Loud, threatening, danceable, passionate and brutish. Because for the title of their new album, Peter Spilles (PROJECT PITCHFORK) and Jinxy have chosen nothing less than the name of a finishing Wrestling move. And hardly any description could be more fitting for the dark, apocalyptic, aggressive yet at the same time seductive music which presents itself on the disc.
Stomping beats, driving sequencers, apocalyptic sounds and aggressive but seductive vocals all blend into a veritable inferno of condensed strength.

Whoever thought that SANTA HATES YOU were a cute tuppenny playground soft toy combatant, albeit a little weirder, will finally be taught a lesson. Hammering electro explodes undiluted from the speakers, club stompers follow each other one after the other, just like the quick strike and move sequence of a wrestling match. Just as colourful, just as iridescent, just as unrestrained…

Let the dancefloor of your club become the ring. Get set for the match. Because only the really tough will be able to withstand this sweat-inducing, loud and merciless duel. Are you ready?

Peter Spilles and Jinxy clobber you blow after blow around the ears with one hammering slab of electro after the other, and at the end, someone will remain lying on the mat. This much is certain: it won’t be SANTA HATES YOU!

Let’s get ready to rumble!

Bandmembers:
PS
Jinxy

Release-Date:
February 19th, 2010

Genre:
Industrial / Gothic / Electro

Year of foundation:
2007

Tracklisting:
01. Fuck That I’m Human!
02. Hexenpolizei
03. God Is Hiding Under My Bed
04. Rocket Heart
05. Slime Green Spaceship
06. You Make Me Wanna Bang My Head Against The Wall And Not In A Good Way
07. Your Soul’s Funeral
08. Z.O.M.B.I.E.
09. Sexuelle Unordnung
10. La Malìa
11. The Bonus 2.0
12. Bootcamp

Discography:
YOU’RE ON THE NAUGHTY LIST (CD 2007)
Rocket Heart (EP 2009)

Order:

www.poponaut.de

SANTA HATES YOU @ MySpace:

http://www.myspace.com/santahatesyou

SANTA HATES YOU @ www:

http://www.santahatesyou.com

Label:

www.trisol.de

INERTIA are set to release a brand new album on 22nd February 2010 on Cryonica Music.
The album is called “KLONED” and is a special project in which the band cover some of their favourite songs over the years.

The album features songs which have been reworked by Inertia in their own unique style, some were done for musical reasons and some purely for fun!
The album includes covers which were inspirational to the band and other songs which are guilty pleasures!

The bands which have been covered are T-Rex, The Beatles, Falco, Nick Cave, Duran Duran, The Sparks, Concrete Blonde, Jesus Christ Superstar, Elvis Presley, Selena & David Byrne and Depeche Mode.

“Inertia are the best and most aggressive band in London” – Gary Numan

Style:
Industrial / Electro / EBM

Trackliste:
1. Children of the Revolution
2. Monarchy Now
3. Late Bar
4. Something
5. Cool Places
6. Flexible
7. Heaven on their minds
8. Bloodletting (The Vampire Song)
9. Where the Wild Roses Grow
10. Mystery Train
11. God’s Child (Baila Conmigo)

Release-Date:
12 February 2010

Order:		http://www.cryonica.com/cryonica/store.htm
INERTIA @ www:		http://www.inertia.gs
INERTIA @ Myspace:		http://www.myspace.com/inertia001
Labelwebsite:		http://www.cryonica.co

Sabato 27 Febbraio ore 18.00 inaugurazione/ ingresso libero

LOST IN CAOS   (ITA, Esposizione Collettiva con Sam Torpedo, El’ena, C’hiara)

fino a venerdi’ 12 marzo

“Mi piace perdermi nei miei disegni, stare ore intarppolato nei miei pensieri.
Trasporto le emozioni che provo nella realtà quotidiana sulla carta, mischiandole con idee, pensieri, cose… fino a soffrire quello che sto disegnando. Un vero caos di emozioni.”

In autumn 2003 the first album ‘Future Prophecies” had been published and entered the DAC Top Ten straight away.
After the impressive debut “Future Prophecies“ the second longplayer was released in October 2007. “Loudspeaker” was first successfully introduced to the masses on the European tour with Painbastard and [: SITD:], followed by world-wide shows including USA, Russia, Australia and at various festivals. With “Loudspeaker”, the band have been placed again into the DAC (German Alternative Charts) for the longest possible period of 8 weeks (Peak position 3).

2010.
The activities on her latest work, “Silent World EP“, which will include guest vocals by Sven Friedrich (Zeraphine) and remixes of [: SITD:] and Assemblage 23, have been completed. The new material was introduced live the first time at the Christmas Ball Festival (with Front 242, Suicide Commando, Covenant and Welle:Erdball) with great success.

