long-awaited fourth release „Loginside“. More than nine months they concentrated on producing the new A SPELL INSIDE sound. The end result is an electro synthpop masterpiece, surprising the listener with each track - wheather if emotional ballad or dancefloor club song. ”Loginside“ brings together pumping beats, perfectly programmed electronics and catchy vocal hooks that will get stuck in your head.

Once you hear it you’ll want to listen to it over and over. So, come on and log inside!

Genre:

Electro / Pop / New Wave

Bandmembers:

MEL ROW - Voice, Programming

PE KIRK - Synth, Programming

MAR CELL - Live Keyboards, Backing Vocals

Tracklist:

01. Keener (loginside mix)

02. Reveal

03. Stärke 10

04. Your eyes

05. Secrets

06. Reality

07. Waiting

08. Not enough

09. I will

10. Chase

11. Here to stay

12. Someone (is waiting)

Release-Date:

May 29th, 2009

Foundation:

1989

Discography:

2008 „Essential“

2004 „Vitalizer“

2002 „Hit“

2000 „Stories from the Inside“

1997 MCD „Brothers“

1996 „Visions from the Inside“

1995 Mini-CD „Return to grey“

LIVE:

31.05.09 - WGT Leipzig / Moritzbastei / 20:45 Uhr

06.06.09 - Duisburg / Kulturkeller / 20:00 Uhr (Support: Noyce TM)

Order:

ww.poponaut.de

A SPELL INSIDE @ www:

www.aspellinside.de

A SPELL INSIDE @ Myspace:

www.myspace.com/aspellinside

Label:

www.darkdimensions.de

INTRO

La mia presenza al WGT è stata dettata dal lavoro (non ovviamente all’interno del festival), dunque non ho assistito a tutti gli eventi/concerti dall’inizio alla fine.

Peccato…ma non si vive di sola musica.

GIORNO 1, The man from Lithuania

Il primo giorno del WGT è un giorno un po’ particolare. Generalmente faccio un giro al mercato, trovo gli amici e solo dopo una certa ora mi concentro sulla musica.

Quest’anno la mia avventura è cominciata all’interno della Press area, zona per me “nuova” e ricca di sorprese. Infatti grazie alla collaborazione con LIT e grazie al mitico Cornelius ho guadagnato un mitico Pass. Ma la donna all’ufficio non mi rova sulla lista…infatti c’è stato un errore, che poi è diventato un “tormentole” del festival…infatti ero accreditato come giornalista Lituano! Nessun problema, l’importante è entrare…

E infatti dopo il colpo arrivo all’area mercato e già incontro gli amici. Senza tanti sms e menate varie ci trova sempre.

Primi brindisi e primi giri al mercato. Girare al mercato il primo giorno è tattico perchè intanto vedi dove sono gli stands che interessano, poi, l’ultimo giorno, fai un giro perchè generalmente con la scusa che devono smontare ci sono parecchi saldi. Ovviamente, per quanto mi riguarda, punto soprattutto gli LP.

Mentre si chiacchiera intravedo nel palco dell’Agra l’Ame Immortelle.

Primo gruppo ad esibirsi nel grande palco centrale. Non c’è ancora molta gente ma i presenti si fanno sentire e nonostante non sia un loro fan li trovo abbastanza piacevoli…forse è l’aria del festival che mi fa sembrare tutto bello.

Non penso, infatti dopo poche ore comincia l’insofferenza.

Un breve giro e poi si parte destinazione Volkspalast.

Il Volkspalast è una delle migliore location per i concerti del WGT, l’anno scorso praticamente ho preso dimora al suo interno. Durante l’anno non ci sono molto concerti anzi la maggior parte degli eventi sono feste.

Il suo interno è molto bello, con grandi lampadari e colonne, proprio come un teatro.

Da quest’anno ci sono dei cambiamenti…niente panini, birrette solo da mezzo e soprattutto la possibilità di fumare al suo interno. Sta cosa non la capisco.

Stasera sarà, come spesso è durante il festival, serata neo folk.

