Leo and Lucy talked to mastermind César of the Spanish oldschool EBM band Mekanik Disorder. The following interview gives an insight into the extraordinary release and the story of the band.

Hallo César, many thanks to have the opportunity to ask you some questions. Maybe you can describe the project Mekanik Disorder shortly?

César: Hallo, well I could describe Mekanik Disorder as a plattform where to show some things that lay deep inside myself, which go outside with a sound acording to my strongest music influences. This is a very own personal project of Electronic Body Music (without forgetting the synthpop touch or even post-punk spirit, genres I love as well as EBM), but it all in the oldschool way.

How did you discover your passion of creating music and why did you decide to release it now?

César: After years of listening to music and keeping devotion for some bands, I decided that I had something to say. Suddenly one day I realised that I was spending even more time on creating music than listening to it, that was the point. Until now, when Caustic Records has given me the chance to release an album, something that was just a dream for me not much time ago.

Internia, a bandname that is mentioned in your biography. What can you disclose about that project.

César: Internia was basically an electronic solo-project where, from the middle 90`s, my brother José Carlos decided to explain himself musically. More or less the same point I was going to pass through a few years after. No one could guess how was going to sound the next track: Experimental, Techno Pop… the stuff of Internia was unpredictable and that made it brilliant. Definetely he did open the doors for me to, first listening, and then dare to create, this kinds of music. And if I started being fan of styles from Synthpop to Industrial it was thanks to him.

How did your brother and you get together to write music?

César: He had composed some very nice instrumental tracks and then he had the chance of doing a gig in one of the best venues in Granada, „Planta Baja“. On stage he prefered to be something closer to Vince Clarke than a frontman, you know, so he asked me to be the singer and for me that was fantastic. I gave him a little hand in writting some letters, and thanks to the covers we did the setlist was very atractive.

With Internia you did cover songs that you personally like where a lot. Can you name three songs that come to your mind spontanuously?

César: Of course: „Running“ (Information Society), „Photographic“ (Depeche Mode) and „Felines“ (Front 242). Undoubtely I´m talking about some of the songs of my life.

Did you ever get feedback from the bands who had written the original?

César: At that time we didn´t try to get it. It still wasn´t the total internet age, today it would have been easier because I could get that feedback when doing my first cover with Mekanik Disorder, „Melting Away“ from Absolute Body Control. Thanks to myspace I contacted Dirk Ivens and he did like it so much (there´s a curious story about this).

What happened to Internia when you founded „Mekanik Disorder“?

César: Work and family were little by little letting less time for my brother to carry on making music and attending a band. Surely i´m talking about something usual. That was just the moment when I decided to start my own project (from Internia I especially was missing to go on stage). Anyway, of course he still loves the bands of his life and he supports Mekanik Disorder in every way he can.

You write lyrics in four languages: English, German, Spanish and Dutch. Do you speak all those languages fluently?

César: Well, at first I can say i´m able to write and sing in those four languages. Apart from Spanish, my mother tongue, I´ve got a fluently English. I have German studies from years ago, but I couldn´t have continuity and I still have got much left to learn; anyway, I have interiorized the gramatic and reached a correct pronuntiation. Dutch was the last one on calling my attention, and I started aproacching it thanks to my German knowledges.

What did cause the idea to write in multiple languages?

César: Basically the importance I give to the lyrics and, of course, my passion for languages, especially germanic ones: I think they are the most suitable languages for electronics as I understand it. By the way, for me is like a new challenge everytime I try to express feelings in German, and I really enjoy when at last I achieve to build something.

Now, the debut album „Cold & Strong“ will be released. What do you want to express with the album as a unity?

César: I´ll bring you here a short answer from the past. One day, in the times of Internia, they asked me what electronics means to me. I just said: „the coldest way to express the strongest feelings“. Without being a conceptual album, the title reflects more or less what you are going to find inside, what EBM means to me, and it speaks about my personal way of performing it.

Are there any criteria for you to decide what language you use for a particular song? How does inspiration for the lyrics come to you?

César: I use to compose the music and then writte the lyrics. The first idea use to come to me from thoughts, feelings, passions, things i have lived or even dreamed, it all closely linked to my personality. And yes, that idea can even determinate the language I´m going to use, you know: thinking on the voice as another instrument, the language can work out as its first effect, by the way if I want to sound as cold as possible. Then the chorus and the delays make the rest.

„Stigmatized“ – obviously an Old School EBM track and absolutely catchy. What can you tell us about it?

César: I choosed Stigmatized to open the album because I wanted a visceral beggining, without intros or whatever. Something able to show directly what is Mekanik Disorder about, from the first instant, and this was the track. Listening to Stigmatized you can identify much of the elements that define the music style in wich moves Mekanik Disorder. And it seems like the synth melody at the end was a still place to go for the tormented soul the lyric talks about…

„Das Letzte Mal“ and „Ich Kontrolliere“ remind me a lot of DAF. Has this been intentional?

César: Honestly, this has been more intentional with „Ich Kontrolliere“. Since I started composing it I considered this track as a tribute to the DAF sound and attitude, and the result was that. In the case of „Das Letzte Mal“ it all came more unconsciously, maybe because this was my first composition in German and I took out all the DAF spirit that lays inside of me, i supose.

„Hate At First Sight“ – is a nice playing with words. What is the story behind it?

César: I like this play with opposite concepts that may are the two faces of the same thing. Behind this there´s a story of a relationship where the passion of love was grewing so quickly and it turns suddenly to something absolutely immposible to handle. That paradise we seemed to be living in was not real at all, so where did love end and where did hate beggin? Or are we talking about the same? It´s just a reflection, but this is the stuff my songs are made of.

What do you reckon to be „Pieces of Mine“?

César: This is probably my most personal song. Imagine yourself walking alone in your city, after having some beers, late at night: every street reminds you something you have been living there. And there´s anything from you, from the pieces you´ve fallen to, in every corner where you were anytime laughing, crying, kissing or, of course, drinking. So this is myself taking a round in Granada.

My Spanish is not very good…well, what is „Orgullo Minero“ all about?

César: Maybe´s the only track in this album with a strong social inspiration. This song is dedicated to Almadén, a little town in Spain I were living in for a few months, known by its mine of mercury. This place reached prosperity in the past, but now the mine is closed. When visiting the mine they told me stories from the convicted that were forced to work, and how they where taken from the prison to the mine along a corridors under the ground, without seeing the light of the day in years.

And my Dutch is not better that Spanish. So what can you tell us about the message in „Ik Ben God Niet“.

César: The answer is in my passion for cycling. About two years ago I read in the newspapper that the cyclist Frank Vandenbroucke (one of my idols, dead last october) had written his autobiography titled „Ik ben God niet“, sentence I translated instantanously (I am not God) and, believe me, that made me starting pay attention on Dutch language. I have taken this title for dedicating a track, not only to VDB, but to another belgian heroes like Johan Museeuw and to all of who have made this sport great. I´ve tried to inspired myself especially on what cycling means to the flemish people, when filling the roads with their Lion Flags. I really admire them.

You are supported by Fran Rubiño and Gilberto Gámez when it comes to live performances. What can you tell us about your gigs?

César: Since I started this project I was sure that I wanted to show it on stage. Then I needed someone to give me a hand. Fran and Gilberto, both them friends of mine, are very nice bandmates and they really enjoy being part of Mekanik Disorder at the keys, software and synths on stage while I am basically playing the rol of frontman and taking out all I have got inside. We give to our live performances a very special meaning, from the most agressive to the most solemn moments, allways trying to get the deepest connection to the crowd.