“Silent World EP” will be released at February 19th on Scanner distributed by Soulfood.

Discography:
Silent World (EP, 2010)
Loudspeaker (Album, 2007)
Future Prophecies (Album, 2004)

Bandmembers:
Daniel Myer (vocals, production, programming)
Sebastian Ullmann (production, live-keyboard, programming)

Genre:
Industrial / Electro / Alternative



Tracklisting (PromoEdition):
01. I Walk slow
02. Silent World
03. Leaving Ground
04. Lucretia My Reflection
05. Leaving Ground (a23 Rmx)
06. Silent World ([:SITD:] Rmx)

Release-Date:
February 19th, 2010

Year of foundation:
2003

Order:

www.poponaut.de

DESTROID @ www:

www.destroid.com

DESTROID @ Myspace:

www.myspace.com/destroidmusic

Label:

www.darkdimensions.de

Componenti del gruppo Silvia : voice, synth – Marco : guitar, bass – Luca : bass, synth. – Daniele : guitar – Riccardo : drums

Influenze The Cure, Sonic Youth, Joy Division, Cocteau Twins, Velvet Underground, Cranes, Julee Cruise, My Bloody Valentine, Jesus & Mary Chain, Mazzy Star, etc….

+ special guest RAINY DAYS influenze : Porcupine Three

Evento organizzato dall’Associazione di Promozione Sociale Life Music.

Accesso GRATUITO con Life Music Card (A.I.C.S.) valida per l’anno 2010.

Costo tessera nuovi associati € 12,00.

Inizio serata ore 22:00

LIFE MUSIC CLUB
Fontanafredda (PN) Via Giacomo Puccini 141

Ulver, the rest is silence…così si legge appena entrati nel teatro.
Gli Ulver sono un caso musicale, dalla partenza feroce al rallentamento successivo, dall’acustica all’elettronica, abbattendo spesso i confini della musica stessa e creando gruppi di ascoltatori provenienti da aree musicali molto diverse (e che spesso non vanno d’accordo…)
Il concerto di Berlino si tiene in un teatro, dunque le aspettative vanno oltre il semplice concerto rock e sinceramente il motivo della trasferta è proprio l’idea che succederà qualcosa di speciale.
Un maxi schermo ed un palco con delle luci a torretta creano subito un’atmosfera tra il tetro e l’irreale. Il concerto comincia alle 20.15 – e finirà Alle 21.30 – per la prima volta penso alla capitale come una città amica e vicina anche alla gente che lavora.
Subito musica ed immagini vanno di pari passo, diventando sempre più intense e andando realmente al ritmo della musica. Sono in paio di passi c’è un po’ di imbarazzo dato che alcuni filmati sono stati (volutamente o meno) censurati…passi d’immagini della seconda guerra mondiale. Ebbene … anche a Berlino esiste la censura..la città delle performance estreme e cruente quanto inutili e borghesi, le immagini del passato (nel 2010) creano ancora problemi.
I pezzi sono presi dei diversi lavori ma soprattutto da “Shadows of the sun”, disco capolavoro del 2007 che li ha consacrati anche al grande pubblico (un disco che ha venduto e sta vendendo molto…). Due cose però mi hanno lasciato un po’ perplesso… alcuni parti “trip hop” veramente infelici e la voce del cantante che, essendo sempre uguale, ogni tanto stufa.
A parte ciò, concerto di apertura del 2010 ottimo e di altissimo livello, un band dalle ottime qualità e uno dei più bei live degli ultimi anni.

With his brand new EP “Mädchen in Uniform” General Thomas Rainer dedicates a long overdue monument to the uniformed ladies of this world. And while the musical side harshly breaks rank with the back catalogue, the visual and conceptual side retain their dominant militaristic approach.

After global thrusts on the concert front and the destroying storm of decadence and obsession aptly named “Alle Lust will Ewigkeit” which laid the world to waste and successfully defended the peak of the DAC (German Alternative Charts) for several weeks in a row, Supreme Commander Rainer puts a sonic middle finger to all those accusing the Austrian Imperial Industrial commando of monotony. Not only is “Mädchen in Uniform” far from the usual album extraction – the three all new tracks moreover offer a musical experience that certainly was not expected from this project.
A passionate salute to military clothing, the title track surprises as an old fashioned, straight EBM attack in the vein of DAF or SPETSNAZ, equipped with intense vocals and blazing lyrics that once more speak out loud something we all secretly think: Girls in uniforms are devilishly sexy!