Arrivo e gli :of the wand and the moon hanno già cominciato. Su disco mi piacciono ma dal vivo dopo un po’ diventano incredibilmente noiosi. E infatti la gente gira, ascolta, esce…non riescono a catturale l’attenzione del publico (o forse non è nemmeno la loro intenzione) e c’è molta distrazione. Secondo me è proprio la voce del tipo… talemte monocorde che dopo un po’ crea effetti soporifici. Esco e trovo Uwe Nolte, voce dei Barditus e Orplid, con cui si parla del più e del meno e soprattutto sul fatto che loro non suonano. La risposta è molto pratica…i am just coming back from Russia…

Piccola pausa e si ricomincia in gran stile. Infatti è il momento, molto atteso, per il concerto dei Rome. La sala si riempie subito.

Il mini (To die among strangers) è giù uscito da un po’ di tempo e in questi giorni dovrebbe uscire il nuovo lavoro. Il lussemburghese si presenta in grandissima forma.

Luci soffuse, un buon suono di chitarra ed una voce particolarmente calda, circa 2 oretta di concerto. I pezzi sono presi da tutto il repertorio, riconosco alcuni pezzi del precedente “Masse Mensch Material” sempre su cold meat industry, alla fine c’è un’ovazione per il vero eroe della serata. Il suo è un marchio di garanzia e il suono è ben definito. Un neo folk atmosferico e delicato abbastanza distante molte uscite di “genere”.

Tra il pubblico si aggira Ian Read, infatti subito dopo, a conclusione, tocca ai suoi Fire + ice.

Un presente gli allunga un cd per un autografo e lui disegna una rune (scontato) con tanto di Heilige! Con questa immagine mi avvio verso la macchina..si torna a casa.

]]> http://lit.nivis-regnum.com/reportage/290609-wave-gotik-treffen-report/feed/ http://lit.nivis-regnum.com/interviste/interviste-oil10/ http://lit.nivis-regnum.com/interviste/interviste-oil10/#comments Mon, 22 Jun 2009 09:32:37 +0000 Promofabrik http://lit.nivis-regnum.com/?p=1656

Hello Gilles! Many thanks for taking your time to answer our questions. As you may not known to all of our readers / listeners, please introduce yourself a bit.

Gilles: My name is Gilles Rossire. I’m French, living in Paris. I’ve created the Oil 10 project in 1998. My first album was called In/out, it was a quite experimental music. RetroFuture is the seventh album. My first job is special make-up effects for cinema. Now music is more important in my life.

Please, describe your music with your own words.

Gilles: I think I try to make a kind of “timeless” music. I like the idea that it can be difficult to guess when my music was composed. I’ve avoided using already existing samples until Beyond. I want to keep a very analogic atmosphere.The other main idea is that Oil 10 must develop in its shape. I would be very afraid of being obliged to compose the same kind of music.
Each album was conceived as a chapter which was to be related to the precedent and to bring the following. “In/Out” was a rather dark, experimental album. However it already contained two rather dancefloor titles. With the following albums, I first developed rhythmics then melodies. From the beginning, my obsession is to explore different music worlds, make surprises. I don’t want to be lock in one music style and compose same music over and over.

When did you start making music and what was the trigger for it?

Gilles: My very first electronic experience as a listener was a track from Tangerine Dream’s “Rubycon” used for a French TV show and the soundtrack of “Forbidden Planet” movie. I really didn’t understand how this kind of music could be created. After that, I discovered Kraftwerk. Then the British new wave and eletropop appeared with all the mythic bands like Depeche Mode or OMD. Then Techno explosed and mixed all influences in many styles.  So I’ve always been influenced by both pure experimental and light electropop, weird noises, melodies and club beats. As soon as I had a job, I bought a Roland SH101 synthesizer and since then, I’ve never stopped composing in many different styles.

What does the name „Oil10“ stand for?

Gilles: There is no particular meaning. When I composed the first album, I didn’t know if it was a first chapter or just one shot. The entire project was called Oil 10 even the album itself had no title. I wanted to have an abstract name with letters and numbers, and with a very graphic look. But in the end, Noise Museum and I decided to call it In/Out. So Oil 10 became name of the project.