Where have you been and where can we look forward to see you soon?

César: Apart from Granada, our city, we have been moving around the South Spain area: Sevilla, Almería.. After passing these last months with all my efforts on working hard to the album I have no new dates for gigs at the moment. Anyway, the surest thing is that we are going to present the album in Granada to all our people and then, my main target is of course to have the chance of touring some places beyond Spain and showing how this projects sounds live in Germany, Belgian, Eastern Europe… and all the places where the music I make still have a considerable support. I wish i could confirm to you a few dates over there!

In your pressinfo, some other band names are mentioned. Maybe you can tell me your first spontanuous thought, feeling or image you associate with them:

Front 242: The Atomium, Brussels.

Calva Y Nada: Someone dressed like a monk, carrying a cross.

à;GRUMH: Jesus jumping across the water.

Nitzer Ebb: Technoclub, Frankfurt – 1989.

DAF: Gaby Delgado, mic in hand, inflamated veins, singing between the crowd.

Absolute Body Control: A farewell. A precious way to say goodbye to anyone or any place.

Depeche Mode: A just – married couple celebrating their honeymoon in a factory.

Information Society: “Running“, the first song i have ever sung on a stage.

Portion Control: Electro-punk. Raise the pulse!!

Force Dimension: One of the most forgotten EBM acts from the old golden age.

The Neon Judgement: Too cold to breathe!

Many thanks for your answers and we wish you much success with „Cold & Strong“. I guess you will have some closing remarks to our readers…

César: Thank you so much, nice to do this interview. Kind regards from Spain!

Mekanik Disorder @ MySpace

http://www.myspace.com/mekanikdisorder

Mekanik Disorder @ www

http://www.mekanikdisorder.com

BEWARE pres. ARIANNA LERUSSI vernissage @ KOBO SHOP

- NEVROROMANTICA -

ARIANNA LERUSSI

http://www.facebook.com/arianna.lerussi
http://www.flickr.com/photos/sassocartaforbice/

Forse siamo nuvole prima che inizi a piovere,
coi nostri spostamenti e
i rapidi ammutolimenti,
i vari sfininimenti.

siamo vinte,
certe volte isteriche convinte,
coi nostri pianti lunghi,
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già intrecciati,
sulle corone e sui cerchietti.

forse siamo nuvole, prima che inizi a piovere
( con quella consistenza, ma più belle):

Con questi versi, Arianna Lerussi apre un breve percorso emozionale tutto al femminile, tra ritratti e autoritratti, scattati tra il 2008 e il 2009.

I volti catturati dall’artista non appartengono mai a delle vere e proprie modelle : talvolta infatti, emergono quasi intimiditi, nascosti dietro fragili maschere di sicurezza sempre lì lì per sgretolarsi. E proprio da qui nasce la loro grande fascinazione: la scelta della giovane di fotografare sé stessa e le persone che le vivono accanto, che fanno concretamente parte della sua vita, veste gli scatti di grande intimità.

La luce è carica, viva, costantemente piena. I colori sono morbidi, pastosi, mai violenti. E in essi le figure femminili sembrano completamente a loro agio, con quei volti romantici che ostentano.

La sensualità è appena accennata eppure sempre presente nelle pose e negli sguardi di queste principessine post-moderne, complici e allo stesso tempo vittime dell’obiettivo fotografico, a impersonare identità in via di definizione, a cercarsi per poi trovarsi sempre.

Bio :

Arianna Lerussi è nata. Quasi subito si è messa a fare arte.

La fotografia è per lei ricerca, corrisponde all’esigenza di riempire gli occhi il più possibile, di cogliere i dettagli, quasi la retina potesse nutrire il bulbo. Arianna guarda il tondo, la carne che si muove, Arianna guarda i pezzi, invece di guardare intero.

Incredibilmente incline al sentire amplificato, riesce a fare sua una quotidianità fatta di gesti teneri, attimi di malinconia appena percettibili, spaccati di una realtà che sa essere spaventosa e seducente allo stesso modo.

Ama le scatole a forma di cuore e tutto ciò che è glitter.

Mobile: +39 328 0065130
e-mail: ariannalerussi@gmail.com

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Hey guys, your new album „Ave Agony“ has been release some days ago. How has been the feedback so far?

Daniel Rodny (Keyb):  We are happy. Theres an endless queue of goth sluts in front of our doors, and everyone wants to lick our ass. What else do you compose music for?


What is the title of the album „Ave Agony“ about?

Samir Hauser (Vox): Its about coming of the age of slow conking out. Thats what we appreciate.

What do you sing about on the songs of the new album?

Daniel Rodny (Keyb):  Theres lot of topics covered on the new album, they mostly originate in our own experiences. For example: „Cop on speed“ track is about „friend“ of ours that was snitching on us to the police, „Hello, conk out“ is a suicide manual for midlife crisis, „Mirrors“ is about that bastard each of us carries inside and try to kick out of the door time to time… simply said, they are real life stories.

Your last album has been released in 1997. What was the reason for the long break?

Daniel Rodny (Keyb):  Our artistic restlessness and unfocused ambition. Each of us pursued different things. I have become cabaret singer, others were locked in asylum.

What impact did the last twelve years have on your, your taste of music and the music you create?

Daniel Rodny (Keyb):  We were influenced mostly with stories of people around us. And certainly also couple of movies and new records. But we have always highly appreciated story – artist without story is useless. We don’t listen to anything which lacks a story.
There are many cooperators on the new records, e.g. Alexander Hacke of Einstürzende Neubauten. What was his input to the new material?

Daniel Rodny (Keyb):  Alex is a man with a story… a brilliant story. Sometimes our stories meet, and this recording was the case. Perhaps we share common view on things.
Miroslav Papez aka Moimir Papalescu (Keyb):  Alex got full multitracks of some songs. He remixed them completely and created his own arrangements. He’s done a lot on effects and also on acoustic drums which he gave his signature sound and massive pressure compared to our original mix.
It’s done the songs good, they are a lot heavier then before, exactly how we wanted them to be. Good work, Alex!

You use your mother language for your lyrics. What is the philosophy behind it? Don’t you fear to limit yourself to your home country because nobody will understand your messages in other countries?

Daniel Rodny (Keyb):  I think our message is strong enough, it’s obvious what’s going on and what we want. What we dont want is to use english just to be another wannabe global band.

What can you tell us about Adolf Lachmann and his work for your cover on „Ave Agony“? I think this is very impressive…

Miroslav Papez aka Moimir Papalescu (Keyb):  Adolf Lachman is a real ace. We’ve tested the cooperation before, on the cover of one of my other projects, Die alten Maschinen. That’s the band where amongst others you can hear Gerald V. Casale of the American legend Devo playing and singing. The result there was excellent, so we asked Adolf for cooperation again for the Vanessa cover. He’s produced a cover which exactly matches the apocaliptic mood of Ave Agony. In this country, where the V-sign is the symbol of the Velvet Revolution, the picture of this dishonoured symbol in the year of its twentieth anniversary caused a lovely stir.

VANESSA is a very general term and name. I think not all the people outside Czech Republic are familiar with your band and name. What can you briefly tell us about the band?