And this is only the beginning: Enigmatic and influenced by Latin American sounds, NACHTMAHR evoke the malicious fable creature El Chupacabra in the stomping industrial track of the same name. But the EP’s second big trump is doubtlessly a very special cover version that will drop your chins: With imperialistic vigour and fierce vocals the high society farce “Titanic” by the infamous Austrian Superstar FALCO is being claimed for the empire, its decadent core fitting perfectly in the NACHTMAHR universe.

Eight adaptations, among them a congenial FADERHEAD interpretation of the marching title track and remixes by FEINDFLUG, MODULATE and others of the DAC number 1, “Tanzdiktator” and “Mörder”, complete the musical side of this brimful 13-track-EP whose visual side explores new areas of military seduction. Unmistakably committed to the obsessive, sexualized style of the last release, the artwork and extra booklet of “Mädchen in Uniform” are a provocative homage to the much disputed and scandalizing Italian movie “The Night Porter”.

But now, dear girls, put on your uniforms:
General Rainer asks for the next dance.

Order:

www.infrarot.de

Nachtmahr @ Myspace:

http://www.myspace.com/nachtmahrprojekt

Label:

www.trisol.de

Hello guys, thanks for giving us the chance to answer our questions about Nitzer Ebb.
You have been around since 1982. When you founded the band, what dreams or ideas did you have you wanted to pursue?

Bon Harris: Initially we formed the band for our own entertainment. We lived in a small town with not much going on. We wanted to create our own excitement. We didn’t want to do the same old thing, musically, visually or stylistically. So we developed the sound and presentation as we went.

Surely DAF and DIE KRUPPS are two bands with influence on you. What did inspire you back then and also today to write lyrics and compose songs?

Bon Harris: Yes, DAF were obviously a big influence. It was a very inspirational time to start making music. Synthesizers were starting to become more available, and it seemed there were a lot of possibilities making electronic music. It also was exciting to have a punk rock kind of band, using what was then new and unusual instruments. I still like that idea, of taking a conventional form, like Rock and Roll, and subverting it a little. The inspiration to continue comes from a deep and ongoing love of music.

The big breakthrough came with the support for Depeche Mode on their „Music for the Masses Tour“ in 1987/88. Looking back to it from today, how do you feel about it?

Bon Harris: Looking back, that was obviously a turning point. I don’t think we ever really considered ourselves in that kind of large, mainstream environment before then. We adapted to it quite quickly, and found that we were actually quite well suited to it. It changed us as performers, we learned more about putting on a show, entertaining a large, and sometimes indifferent or even hostile crowd. We learned to be more professional. We did a lot of growing up there.

The 1991’s record „Ebbhead“ is claimed to be one of the crucial albums of the industrial/EBM-movement of the 90s. What do you think made it so important and special?

Bon Harris: Like all of our albums, I think it was the combination of elements that we were looking to combine. There was a lot of Rock influence on that album, but it was filtered through our minimal, electronic approach. I think we were also starting to stretch the boundaries of what was expected from our “scene” or genre, at the time. Perhaps it’s too simple to say that we were “crossing over” into more mainstream, but it felt something like that. More accessible to more people.

In 1995, Nitzer Ebb released „Big Hit“ and shortly thereafter you split. Is there any connection between the two events?

Bon Harris: Yes and No. “Big Hit”was a product of that time, and, looking back, we were winding down as a band anyway.  We were making that album when things were coming to an end, or a break. We didn’t know that when we started, but it was clear by the end of that record. Time to do something different. We are all still very proud of that record. It’s our most misunderstood work.

What have you all be doing in the inbetween time after „Big Hit“ until the reunion as Nitzer Ebb?

Bon Harris: I lived in Chicago for a while, and got into producing music, starting with a band called 13mg. Then I moved to LA, carried on production with Billy Corgan, Marilyn Manson, Linda Strawberry and did synths and programming for a whole host of artists. Along the way I went back to school and learned to compose and arrange for orchestra, and did some scoring for film and TV. I also started another musical project called MAVEN – we wrote and produced an album that I was very happy with. recently Jason and I collaborated on a project that may turn into a larger theatrical production, so we’ll be writing music for that.

What was the ultimate trigger to get together again to start working on the Nitzer Ebb adventure??

Bon Harris: Probably Terence Fixmer. He contacted Doug to work with him, which eventually led to Doug contacting me about NE, and NE getting back onstage.

Finally, after 15 years of waiting, the new album „Industrial Complex“ will be released in a few days. What do you think is different and similar to those releases of the 90s and 80s? How did you develop?