Have you been musically active before the foundation of OIL10 in 1998? If yes, in which bands or projects?

Gilles: I’ve never stopped composing during ten years before Oil 10 but I had not much freetime to make a coherent project. In 1993 a four tracks vinyl was released in Belgium at ARS. It was quite dancefloor project called “Lust in Space”. Then I looked for a more original direction. I wanted to find my own style. I composed nine or ten tracks for Remote I sent to few labels and magazines. When one of these tracks was released on Future Music Magazine I was already working on Oil 10. Retrospectively I see Remote like a kind of “womb” for Oil 10.

As I have learned on your website, you are influenced by pioneers of electronic popmusic like „kraftwerk“, 80s synthpop alike „depeche mode“ but also contemporary artists like „vitalic“, „lfo“ of electroclash bands likle „fisherspooner“ or „ladytron“. How do you incorporate all these influences in the music of OIL10?

Gilles: Well, I think my musical tastes are themselves very eclectic. During the composition of an album, I almost never listen to electro but rather to the very orchestral soundtracks or many pop songs. I never felt attached to a movement, a musical kind more than another. I saw the emergence of disco music, new wave, techno and its multiple alternatives, and I like many different things in many styles. Add to this a passion for cinema and that gives a large mix. It isn’t a surprise that is found in my music. That’s the reason why I’ve asserted myself a few rules from the very beginning, so that this eclecticism hasn’t transformed into chaos !
When I’m starting a new track I generally have an idea of the atmosphere I’d like to obtain. Sometimes I even have an idea of its place on the future album. But when I’m composing a new album, I try not to listen too often to electronic music. I prefer songs, classical music, orchestral soundtracks.

Did you start from the very beginning to produce own songs or did you begin to work on remixes or cover-songs?

Gilles: I’ve always produce my own songs. Each time I tried to work on a cover, it was not a good job : if I like a song the original is always best than my version. So I’ve listen and tried to understand how music works when I listen other tracks. It’s enough.

How does an OIL10-song come to life? Do you work on hardware or software?

Gilles: The ways change between tracks and albums. I never have much hardware of software so almost all tracks begin on my old friend SH101.
Sometime the core of the track is often quickly found, but sometime it can be harder on many months. Anyway,  I always spend a lot of time to construct and mix them.
For some tracks from in/out I tape recorded endless tunings and settings of my SH101, without even knowing where it’ll lead me to. It was a sort of a blind process allowing me to fulfill my soundbank. When it’s done, I chose a couple of particular short routines or blips and then cut, filtered, denoised, changed pitch or whatsoever before sampling this material. From then on, I could sequence my beeps, all the delicate work of choosing the ones that would fit together or, on the contrary, counterpoint with each other in a dynamic way.
I’ve tried to change many things in my composition way for each album. For the first time I used samples of atmospheres or beatboxes on Beyond. I’ve introduced some trip hop moods Sometime I began with harmony, sometime with rhythm or melody I sing in the street. Everything is possible.  Hardware of software is just a detail, a tool. The intention is more important.

I have never noticed vocals, except of a few vocal samples. Did you ever think of recording own vocal takes for your songs?

Gilles: In my two first albums, there is no vocal at all. They were appeared on Links. Vocals are just another instrument for me. Words are sounds first, the meaning is secondary important. I’m not a singer or an writer, just a musician. All feelings I wish to pass on are in music and sounds. Words, titles are just information like visuals of the CD. It’s a direction, a framework.
But the most is important is music.

I have noticed that you have released nearly all of your releases on different labels. How did that come?

Gilles: It wasn’t really a choice. Labels disappeared, others emerge. Noise Museum was disappeared in 2000, then Vacuum was closed too few years after. Brume Records was a new label when I joint us… That’s life.

Let’s talk about your remix-work. The most recent piece you have produced for the band „autoclav 1.1“. Can you name other bands or songs that you have remixed so far?

Gilles: My first remix was for Celluloid Mata in 1999. I made many remixes since this period but now I made it from time to time. My favorite ones are remix for Flint Glass, Seize, Lethargy, Autoclav’ 1.1, Empusae, Aiboforcen, OTX, Hungry Lucy, Eretsua…

How do you get in touch with the artists? Do they come up to you asking for a remix or do you go ahead and ask for a song to remix?