Samir Hauser (Vox):  Vanessa is an fusion reactor – it can change people… It creates high pressure and temperature , where light elements become heavy… Model person is created from transurans, untouchable by environment… Vanessa is not just about music, its about ritual, which can change those who want to change.

You have been around in the business for several years now. What has changed and what are the biggest challenges for you in the next years?

Daniel Rodny (Keyb):  To compose music is as difficult as build Lego house. Each dickhead with notebook thinks he is a world savior. Vanessa will lead you to places you don’t dare even to think about. The difference between us and them is the difference between seeing a cocaine movie with Johnny Depp you see on Saturday night before you go to sleep, and between a weekend on crack and LSD.

In your biography there are words like Porn or Masochism used to describe your music and live performances. What can you tell us about the connection to VANESSA?

Daniel Rodny (Keyb):  I think that porn and masochism is unignorable and natural part of life. As is the air, city trams or cop walkies. We live in the world made up of this, it influences us and creates our stories.

What is so extraordinary about your live performances?

Daniel Rodny (Keyb):  Ted Bundy’s Electric chair and Mukamba’s snuff porn collection samples on the projection wall.

What are you planning for 2010 and the future?

Daniel Rodny (Keyb):   „Ave Agony“, our last album, should have brought people to their knees. We want to play a lot of gigs and finish them off.

Miroslav Papez aka Moimir Papalescu (Keyb):  We’ve started on a new album and we’d like to play live a lot, many gigs in the Czech Republic, but also a lot in Germany. We believe that people in Germany will understand us, because its Germany, where the cradle of electronic music  is.


Thanks for the interview and we wish you much success and all the best for the new year!

VANESSA @ www:

www.vanessa.cz

VANESSA @ Myspace:

www.myspace.com/vanessaebm

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

Hello Philippe, nice that we can steal a bit of your time to get our curiousity satisfied for a while…Ok, let’s jump right in the middle: How did you start in 1999?

Philippe D: I all started back in 1999. I was studying psychology and sociology at the time, in Grenoble. I had been singing for a few bands, none of which had me convinced, musically speaking. I had a lot to tell, lots of feelings. I was just out of  teen age, overwhelmed by a stream of emotions. I was listening to The Cure a lot, Bauhaus, Nine Inch Nails… Then I bought a guitar so that I could write my own songs. We played our first gig in late 1999 in Marseille ( L incassable celluloïd ). We recorded our first demo the next year, with songs like «  Soft machine -Porn machine » , « Recycle » et « Still ». Our sound was pretty much influenced by NIN, and the whole Noisy-Industrial trend ( SPK, Esplandor Geometrico … ), but we wanted to keep The Cure’s “pop” legacy. Francis ZEGUT, who discovered and supported bands like Venom and Metallica in France, spotted Porn and played «  Soft Machine -Porn Machine » for the very first time in 2000, on RTL2. The machine was in motion.

Do you regret some steps you made in the past? Something you would not do the way you did back then?

Philippe D: Absolutely nothing.

How did the scene develop in the past decade in your point of view?

Philippe D: In my opinion, there hasn’t been any development in a positive way, meaning going beyond or reinforcing the basis. The so-called “dark” scene, has been decreasing considerably. Some bands disappeared, others turned to something more clubby in the Electro style, or strass-hard-rock for the Rock style. I regret this, but it’s a lot like our whole society: you have to faster all the time, never do things thoroughly, touching things without embracing them. Being part of the wave, the mold, being cool. Dreaming of American beaches and over made-up blondes. I’m glad that Zeromancer are still there. They are sincere, which makes their artistic reach greater.

How do you preceive the progress of the internet in regards of its effects on PORN?

Philippe D: There are more and more tools available on the Internet for developing bands. That being said, I feel that this is just an illusion. Internet didn’t really evolve, people did. It is the faith that they put in it that grew. Internet, as much as Capitalism, are an incredible dreaming machine. We just feel like making our own way, with or without Internet, without a rush.

Internet opens up the possibilities to piracy a lot. Do you feel betrayed or do you have a more positive attitude towards it? E.g. that people can hear your music even where they cannot physically buy your CD?

Philippe D: I don’t feel betrayed at all. First, a lot of kids can’t afford buying records. Trust me on that: as a kid I couldn’t afford a stamp ! The only way for me to come across a record would be to borrow it from the library, or steal it from the store. Those who betray and steal us, are for instance the Internet Providers, or those who own the streaming websites. They handle millions of Euros, none of which is being shared. Internet users can’t be asked to pay again. We have to tax the companies which make huge profits because of Artists and Internet users. We’ve come to a whole new economic model in which “everything for free” is a norm. But I feel like it’s those who gave birth to this norm and the advertisers who should be redistributing a share of the money that they win. Take Myspace for example: on every Myspace page there’s advertising. The money made out of this advertising should be given to the Artist who created the page, because the Internet user connected to the page to listen to the Artist. No Artists, no Myspace. On the contrary, Myspace has become impossible to avoid, so has Capitalism. Which is all coming down to Marx and Proudhon: The privatization of the production means leads to the exploitation of those who create wealth. In a way, Myspace has been stealing the means of production from us, our tools to develop ourselves as a band. There will always be someone to tell you that you don’t need Myspace, which is true. If we consider the world as a geographical space, Myspace is a big city. I can chose to move there, or to go to the country. But in the country, I’m not going to see a lot of people.

Let’s talk about the bandname. PORN is a very common term that opens up some imagery in mind. What is the connection between porn and your music?

Philippe D: There’s no direct link. At the beginning there was obviously a will to disturb. It’s a powerful word, it is also an homage to The Cure’s Pornography. It is also a way of thinking, to be thorough, a 100%. Not hiding anything, naked. Our music is also a lot alike human sexuality: sometimes smooth, sometimes rough and destructive.

In your shop you even offer condoms and other stuff. Very genious! Who did come up with that idea? Is your music that fertile, that you need to use contraceptives while listening to it?

Philippe D: For the release of the record, we wanted to make a limited series pack, a nice object, to please our fans. We’ve been asking ourselves what could be in that pack. I thought about the condoms because I saw a site selling condoms for night clubs, bars. I thought about it, it kind of imposed itself. I didn’t want to disturb anybody. I didn’t think that offering condoms could be an act of subversion. In every high school, they give them for free.

These days, your newest release „A Decade In Glitter And Danger“ as a best of. Is the title a summary of your past career?

Philippe D: From the beginning, Porn was about playing an attractive yet dangerous music, combining the shiny with the subversion. To create a universe that’s dark and dangerous, but attracting and intriguing too. Looking back at it, those two words ( Glitter and Danger )  have been pretty similar to this first decade of Porn. There were moments of intense joy, great gigs. The story of a bunch of kids coming out of nowhere, hitting the road, playing throughout Europe. A homemade record released in several continents. Then there was the dark side: the destruction, intensive care, detention cells, lawcourts. Chaos.

On the new album, an essence of your best known tracks is released. Did you rework the songs or change anything?

Philippe D: We didn’t change anything.

What criterias did you use to select the fourteen songs for the album?

Philippe D: That of coherence. We also wanted this album to reflect these last ten years.

If I am right, there are some new tracks on the album, too: Title 1 „All That Glitters …“ and Title 14 „… Is No Gold“?

Philippe D: Yes.

Let’s take a closer look onto these tracks mentioned. Did you change something in the approach of writing or composing the songs?