Bon Harris: I think we mainly became more comfortable with life and our place in it. We have a greater awareness of what NE does well, and what it’s not so good at. So we just focused on the basic strengths and worked with them. Experience is also a great help. Problem solving becomes fun when you have knowledge to apply to it. Teenage angst was fun as well, but it can be time consuming and tiring.

Who made the first step ahead towards a new album?

Bon Harris: Mutual decision basically. After the reunion shows went so well, it was an obvious next step really.

What does the name „Industrial Complex“ stand for? Do you like to name it a conceptional album?

Bon Harris: We were initially working at the peak of the Bush administration. The post world war 2 concept of the Military Industrial Complex was horribly alive and evident. All that had been warned of, and more had come to pass. That was bound to influence our thinking. That was the serious part. On the lighthearted side, it seemed that no matter how much we tried to experiment, and push boundaries, our work was always labeled the same thing. EBM in EU, Industrial in the US. So we had a little laugh at ourselves really.

Did you change the approach to songwriting over the years?

Bon Harris: Yes. Obviously going to school and learning more about composing, combined with 25 years practical experience, that will have an effect on the writing. You have more options, and more ability to express yourself. You have more space to play with things a little.

There has been major advances in technologie since „Big Hit“. Did you use all the new opportunities or did you prefer to work with the old equipment in order to maintain the „authentic“ Nitzer Ebb sound?

Bon Harris: We used a hybrid approach. New technology is great for post production – developing, editing, refining and so on. I think the older tech is better for writing, for the initial creation. Keep things simple, honest and emotional in the beginning, then you can use all the tech toys to polish an already good idea. Hands on, physical instruments are still best for that initial idea, be it a synth with lots of knobs, a piano, acoustic guitar, voice, whatever

Let us go into the details of some songs. Please, let us know some of your thoughts and ideas to the following songs:
„Once You Say“:

Bon Harris: One of the first ideas to come. We took a basic approach to just playing together, and OYS was a sign that it was going to work well.

„Never Known“:

Bon Harris: This track really puts a lot of good basic elements together. Simple, driving bassline, great emotional performance from Doug, and arse kicking drum performance and arrangement from Mr Jason Payne.

„Payroll“:

Bon Harris: From the same crop as OYS. Sort of a “Jam session” – even though I dislike that term – subconcious, spontaneous, and another cracker lyrically and performance wise from Doug. The track came together quite quickly, quite naturally.

„I Don’t Know You“:

Bon Harris: A little bit of a departure in some ways. Mainly in the song structure. Perhaps a bit like an indie rock track, with more traditional NE instrumentation.

„I’m Undone“:

Bon Harris: Came from a really basic idea on the piano. I like to play piano first thing in the morning, before I talk to anyone, I make a cup of tea and play for an hour or two. That idea came one morning. I would develop it during tea breaks in the studio, and Doug would listen whilst making the tea. We put the ideas together – and there it was. Very Tea influenced. We were able to get a bit more sophisticated on the production and arrangement – it seemed to fit the style of the song. I’m not surprised that Alan Wilder chose it to remix.

„Kiss Kiss Bang Bang”:

Bon Harris: We’d reached a point on the album where we had covered quite a lot of what we set out to do. We had a bit of freedom to just mess around a bit. The song came from a quite basic approach. The trusty MPC sampler/sequencer linked to an Elektron Monomachine. The track, musically was definitely influenced by the means of production.

You still work together closely with Depeche Mode (the producer Flood, Guest vocals by Martin Gore, tour support). What is the  nature of the connection between them and you?

Bon Harris: Mute was the basic connection initially. We are also from the same area of England. As we toured with them, and worked together we found we share a lot in common and get along very well. We formed a good understanding, and a good friendship that has lasted over time.

What music to you listen to at home in your free time?

Bon Harris: Lots of orchestral music. Debussy, Bartok, Stravinsky. Big band – Ellington is the king of that obviously. Also lots of my own music as I’m always writing and practicing.

What are the last three albums you have purchased?

Bon Harris: Elgar – Enigma Variations (I bought the score as well), Bernard Herrmann – “Vertigo” soundtrack – a classisc. James Brown – greatest hits (had it on CD, lost it or broke it, so I re-bought it).

Jason Payne: Kid A, Helmet (the red one), Wu Tang Clan (the flag one).

You will be on tour with Depeche Mode and as Headlining shows as well. This will take you across Europe for the next three months. How dod you keep yourselves fit and recreate. I guess this must me very exhausting in a physical but also in psychological regards?