Gilles: All remixes I made were a request from the bands of the labels. I never ask to do it.

Have you ever got a song of yours remixed. And if yes, how did you feel when you heard it for the first time?

Gilles: It happened only one time for the LP Scars I made with Empusae. We’ve composed one original track and remixed it each other. It was a great experience because I like very much Empusae.

Do you plan to do other remixes in the near future? Anything to be revealed already here?

Gilles: Yes I’ve just finished a remix for second album of a Franch artist, but I can’t give his name now. It should be release in June.

What band would you like to cooperate with?

Gilles: I don’t know if I can really collaborate with another band. I think it could be more productive for me to collaborate with a singer because he can make things I can’t do. Create a brand new project with another musician could be cool too. It can be happened very soon, I’ve received a very exciting proposition to do this but I can’t tell more today.

As technician in the movie industry you have been influenced musically by movies a lot. On the other hand OIL10 contributes soundtracks to movies. Can you name us some examples of movies, for which you have composed soundtracks?

Gilles: My fist job was to compose a track for the overture scene of Broceliande. It’s was a French horror film and the first scene is in a musical bar. So the track is on Arena album and it called… Le Bar. It was not really a soundtrack, even I synchronised beats and few sounds for the edited film. My real first soundtrack was for short movie Protocole 33 directed by Benoit Lestang. It was a very exciting experience because cinema is my second passion in life. It was a weird story with heavy atmosphere somewhere between David Lynch and David Cronenberg films. The other soundtrack was for the same director on his second movie Lundi, 35 milligrammes. It was more „classic“ soundtrack, another challenge. The track „Fade to Black on RetroFuture is a new version of all themes from these two films.

Are more soundtracks planned?

Gilles: Nothing planned today.

Let’s talk about your new release „Retrofuture“. Has the 10th anniversary the only reason to release it as a best-of album?

Gilles: Yes, it is what motivated me to create this album. I wanted to combine a meaningful date with the idea of reworking on a couple of tracks. It took me longer and it was a bit harder than what I thought at first, ten years became eleven but never mind, the album is ready now.

Why did you decide to rework all songs for the Cds to give it a more homogenous sound instead of simply putting the original version together, as it is normally done?

Gilles: I quickly gave up the simple idea of a compilation when I found a balance between leaving the tracks in their original state and/or remixing them just for them “to sound different”. Putting original tracks side by side wouldn’t have suited the progressive approach found through my albums. And it would have been chaos. And remixing everything just to put tracks “upside down” seems a more interesting option when you ask other musicians. So I decided to write a new album that would both be a true retrospective to the original project and would show a new will to explore it in a new harmonious way. That explains why sound changes vary a lot from a track to another: sometimes they are very deep like in “The Beast”, or sometimes they are very light like in “Electric Angels”. These tracks are more than remixes; they are alternative versions that show how I see this project nowadays.

There are two news tracks among the 13 tracks. Can you tell us which are new?

Gilles: Fade to Black and Counter Clock. The first one is a reinterpretation of my movie soundtrack works and the second is a brand new track. It’s the last track I’ve composed until today. It’s very important for me, I made  it like it could be the last track of the project. It’s a just an idea but I’ve needed tot hink like that to imagine the mood and have inspiration for the last track of this RetroFuture work.

There are new versions of „Oil 2“ and „Oil5“ of the album „In/Out“ on the new CD. „In/Out“ has been sold out for a couple of years now. Will you re-release it at some point?

Gilles: I really don’t know but if If i’ll do it, I’ll remastered it.

What audience do you want to address with your music: listeners of dancemusic and clubaudience, or people who like to listen, enjoy and think about it?

Gilles: The existence of this project, one of the main motivation is to avoid this question haha ☺
I like diversity. I always consider my albums as a “various yet homogenous based programming”. Throughout all my albums, I’ve always wanted to bring together floating elements with sustained rhythmic. Lots of things have changed since the first album but diversity remains the principal axis of this project. “In/Out” was a rather dark, experimental album. However it already contained two rather dancefloor titles. With the following albums, I first developed rhythmics then melodies. From the beginning, my obsession is to explore different music worlds, make surprises. I don’t want to be lock in one music style and compose same music over and over.  Like I said before, I never felt attached to a movement, a musical kind more than another.