Philippe D: No. These two songs are apart in our discography. They have some kind of “ambient” feel. «  … is no gold » has even a Noisy-Indus feel, not unlike what you can hear from Ant Zen.

What is the most dangerous thing you ever did?

Philippe D: Fighting a Police Officer while in handcuffs.

If you were forced to jump out of an airplane without a parachute, what were the last things you want to think about and remember in the last minute until you hit the ground?

Philippe D: If that happened today, I would think of this quote from Darwin : «  So much beauty for so little purpose ».

Talking about lyrics. The titles sound interesting, sexy and thrilling a the same time. What topics do you reflect in your music?

Philippe D: At the time, the idea of reality already intrigued me. I was thinking a lot about the importance an reality of free will. I read Philip K Dick a lot, Burroughs. You find a lot of that in Soft Machine Porn Machine. I was rebelling against the world’s order. I could feel the weight of the Jungian archetypes. I was trying to resist the machine, I didn’t want to be any part of it. There’s a lot of that «  Don’t be a Lady » ,« recycle » or Borderline. There are also lighter songs like Baby Smack and Toyboy. Those songs are references to experiences, sometimes sexual, or affective.

Let’s talk about the remixes. What can you tell us about the bands that contribute? is there anything funny or confusing that happened in the process of remixing?

Philippe D: French guys of Dexy Corp remixed “The fee”. I’m glad of the result. They created a very loud and metallic version. We toured with them recently. They’re truly great people. The Australian bands Craig Sue and Manek Deboto brought a very rhythmic and powerful version of the song. Soft machine/ Porn Machine has been remixed by LS 201. This band may not exist anymore.

Are there any more remixed that have not been released yet?

Philippe D: No.

Do you make plans for a new album to be released in the future? Can you tell us something about it already?

Philippe D: The album that I’m working on is darker than everything we’ve done so far. It’s just hopeless. Just a will to make do. I’m a more peaceful person now; but when it usually brings calm, it turned me into a more extreme being, absolutely embracing the absurdity of the world. The flame lit out, giving birth to something else. I recently discovered TS Eliot. The reading of  « The hollow men» was a great influence to making the album. Porn’s first concept finally took again a whole lot of sense. Let’s go all the way, or just step aside. Céline said that in order to write a good novel, one has to put their guts on the table. Give everything. I decided to live my life in order to go all the way to the bottom of things. I gave up a lot of things, sacrificed essential elements of life in community. I guess it’s just the price to pay, the only way to touch reality.

Where can we see PORN live this year?

Philippe D: I’m not sure of what the future holds for me. So far, I’m focused on the new album. However, I’m open to propositions. We should be touring again in France this fall. I’d very like to tour in Germany and East Europe again. We’ll see.

Many thanks for ansering our questions.We want to wish you much success for „A Decade In Glitter And Danger“. The last words we leave up to you…

Philippe D: Thanx a lot .
PORN @ www:

http://porntheband.com/

PORN @ Myspace:

http://www.myspace.com/pornband

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

Currently there are 162 artists confirmed:

Alcest (F) – Alien Sex Fiend (GB) – Alight (I) – Ambassador 21 (RUS) – Andrew Liles (GB) – Arcana (S) – Arctic Plateau (I) world premiere – Ashes You Leave (HR) – At The Soundawn (I) – Attrition (GB) – Auto Auto (S) – Autoclav1.1 (GB) – Beloved Enemy (D) – Bettina Köster (D) – Big Boy (USA)

- Biomekkanik (S) – Blind Cave Salamander (I) – Bloody, Dead & Sexy (D) – Bollock Brothers (GB) – Brendan Perry (IRL) – Brigitte Handley & The Dark Shadows (AUS) – Bury Me Deep (D) – Caspian (USA) – Catastrophe Ballet (D) – Cephalgy (D) – Chameleonsvox (GB) – Christ Vs. Warhol mit Eve Ghost (USA) – Chrysalide (F) – Cinderella Effect (D) – Cobra Killer (D) – Colin Potter (GB) – Colony 5 (S) – Conjure One (USA) – Crematory (D) – Death Of A Demon (D) – Decadence (GR) world premiere – Demented Are Go (GB) – Der Fluch (D) – Dexy Corp. (F) – Diamanda Galas (USA) – Diary Of Dreams (D) – Dr. Mark Benecke (D) – Eisheilig (D) – Elegant Machinery (S) – Endanger (D) – Endless (D) reunion – Escape With Romeo (D) – Ext!ze

(D) – Faith & The Muse (USA) – Feeding Fingers (USA) – Fejd (S) – Felsenreich (D) – Fjernlys (D) – Flint Glass (F) – Future Trail (D) – Gene Loves Jezebel (GB) – Geneviéve Pasquier (D) – Genitorturers (USA) – Ghost Brigade (FIN) – Ghoultown (USA) – Gitane Demone (USA) – Hide & Seek (F) -

HTRK (GB) – In Strict Confidence (D) – Indukti (PL) – Irr. App. (Ext.) (USA) – Jabberwock (F) – Jarboe (USA) – Joe Black (GB) – Joy Of Life (GB) – Joy/Disaster (F) – Kiew (D) – Kirlian Camera (I) – Kitty In A Casket (A) – Koffin Kats (USA) – Kommunity FK (USA) – Kryptonix (F) – La Magra (D) -

Lacrimosa (D) – Lealoo (CZ) – Leichtmatrose (D) – Libra (S) – Liquid Divine (D) – Loell Duinn (HR) – Lola Angst (D) – Long Distance Calling (D) – Lord Of The Lost (D) – Luxury Stranger (GB) – Lyronian (D) – Madre Del Vizio (D) – Militia (I) – Modulate (GB) – Mona Mur & EN Esch (D/GB) -

Mono No Aware (D) – Moon Far Away (RUS) – Moonspell (P) – Morlocks (S) – MS Gentur (D) – My Friend Skeleton (D) world premiere – My Insanity (D) – Nahemah (E) – Neon (I) – Novalis Deux (D) – Noyce TM (D) – Nude (D) – Nurse With Wound (GB) – Oberer Totpunkt (D) – Omega

Lithium (HR) – Orange Sector (D) – Orgonautic (D) – Phallus Dei (D) – Poisonblack (FIN) – Punish Yourself (F) – Rabia Sorda (MEX) – Raum41 (D) – Rawkfist (D) – ReActivate (D) – Revolution By Night (GB) – Richard Ruin & Les Demoniaques (D) – Roman Rain (RUS) – Rotersand (D) – S.E.T.I. (GB) – S.I.T.D. (D) – S.P.O.C.K (S) – Samsas Traum (D) – Schallfaktor (D) – Schneewittchen (D) – Seelenzorn (D) – Seventh Harmonic (S/GB) – Sex Gang Children (GB) – Sigillum S (I) – Slave Republic (D) – Sol Invictus (GB) – Solemn Novena (GB) – Suicide Commando (B) – The Brains (CDN) – The Crystelles (USA) – The Deep Eynde (USA) – The Essence (NL) – The Golden Apes (D) – The Grapes Of Wrath (D) – The Klinik (B) – The

Lovecrave (I) – The PCP Principle (GB) – The Pussybats (D) – The Raven (USA) – The Sun And The Moon (GB) – The Violet Tribe (D) – The Vision Bleak (D) – The Wounded (NL) – This Morn’ Omina (B) – Trial (D) – Twinkle (F) – Twisted Nerve (GB) – Valravn (DK) – Vigilante (RCH) – Violet (D) -

Voices Of Masada (GB) – Welle:Erdball (D) – X Marks The Pedwalk (D) exclusive reunion – Zeraphine (D) – Zeromancer (N) – Zwielicht (D) -

(List is not finished and will be completed within the next weeks. Please check our website.)