Bon Harris: Pre tour is lots of exercise and diet. Running, walking, not too much fatty food, not too much alcohol, and tragically, not much bread. It takes discipline sometimes. On the road, you do what you can. It’s not easy, there’s a party atmosphere, good food on the days off etc. Mentally, just try to find space when you need it. I take an instrument with, usually a travel guitar because it’s immediate and portable. Read a lot, write a lot, try to take in as much local experience as you can, all the while conserving energy for the show.

What are you up to after you have finished the last gig?

Bon Harris: See my family in England. Send time with my Lady. Write some music, go for walks, eat bread. Lots of bread.

Many thanks for the answers and your time. We wish you much fun and success on the tour! Do you have any last word to the fans out there?

Bon Harris: Just to say thanks for all the incredible support. The headliner shows in the US and EU have been amazing. We’re very lucky tohave such patient and dedicated fans. Obviously we could not do it without you.
Cheers!

NITZER EBB @ www:

www.nitzer-ebb.com

NITZER EBB @ Myspace:

www.myspace.com/nitzerebbmusic

by PromoFabrik(www.promofabrik.com) – January 2010

Circolo Arci Cas*Aupa Via Val D’Aupa 2 Udine
Sabato 13 febbraio ore 22

I Sin Ropas (in spagnolo “senza vestiti”) sono un duo di Chicago, Tim Hurley (chitarre, voce, effetti) e Danni Iosello (batteria, harmonium, keyboard). Coppia nella vita e sul palco, Tim & Danni danno vita ai Sin Ropas sul finire degli anni ‘90 in seguito allo scioglimento dei Red Red Meat (seminale band di rock acido e visionario titolare di piccoli grandi capolavori per la Sub Pop) di cui Tim era bassista.
Proprio al post-folk-rock dei Red Red Meat e dei Califone (altra loro filiazione) così come alle ballate elettriche di Neil Young vanno ricondotte le sonorità dei Sin Ropas: canzoni magnetiche, sospese tra silenzi minacciosi e impennate chitarristiche, sorrette da una voce sofferta e intensa, da colpi di batteria secchi ed essenziali, e arricchite da discrete dosi di elettronica povera.
I Sin Ropas hanno all’attivo tre dischi, veri e propri gioielli dell’underground americano: l’esordio Three Cherries (2000, Perishable, l’etichetta degli stessi Califone) fu tra i dischi dell’anno di molte riviste di settore, il successivo Trickboxes On The Pony Line (2003, Sad Robot Records) registrò l’entusiastico apprezzamento della mitica rivista Rolling Stone. Nel 2005 esce Fire Prizes (Konkurrent).
Ora il duo ritorna in Europa per presentare il nuovo album Holy Broken, che esce per la Madcap Collective Records dei Father Murphy in collaborazione con l’americana Shrug Records (di Duluth).
Il nuovo disco è forse il loro album più evocativo e lucido negli intenti. Le canzoni continuano la tradizione a cui la band americana ci ha abituato: melodie pop quasi perfette, gloriose quanto malate chitarre, piani e harmonium, batterie che sembrano scivolare sempre più in un mantra aritmico, e suoni che creano atmosfere graffianti quanto evocative.
Ma dove generalmente i Sin Ropas rimangono sospesi tra ambientazioni buie e oscure, con questo disco è possibile intravedere una luce farsi spazio, non troppo lentamente, anzi, quasi con decisione, per illuminare quanto di bello e contemporaneamente terribile può esserci nella loro musica.
www.sinropas.com
www.myspace.com/sinropas3 ]]> http://lit.nivis-regnum.com/2010/02/09/13-02-2010-sin-ropas-casaupa-udine/feed/ 0 http://lit.nivis-regnum.com/2010/02/03/06-13-02-2010-seawinter-mostra-fotografica-kobo-shop-ud/ http://lit.nivis-regnum.com/2010/02/03/06-13-02-2010-seawinter-mostra-fotografica-kobo-shop-ud/#comments Wed, 03 Feb 2010 21:34:05 +0000 Kobo Shop http://lit.nivis-regnum.com/?p=2338

Il mare visto sotto un insolito punto di vista, quello della stagione invernale, esaltato dagli scatti a colori di Saccomanno Simone e dal bianco/nero delle fotografie di Allegri Silvia.
Un soggetto, due visioni, infinite interpretazioni e possibilità di lettura ai vostri occhi.

Inaugurazione Sabato 6 febbraio presso KOBO SHOP, Via Palladio 7 – Udine (zona università). La mostra rimarrà aperta dal 6 al 19 febbraio con il seguente orario:
dal Martedì al Sabato, 9.30 – 13.30/ 16.00 – 19.30

INGRESSO LIBERO

Vi aspettiamo numerosi!