According to your website you have performed many live-gigs. Do you remember your first OIL10-gig? How was that experience for you personally?

Gilles: Yes of course, it was in Paris in 2001. I’ve played with Sulphuric Saliva in Les Caves St Sabin, a very nice place. I was very nervous of course but it was a great moment. The place was full of audience. It was the first edition of Industrial Impact, a famous party in France.

What has changed since then and what do you like about performing live on stage?

Gilles: There were no visuals during my first concerts. But it was clear for me it must be an important part of the show. So I realized many short films for the visuals and I think it’s more pleasant for the audience. I don’t see images when I compose but it’s very interesting to illustrate songs after the release. I try to make a real program for the show. So my approach is more entertaining. I play in festivals, there is always many other bands so I know people don’t come just for me. Many of them probably don’t know my albums. So I try to propose effective concerts to captivate the public quickly. It’s a challenge and a great pleasure for me.

What kind of music do you like to listen to in private?

Gilles: I listen many soundtracks for movies, like John Williams or Hans Zimmer scores, Vangelis, Tangerine Dream early works, many pop songs writers like Divine Comedy, IAMX, electro bands like Ladytron, M83, FSOL… But I listen not much music since I compose for the project.

What hobbies do you have besides music?

Gilles: My life have two axis : music and cinema. I had the great chance to work for both of them. I have the same pleasure to be in audience or „at the other side“ to create art. I don’t have much time for other hobbies now ☺

How much do you will demoralised in times of decreasing sales and many illegal downloads to continue to make and release music? Do you feel betrayed or stolen?

Gilles: Yes, we live difficult times. The revolution of internet have many good sides but many dark sides too. Creators have wonderful possibility to touch people all over the world, but people are not ready to pay for art anymore. It’s a very important question, beyond the problem of music. When one or two generations will have in mind music, cinema is free, what will happen to creators ? Honestly  I really don’t know.
Sometimes kids ask me after gig : „hey I love your music ! Could you send me mp3 files ?“ It’s so „innocent“ than I think it’s useless to explain. The reality is just : „you don’t pay what you can get free“. That’s all. It become „natural“. We’re living in a consummer society, we learned to looking for cheaper things, and free is cheapest. If something is not really forbidden, how can we fight against it ?
I think music was sacrified to the internet and computer progress. I think all this adventure is a industrial strategy. We live in a hard capitalist world where free things don’t exist. So one day, when all big compagnies will get all networks, free will be probably stopped. But it’ll be too late for all small structures.

What are your plans after „Retrofuture“? Do you already work on new material?

Gilles: I’m composing a brand new track for a French compilation will be release at fall. And I have a project with another French musician. Not an Oil 10 collaboration but a real new project with a new name. It’s an ambient project but I really don’t know when it’ll be released ! I’ll probably compose for next Oil 10 album at the same time.

Many thanks for answering the questions. We wish you much success for OIL10 for the next 10 years and keep up the good work! Anything you like to say here to your fans now?

Gilles: Thank you very much for your interest !
Of course thanks to all people who support the project and keep it alive during the past decade !

by PromoFabrik (www.promofabril.de) , April 2009

K-BEREIT from France are no newcomers to the music world, especially not to the world of Industrial & Electronic Body Music (EBM).

In the late Eighties, Dominique Lallement started out with the band, Kriegbereit, but already in the Nineties, Dominique was on the move again. As founding member of the now legendary, Cobalt 60, and alongside Jean-Luc De Meyer of Front 242, they went on to release numerous records and even soundtracks for the popular video games, Command & Conquer: Red Alter & Wing Commander: Prophecy.

After years of silence, Dominique was finally ready to join forces with his life-long friend Fred Sebastian to form the hybrid, K-BEREIT.

A unique and powerful blend of the Kriegbereit and Cobalt 60 sounds. This new full-length seventeen track album contains guest appearances by members of Dolls of Pain, Punish Yourself, SA42 and Autodafeh.