- Description:

Like every year on Whitsun Gothic people from all over the world come together in Leipzig / Germany to celebrate the Wave-Gotik-

Treffen, this time already for the 19th time from 21st to 24th May. Since many years the Treffen is celebrated as a THE international

gathering of the “dark family”. It is the biggest gathering of its kind worldwide.

All over the city there will be performing about 180 bands, projects and single artists covering the whole wide range of Gothic

music: from Electro-Pop to Goth-Metal, from EBM to Neofolk, from medieval music to Industrial. The concerts and events take place

at about 40 venues spread over whole Leipzig, for instance in the vaults of the Moritzbastei, in the splendid neo-antique cupola hall

of the Volkspalast, in the green round of the openair Parkbühne, as well as in large concert halls. Traditionally, the crazy Gothic

converts are contrasted by including some of the finest classical music in the program as well. This year WGT guests may listen to

bombastic Wagner sounds in an old industrial hall or to the moving tunes of Mozart’s requiem in the impressive crypt of the

Völkerschlachtdenkmal (Europe’s biggest monument). We have even booked Leipzig’s Opera house for a Stravinsky ballet evening,

for Adolphe Adam’s entchanting romantic ballet Giselle and for Verdi’s tragic masterpiece La Traviata.

From its beginning the Wave-Gotik-Treffen has been much more than a music festival: Its guests may switch back to the romantic

atmosphere of ancient times at the medieval market place and a at pagan village, we will have authors reading, unusual theatre

and cinematic performances will take place as well as a big role play. One of Leipzig’s most beautiful cafes with an outstanding

historical interior will be the daily setting of an opulent brunch meal accompanied by live chamber music. At the same place a big

baroque ball will invite for historic ballroom dancing in appropriate costumes. A large hall on agra-fairground (the wide place of

the German agricultural fair) will turn into the biggest Gothic-warehouse of the world for four days.

DJs from all over the world will let you celebrate unforgettable special parties until dawn. There will also be a large fetish party

where entrance is only possible following a strict voluptuous dress code. A stroll through the city centre of Leipzig is especially

worthwhile for art lovers: The entrance to the huge art museum (Bildermuseum) is free for WGT-guests. A wide range of important

artworks of all époques can be viewed there as well as a temporary exhibition of works by Neo Rauch, a world-famous painter from

Leipzig.

A cheap and entertaining accommodation is the huge Treffen camping ground. To enter, one needs a special ticket (called

Obsorgekarte) which includes also the extensive WGT-program-book. The public transport in the city is free for all WGT-guests

from Friday morning until Tuesday noon.

The inhabitants of Leipzig are familiar with the Treffen since 18 years – there are no prejudices and the gothic guests are very

welcome here. The most fascinating thing during the Wave-Gotik-Treffen is the unique atmosphere that covers the whole city.

Gothics from all over the world are celebrating their gathering peacefully and with enthusiasm, turning Leipzig into a diverse

black. Once a year about twenty thousand Gothics are coming home: to the Wave-Gotik-Treffen.

We would be happy to welcome you in Leipzig too. Visit the Treffen – your dark friends from all over the world are already there!

See you! The Treffen-Team

If you subscribe to our newsletter at http://www.wave-gotik-treffen.de/english/ you will always get informed quickly about the

latest WGT-news.

- Town:

Leipzig, eastern Germany (at about 40 venues, spread all over the city), camping site and main venue at the edge of town at the

„agra-fairground“ Markkleeberg; for information on the city you may check http://en.wikipedia.org/wiki/Leipzig.

- Homepage:

http://www.wave-gotik-treffen.de/english/

- Music styles:

All kinds of dark music: Gothic; EBM; Industrial; Ambient; Neofolk; Synthpop, Goth-Metal etc.

- Advance ticket sale:

4-days ticket for all events within the 19th Wave-Gotik-Treffen Whitsun 2010, 66,- Euro in advance ticket sale (including advance

sale charges).

Treffen ticket includes free use of public transportation (tram, city-busses, regional trains, surburban trains) within the zone 110 of

MDV (”Mitteldeutscher Verkehrs Verbund”) from 2010-05-21 08.00h to 2010-05-25 12.00h (without special routes). There will be

additional nightlines especially for WGT visitors on line 11 (Treffen line).

- Camping:

Possible with „Obsorge“ ticket, limited up to 9999 tickets for 25,- Euro (includes advance sale charges), contains the following

service-package:

· Camping at the Treffen-Campground (agra-fairground)

· “Pfingstbote” (”Whitsun-herald”) – the extensive Treffen program book

· Small surprise

Please note: Entrance to and use of the campground is impossible without an “Obsorge” ticket. The “Obsorge” ticket is only valid

in connection with the Treffen-Event-Ticket.

- Parking:

For car parking at the main venue of the Treffen-area you have to purchase a Parking Vignette for 15,- Euro (includes advance sale

charges). Please note: Parking at the Treffen-area (agra-fairground) is definitely impossible without a Parking Vignette.

- Expected number of visitors:

about 20000

- Infoline:

0049-341-2120862

A big thank to Cornelius Brach for his help and support

- Photos:

See „Photogallery“ at our website

www.wave-gotik-treffen.de

www.myspace.com/wgtleipzig

]]> http://lit.nivis-regnum.com/2010/05/06/19th-wave-gotik-treffen-21st-24th-may-2010-leipzig-eastern-germany/feed/ 0 http://lit.nivis-regnum.com/2010/05/03/interviste-con-autodafeh/ http://lit.nivis-regnum.com/2010/05/03/interviste-con-autodafeh/#comments Mon, 03 May 2010 06:57:24 +0000 Promofabrik http://lit.nivis-regnum.com/?p=2391 Astrid and Dietmar talked to Anders of the Swedish EBM-Band Autodafeh as they have released their new album “Identity Unknown” only some days before.

Hi Anders, thanks alot for answering us a few questions to “Autodafeh” and your new upcoming album “Identity Unknown”.

Hi, No Problem, glad to be here!

For all people that still don’t know you: Please introduce yourselves and the project “Autodafeh” shortly.

Autodafeh is an EBM/Electro band from the south of Sweden, me, who plays synths, Mika who sings and Jesper who plays percussion.We all write and produce our songs together at
our studio Echo Room in a town called Kristianstad.. We started the band in late 2007 and got signed to the american label Sigsaly Transmissions in Austin Texas in early 2008

How did it come to the name “Autodafeh”?

The name is actually taken from the SPK album called Auto Da Fé released in 1983. We just made it a little bit more “modern”
(Auto de fé in medieval Spanish (and in Portuguese) means “act of faith”)

What is behind the album-title “Identity Unknown”?

Well, we thought it was a good name, and it’s also the title of one of our songs on the album.

Is there a certain topic that draws through the album?

No topic, it’s just good songs and kind of songs that would fit in a movie, ofcourse some songs fit in a the clubs aswell as a home party, I guess it’s another of our records with hard pumping EBM and sing-along lyrics!

Your new album shows in addition to Power-EBM also MidTempo-songs. What is more fun for you to make?

Neither, we don’t consider that when we write the songs, we just make a song that we feel sounds good, be it a Power EBM or a mid tempo song, as long as we like it our selfs it’s good enough

In another interview you mentioned Front242 as your main influence. One can really hear some typical style elements of Front242 in some of your tracks.
Are you afraid of being too much compared with your idols or doesn’t that really bother you?

Actually it doesn’t bother us at all. We do music almost in the same genre, and Front242 have always been a big influence to us, even since we were kids.
We do music that feels good and makes people sing along.

Is it a special honour for you to have been on stage as support for Front242 and now to be remixed by Daniel B.?

Absolutely, since they have been around since we grew up and they are still kicking ass!! It was a magical moment when we got the remix and heard it the first time.

How do you experience the EBM scene in Sweden in comparison to other countries?

The EBM scene is very small in Sweden compared to in Germany. But we do have a lot of really good EBM bands in our country.

Sweden isn’t only known for good EBM music; it generally has a huge electro scene. What is in your opinion the reason for that?

I think it’s because Sweden is a technological country, everyone in Sweden has a computer or at least access to one at all the time, and with the easy access to the internet and what’s available from there, people can explore new technology, and if you have a musical interest there’s loads applications, programmes, music available. And that’s probably one reason.

When “Autodafeh” was born, did you already think of it as a pure EBM project?

Yes, in a way, we wanted to make music that we grew up with. Especially EBM/Electro.

If EBM would be a product you should sell, how would you pitch it to your customers?

Hard pumping electronic music, often with a great baseline and loads of energy within the music.

You only exist since 2007. How did you experience your own development from a Newcomer to a firmly established Band in this short time?

We have worked with music for many years, but you learn new things all the time. I think we’ve found a good way to work, both in studio and when we are playing live in clubs or festivals.

Do you work preferably analogue or digital?

Today we work mostly digital, because it’s more convenient, but it would be fun to do some analogue recording too.

Do you also listen to EBM privately or are you satisfied with only making this music?

I think we all listen to all kind of music and we do listen to a lot of EBM also

Where can we see you live this year?

I think we will be playing live in a lot of clubs around Germany this year and maybe on few festivals aswell. We just need to get the gigs confirmed.
Hopefully we will play in some other countries as well, like Italy, Spain, France, Belgium and Sweden of course this year.

Your closing words:

Keep stompin’

Thanks alot for your answers! We wish you furthermore great success and a lot of fun with your live-shows.

Thank you!

© PromoFabrik (www.promofabrik.de) – Februar 2010
Interview: Dietmar Fels & Astrid Kerber

Order:

http://www.sigmedia.us/sig2008/shop.asp

Autodafeh @ Myspace:

www.myspace.com/autodafehmusic

Mortegliano (UD) Area Chiasiellis
Sabato 1 maggio dalle ore 22.00 ingresso libero

WOODEN SHJIPS

Il quartetto trance rock californiano formato da Omar Ahsanuddin alla batteria, Dusty Jermier al basso, Nash Whalen all’organo e Erik “Ripley” Johnson alla chitarra e voce approda in Italia per quattro concerti, prima di sbarcare all’ATP curato dai Pavement e al Roskilde Festival, per presentare la nuova raccolta di inediti in uscita in Italia a fine marzo per Goodfellas, miscela di rock’n’roll fortemente influenzato dallo sperimentalismo della psichedelia, dal classico minimalismo e dagli eccessi del garage rock.
Il debutto omonimo del 2006 ed i singoli che lo precedettero (ma anche quelli che ne seguirono, di cui uno ricercatissimo – e fuori catalogo – per Sub Pop) fecero gridare al miracolo gli appassionati dei suoni seventies e della psichedelia. Nel 2009 è stata poi la volta di “Dos”, secondo capitolo di questo pellegrinaggio della mente, in cui il quartetto si è spinto ancora oltre le volte psichedeliche del debutto confermando le alte aspettative di pubblico e critica e polverizzando il formato canzone in una performance esteticamente impeccabile, legata sì ad un immaginario antico, ma capace di guardare con turbolenta speranza ai viaggi di domani.
Nonostante il successo ottenuto con gli album precedenti, i Wooden Shjips non hanno ceduto alle lusinghe di altre etichette rimanendo saldamente ancorati alla Holy Mountain anche per questo nuova raccolta di brani inediti in uscita a marzo 2010, in cui la musica del gruppo si colora ancora di più di toni lisergici, con le luci distorte della psychedelia inglese e della space age tedesca.
Il suono dei Wooden Shijps fonde in una miscela originale e riuscitissima il garage gelido dei primi Echo and the Bunnymen con il punk solare di Scientist, allusioni krautrock con l’organo ossessivo alla Suicide, echi di Velvet Underground con l’oscuro e misterioso rock lisergico giapponese di band come Les Rallizes DéNudés.
Un mix visionario è il risultato sonoro di questi quattro corrieri cosmici californiani, capaci di trasportarvi nei luoghi più reconditi della mente e nei panorami sonori più inediti e dirompenti.
www.woodenshjips.com
www.myspace.com/woodenshjips

EDIBLE WOMAN

Preceduto nel settembre 2009 dalla canzone “The Beat Goes On” che già lascia intravedere le derive artistiche della band, “Everywhere At Once”, disponibile nei negozi e sui principali canali di distribuzione digitale dal 19 marzo 2010, mischia la schizofrenica versatilità tecnica della band con un’attenzione ancora maggiore alle regole della scrittura pop, spaziando dal groove elettronico alla cavalcata psichedelica, dal pop più delicato al furore hardcore degli esordi.
L’album, testato per la prima volta dal vivo di spalla ai Jesus Lizard nel settembre 2009, è stato registrato da Mattia Coletti (Sedia, Polvere) e Lorenzo Stecconi (Lento) e si propone come un altro passo, il più lungo e coraggioso, nella ridefinizione e reinvenzione del suono di una delle band più promettenti e originali del panorama italiano.
www.myspace.com/ediblewoman

+ Hybrida Sound System dj set & visuals

A solid set of remixing artists were invited, each with an interesting view on the master tracks from Ionic Visions chart tipping album Bitter Isolation (ION011), to finally give birth to this release.

With crispy dance floor acts like David Carretta, DJ Stamba and The Horrorist to sweaty and steamy pounding EBM acts like Orange Sector, Darkmen and AutoDafeh, this release takes you into a world where EBM has all sorts of faces. Next to this, Mute Records act Komputer for sure highlights the weirdest moment on this album, while Northborne and TET also enhance the EBM scope with smooth and groovy remix elements.

With a total set of 14 remixes, of which 12 never appeared on any digital format before, you won’t get a single moment to catch air, as each of these mixes is another edgy, danceable tight piece of electronic jewellery.

A great opportunity for every Ionic Vision fan to own a great set of mixes and a fine chance for all fans from the remixing artists to listen to what their favourite band have created on the foundations of pure EBM songs.

Biography:
While enjoying a diversity of electronic tunes of which Nitzer Ebb, Depeche Mode and Kraftwerk are their main influences, Sven Lauwers and Andy De Decker, decided in 1992 it was time to start making themselves what they had been listening too. Ionic Vision was born and after a set of tape releases, mostly with either odd designs, strange formats (12inch tape) or tapes accompanied by booklets, the release of a 3 track VHS, cdr’s, the trio signed in 1996 to the German cult label Khazad-Dhum (Sub-division of Celtic Circle Productions) taking them up to a higher level.