Fasten seat-belts – turbulences ahead!

Style:
Electro / Industrial

Bandmembers:
Dominique Lallement: Programming & Vox
Fred Sebastien: Vox & Deprogramming

Tracklist:
01. NONE
02. 4LIF3
03. WHATEVER MAY COME
04. LIAR
05. VIRUS K
06. IF ONLY
07. WAR
08. USE YOUR STRAP ON!
09. MUTILATION
10. IN/VISIBLE
11. RACE AGAINST TIME
12. H5N1 -By Psychosomatic
13. GROUND ZERO -By Psychosomatic
14. MY KISS -By Under All
15. WHIP ME -By Under All
16. Like a Bullet From A Gun (BonusTrack)

Release-Date:
12.06.2009

Year of foundation:
2002

Order:
coming soon

K-Bereit @ www:

www.k-bereit.com

K-Bereit @ Myspace:

www.myspace.com/kbereit

Label:

www.sigmedia.us

Prima degli Enablers ci sono ben due gruppi di supporto. I primi sono un duo, tali Schnaak, chitarra e batteria. Musicalmente vari hanno proposto un mix tra metal estremo e cose molto ritmate, quasi caraibiche. Proponevano uno spettacolo tipo cabaret con battute ecc… .

Subito dopo il loro show, durato circa un’ora, è il turno degli Antikaroshi di Berlino. Nonostante li ho già visti tre volte non mi convincono. Le canzoni sembrano (o sono) tutte uguali, infatti sembrava un’unica grande song. Io penso sia un problema della voce, troppo “statica”. Con loro si entra nel vivo del concerto perchè loro “escono”, come l’ultimo degli Enablers – Tundra , per la Exile on mainstream records (distribuita dalla Southern) una delle etichette più attive a livello europeo. Non tutti i gruppi sono validi, secondo me, però mi piace la loro politica…cioè di essere sempre in tour (e anche a prezzi politici, tipo questo 5 euro).

Un veloce cambio e subito gli Enablers sono sul palco. La voce di Pete Simonelli è più cruda del solito, ricorda il Nick Cave carico di anni fa, accompagnato dalle chitarre (sul palco ci sono 2 chitarre e non il basso) molto taglienti e molto ossessive. Le canzone sono recitate e poco cantate, storie pessime di vite vissute sempre al limite del reale e dell’irreale con finali a sorpresa.

A breve li rivedrò…

Musically and lyrically MANTUS consistently continue that which they began on ‘Requiem’ and in doing so remain true to themselves. With the high quality which is to be expected, metallic guitar riffs mix with classical arrangements, piano chords with electronic drums and expressive melodies with sacral hymns to make a kind of dark romantic symphony, crowned with the perfect alternation of male and female vocals.

Martin Schindler and Thalia have once more created a gem which perhaps comes across as being more melancholy in tone than ‘Requiem’, but without disowning the rock elements. ‘Königreich der Angst’ demonstrates clearly to us all what a shame it would have been if MANTUS really had disbanded.

Biography – Presumed dead but still alive…

MANTUS, named after the estrucian god of the underworld, has been founded by Martin Schindler. It had been originally slated to be a solo project, but by the time of the release of the debut album „Liebe und Tod“ (Love and death), Tina aka Thalia became officially aa band member.
Already with its very first release, MANTUS drew much attention in media and press and gathered many fans in the gothic scene with their distinguished melancholic rock music with dark-romantic lyrics. During the further course of time MANTUS contributed to a lot of compilations with timeless scene-hits like „Kleiner Engel flügellos“ or „Gemeinsam in den Tod“, which became classics of the genre.
The following five studio albums became characteristic for its dark romantic atmosphere that was celebrated by MANTUS like no other band, combined with the emotional and touching vocals of Martin and Tina. Despite the wish of all the fans, MANTUS have never performed live throughout all those years.

After the release of „Zeit muss enden“, MANTUS split in the year 2005, releasing a final Best-Of 2-CD Album „Chronik“ in 2006.

After four years, MANTUS celebrated their return in 2009 with a highly rewarded comeback-album „Requiem“. As previous releases, the band signed a record-deal with the renowned label Trisol to bewitch the scene with their unique symbiosis of dark poetry and symphonic melodies. Furthermore.. for the first time MANTUS will also perform live to transport this special atmosphere on stage. The officially first live show has been chosen to be at the Amphi-Festival on July 18/19, 2009.

With the new EP „Königreich der Angst“ (Kingdom of Fear) to be released in May 2009, MANTUS continue where they have stopped with „Requiem“. Ten songs and a playing-time of 43 minutes nearly meet the length of a fulltime-album. Thus, MANTUS prove again to be an important part of the contemporary gothic scene.

Diskografie:
Liebe und Tod (2000)
Abschied (2001)
Fremde Welten (2002)
Weg ins Paradies (2003)
Keine Liebe DVD/Single (2004)
Ein Hauch von Wirklichkeit (2004)
Zeit muss enden (2005)
Chronik „Best of“ (2006)
Requiem (2009)
Königreich der Angst EP
(Streetdate 15.05.2009)

Bandmembers:
Martin Schindler (Music & Lyrics, Production)
Thalia (Vocals)

Genre:
Gothic / Metal / Rock

Tracklist:
01 Königreich der Angst
02 Dogma
03 Blaue Grenze
04 Wo die Einsamkeit beginnt
05 Sanfter Tod
06 Winter
07 Winter (Nachspiel)
08 Das Lied von der Elbe
09 Untergang (remixed)
10 Bei mir (remixed by Black Heaven)

Releasedate:
May 15th, 2009

Year of foundation:
1997

Order Mantus:

http://www.poponaut.de/

Mantus @ www:

http://www.mantus.de/

Mantus @ Myspace:

http://www.myspace.com/mantus69

Label:

http://www.trisol.de/

2009 eXcubitors are back.

The all observing eye opens up once again. The eXcubitors are back, ready to deliver their brand new album to you. Get ready for the ultimate kick, cause this album is one of the best music pieces so far created by the band and of course it does not miss out on these fascinating synth sounds you know so well. It provides shaking beats as well as very direct and honest lyrics. The album´s name “Operation Observation” (Lukotyk/Prussia/Rough Trade) actually already says it all. It might sound different, but it is still the unique eXcubitor style fans appreciate so much, just like you know it from the previous eXcubitor album with the title “Auferstehung aus Ruinen”.

The brand new album “Operation Observation” has 14 tracks on it including the club hit “Fehler im System”, which was for many weeks among the top ten of the GEWC charts. Anne Goldacker (Obsc(y)re, Wintry) is once again part of the new album, she lend her beautiful singing voice for the title “Observation”. The band “Lost Area” gives the final touch with their rocking “Isolated” remix. The album“ Operation Observation” comes to you in a high-quality package and booklet as well as an exclusive access code to reveal an unpublished eXcubitor song! Don´t miss out on this! Get your copy now!

The first 20 online orders at http://www.excubitors.de/shop/ will receive a little giveaway – a limited „Operation Observation“ mousepad.

The eXcubitors rose above themselves with „Operation Observation”.

Discography:
- Auferstehung aus Ruinen (07.12.2007, Lykotyk Rcords)
- Operation Observation (08.05.2009, Lykotyk Records)

Bandmembers:
Sascha (production, keyboards, vocals, lyrics, management)
Stephan (vocals, keyboards, lyrics)
Thomas (keyboards, vocals)

Genre:
Electro/Synth-Pop

Tracklist:
01 Intro (eyes open)
02 Lost my mind
03 Isolated
04 Steh auf
05 Fehler im System
06 The last day
07 Observation
08 Vergeltung
09 Self-Adulation
10 Im Visier
11 Different
12 Alleine
13 Outro (closing eyes)
14 Isolated (Lost Area RMX)

Foundation:
2006

Release-Date:
May 8th, 2009

Order:

http://www.excubitors.de/shop/

eXcubitors @ www:

http://www.excubitors.de

eXcubitors @ Myspace:

http://www.myspace.com/excubitors

Label:

www.lukotyk.com