This signing saw the release of their debut cd Rage Against the Acoustic (ION002), up to date one of their most sought after and appreciated release. Their everlasting statement “Rage Against The Acoustic”, made it clear to the public that Ionic Vision was not aiming at any or thé commercial movement of that time, cross-over. For years to come Ionic Vision struggled hard to keep the true EBM spirit alive, a spirit highly lost interest at that period !

Right before the decline of CCP/Khazad Dhum and after setting up their own recording area, the Ionic Data Base, a mysterious haze seemed to cover the band. No interviews, no compilation appearances, no live performances,…Tongues claimed the band had split up, moved on to put their unstoppable energy in new projects ! During that period Ionic Vision did remix a plethora of artists and even helped some bands who knocked their door asking them for help recording their first demo. All that made it look as if Ionic Vision didn’t have much time left for themselves which in the end lead to a band crisis and slowly all they had build up started to fade.

But Andy and Sven struck back together with the well appraised US label DSBP. A special US only compilation CD called Homo Sovieticus (ION004) and a remix CD MaschinenAngst (ION005) which was a surprise to many due to its versatile content did put Ionic Vision  back on track.

In 2002, Ionic Vision did celebrate 10 years of existence when releasing 2 versions of NeuMaschinen, a title that speaks for itself. Not only were they ready to unleash their new machines, but Ionic Vision from there on back became a three some. Former CCP producer Louis Zachert joined to work behind the scenes of Ionic Vision

Hardly getting any respect for being at the front of the upcoming new boom of EBM bands, Ionic Vision made another weird decision and released an EP and a 12inch vinyl called “In Between (ION007)”. Never tried before by the band they were remixed by Techno masters Terence Fixmer (today better known in the EBM scene for his work with Nitzer Ebb’s Douglas Mccarthy) and Thomas P Heckmann. All this boosted them, not only out of the narrow EBM scene, but also straight into a more club-orientated direction, highlighting their versatile style of EBM. After this amazing follow-up by DJs, mags and clubs, the threesome worked hard to raise the respect, improving the standards they did set with their come-back.

End 2005 they released the praised full-CD Actual (ION009). With mixed comments, some critics did quote it as ‘going back to the roots, hard-core’, others quoted that this release pushed the standards for other current EBM bands really high, maybe even too high, that the album reached the top of what is possible with this music, the perfect combination between the old roots with the modern technical possibilities of today…

Returning in 2008 with an even more rock-solid belief that EBM is more than the 4/4 thumping beat and bass sequence, Ionic Vision raised their high quality standards again! With this time an even more impressive list of collaborating artist they revealed the result of what they did announce as ‘The Isolated Sessions”. With the aid of artists like Orange Sector, David Carretta, DJ Stamba and even more The Horrorist (Oliver Chesler), Mute records act Komputer, Ionic Vision released no less than a club EP, 2 full CD’s (US and European version), two special download only E’sP, a 12inch club vinyl, two special fan club releases, the re-release in digital format of their first three releases and to complete it all a remix album

18 Years after the foundation their eternal rage against the acoustic is not over yet! Ionic Vision will be doing several gigs in which opening for their eternal biggest example Nitzer Ebb is a highlight for their career. Next to doing gigs, they are working hard on a new album, hopefully to see light of day in 2010?

Bandmembers:
Sven Lauwers (vox, synths)
Andy De Decker (vox, synths)
Louis Zachert (fx, engineering)

Release-Date:
January 22nd, 2010

Genre:
Electro / New Wave / EBM

Year of foundation:
1992

Tracklisting:
01. new breed – northborne remix
02. bitter isolation – sweet aggro mix
03. she is – banged
04. die macht – the horrorist remix
05. new breed – club amour remix
06. she is – deep throat
07. bitter isolation – ironic decision mix
08. die macht – virus mix
09. sleep – david carretta re-remix
10. she is – aural
11. bitter isolation – enhanced by komputer
12. sleep – arp remix
13. die macht – r010r remix
14. bitter isolation – completed

Discography:
Einen Tanz Träumen II (Cass, Ltd) – 1992
Total Madness (Cass Maxi, S/Sided, Ltd) – 1993
Der Totale Krieg (Cass) – 1994
Der Totale Krieg (Cass, Ltd) – 1994
Dirty Video Show (VHS, PAL) – 1994
Prospects (Cass Maxi) – 1994
Split (Cass) – 1994
Violent Playground (Cass, Ltd) – 1995
Violent Playground (CDr) – 1995
Prophecy (ION001) (CD, Maxi) – 1996
Rage Against The Acoustic (ION002) (CD) – 1997
The End (ION003) (CD, Maxi) – 1997
The End (LION003) (CD, Maxi, Ltd) – 1997
Homo Sovieticus (ION004) (CD, Album, Ltd) – 1999
MaschinenAngst (ION005) (CD, Album) – 2001
MaschinenKlang (CION005) (Cass Single) – 2001
Neumaschinen (ION006) (CD, Album) – 2002
Neumaschinen (XION006) (CD, Album, Ltd) – 2003
In Between (ION007) (CD, Maxi) – 2003
In Between (VION007) (12″) – 2003
Casual (TION008) (Shirt) – 2005
Actual (ION009) (CD, Album) – 2005
Sweet Isolation (ION010) (CD, Maxi) – 2008
Sweet Isolation (DION010) (File, MP3, I-T) – 2008
Fan Isolation (FION010)  (CDr, EP) – 2008
Club Isolation (VION010)  (12″) – 2008
Club Isolation (DION010L)  (File, MP3, I-T- 2008
David Carretta Isolation (DION010XL) (File, AAC, Single) – 2008
Bitter Isolation Europe (ION011) (CD, Album) – 2008
Bitter Isolation USA (ION012) (CD, Album) – 2008
Heresy (DION001) (File, AAC, Comp) – 2008
Rage Against The Acoustic (DION002) (File, AAC, Album)) – 2008
Erotic Isolation (DION013) (File, AAC, i-T) – 2008
Complete Isolation (ION014) (CD) – 2010
Complete Isolation (LION014) (DCD, Ltd) – 2010
Final Isolation (DION015)  (File, AAC, i-T) – 2010

Our release tags explained: 
L = Limited, D = Download, C = Cassette, V = Vinyl, X = 10 (released for our 10th anniversary), T = T-shirt, F = Fan-club release only,
Suffix L and XL stand for limited and extra limited

Order:

http://www.dsbp.cx

Ionic Vision @ Myspace:

http://www.myspace.com/ionicvision

Ionic Vision @ www:

http://www.dsbp.cx/ionic

Label:

http://www.copint.com

The last full-time records has been a while ago. After this long silence, EP „My Despair“ and the consecutive video break through as first vital sign of In Strict Confidence. In the following interview by Astrid you can read about the news Dennis had to announce about the EP, the forthcoming album and more…

Hi Dennis, we haven’t heard from you for three years. The last album has been released in 2006. What did you do in this long break?

Dennis: (laughs) Good question. Until the new album will come out, four years will have passed. First of all we have made music, but why did it take us four years? We asked this question to ourselves, too. On one hand, due to the fact that we have produce more songs, I think about 20 tracks for the album. It has been more than for all the previous albums. That means, that we have written material for singles and maybe even for the album after the next. We want to omit that it will take four years again!

Do you already know when the new album will be released?

Dennis: Rough guess will be March 2010. We have just released the EP „My Despair“ and are still thinking about a second album as precursor for the album.

Is there a name of the album you can disclose?

Dennis: It’s still the working title, but most like the one to be used for the album: „La Parade Monstrueuse“ We got inspired by the artwork of the album that reflects a dark and weird circus or cabaret world. The French title simply fits perfectly.

Your new EP „My Despair“ just hit the street on November 20. Does the name of work express your despair of the long abstince from the music scene?

Dennis: (laughs) No. Just before an album release you do not feel any despair. Of course there have been moments when you realize that you have not nearly finished anything though.. Then you just need to keep it going against.

For this release you have chosen a modern way of promotion. You have released a video on MySpace. Do you reckon such media more and more important for you?

Dennis: Yes. We have ignored it for a too long time. We did not release, how important such social communities are for many people. Now we present the band everywhere and start to like it, get around and think, that people appreciate it. Esp. with MySpace I think it is very cool to get direct feedback and you can see the face of the fans, something that had been quite impossible some years ago.

Your video has been censored on MySpace. What was the reason for that?

Dennis: MySpace is based on American Law. American society does not accept nudity, at least it is the case with MySpace. Therefor the breast of the woman in the video has been diffused with light. Most of the people do not even notice it. We wanted to do it a bit more decent, to avoid a black bar – so we solved it with graphic means. I reckon it is the same problem with YouTube, but at least they tolerate it. I think if we packed the video with scene of violence, we haven’t got any trouble in America (laughing). Our fans do not have a problem with it, but the old guys financing everything do… so i can understand the old men, since we do not want to see them nacked, too, haha..

What feedback did you receive on the video?

Dennis: They have been all positive, but of course there is always strong bias in such feedback, as there will be a vast majority of positive comments. Esp. on MySpace you can notice that effect, as people are not really anonymous there. In Communities or Forums will be more controversial or destructive commentaries, but you need to cope with that then.

I want to mention two names now and would like to ask you to let us know that comes to your mind spontaneously. First of all: HayDee Sparks…

Dennis: HayDee ist our „new“ guitarist. She has been with us for two years now. I have searched a very long time, indeed. I always wanted to have a girl doing the guitars as it appears more exotic. Playing guitars in my opinions is clearly dominated by men. I have found HayDee due to a chain of strange coincidence and we have been quite happy with her ever since. At the beginning she was a bit afraid that she will only serve as stage decoration, but she can play the guitar really…(laughing)

The second name is: Nina de Lianin…

Dennis: She is the new second female voice. It has nothing to do with Antje wanting to quit or be dismissed. I simply wanted to have a second female voice on the album „Holy“. HayDee introduced me to Nina, as they have lived in Berlin together. Nina comes from Serbia and gathered a lot of great experience in the music business. She has performed more than 1000 shows though he is just 20. Basically Nina has far to much experience and is „overqualified“ for us (laugh). But now we are complete. Being a band of six it becomes quite difficult to get all things sorted. Despite of that, for the first time I got the strong feeling that all members are in the perfect place.

Lets go back to „My Despair“ for a while. The song sounds more pop than previous releases. In some reviews the song has been classified to be „dark popmusic“, too. Do you see any musical change in comparison to „Exile Paradise“?

Dennis: Not in comparison to „Exile Paradise“. I reckoned it to be very pop-like, too, if we do not compare it with the contemporary radio-pop stuff. In comparison to more earlier works, there is a lightness in it. But this song is not a blueprint of the forthcoming album. There will be more tracks of an unusual „hard“ style.

I have read in an old interview, that you have worked for the Bodystyler Magazine years ago. Now the magazine started again, are you also participating in it?

Dennis: No. I am friends with the editor, but i do not work for the magazine anymore.

Well, but in the begin of next year, there will be a nice comic title with you, won’t it?

Dennis: I hope so. The magazine really sticks out, so one just has to love it.

Thanks, Dennis, for the cool update on the new release „MyDespair“ and the preview on the forthcoming album. I wish you much success with the single and of course for the album, also. Have a nice end of the year and take care!

Dennis: Many thanks and take care!

ISC @ www:

http://www.instrictconfidence.de/

ISC @ Myspace:

http://www.myspace.com/instrictconfidence

by PromoFabrik (www.promofabrik.de) – November 2009
Interview: Dietmar Fels
Text: Astrid Kerber
Translate: Leo von Leibnitz

b.o.s.c.h. is
”difference” everytime and everywhere. That difference can be heard in each of the band’s new tracks.

Biography:
b.o.s.c.h. was formed nearly 4 years ago by original members, Kai and Lutz. In the beginning, b.o.s.c.h. was a pure fun project, with absolutely no intentions to take it to a professional level. Born out of a love for the amalgamation of music & computers by bands such as Prodigy, Chemical Brothers, Fear Factory, Front Line Assembly, Rammstein, Kraftwerk, Pink Floyd, Nitzer Ebb, KMFDM,Sex Pistols, Dead Boys, Misfits etc.

But what does b.o.s.c.h. stand for? No rules in making music. b.o.s.c.h. is “difference” everytime and everywhere. Tht difference can be heard in each of the band’s tracks. “We supported each other for realisin`what ever he/she wants to do (Music). It is a musician and Artist Project For-Feelin Free.”

Despite the fact that the project started out as a way to just kill time while still playing in their other “full time” bands, soon plans were made to introduce b.o.s.c.h. to a wider audience. Lutz (back then as drummer for the metal-combo “Second Reality”) grabbed the guitar, Kai polished off his keyboard and, supported by half-playback and a multimedia-show, invaded several clubs in and around the Wilhelmshaven area. Their success was instant and astonishing. The catchy, danceable tunes, under-cut by Lutz´s screeching riffs were infectious for audiences and organizers alike. Despite the skeleton-crew of musicians and a rather rudimentary stage-show, demands for more b.o.s.c.h. shows could be heard in roars.

In an attempt to supersede the half-playback of the live-shows, two longtime companions were taken on board and with them an album, fitted for a more classical band lineup, was produced. Holger, due to his previous experience in countless bands (Superhelicopter, Meine Herren, Uncle Meat etc.) served a source of new inspiration. His formal music education offered a higher level of awareness for the music of b.o.s.c.h. and allowed him to take over the mike and bass guitar duties. Heiko “Hibbie” (ex Meine Herren, LWS) completed the line-up by desperately trying to bring the programmed grooves to life on his e-drumkit. More gigs soon followed, this time spearding to major cities such as Berlin and Hamburg.

The new line-up resulted in a complete re-orientation of the band, without reinventing the idea of what b.o.s.c.h. had originally stood for. The attempt to present fully-electronic music in a live setting and breath life into it, did not only introduce technical difficulties, but also an unthought-of variety of sound and new stylistic prospects. Equipped with fresh ideas and new influences, the two masterminds retreated into their studio to once again completely devote themselves to electronic music. Armed with new material, the duo decided to face up to the live test again. Numerous gigs all over Germany followed. Using the existing material and the impressions of the successful live-shows as a foundation, the duo began to work on their new album.

The new live lineup consisting of 2 vocalists, keyboard, drums, bass guitar and guitar, has grown to become the greatest challenge of the two activists. When they play any live show, there is a certain expectation already set in stone. “We want people to feel the emotion and passion that we put into the music and by working with the video-animation and visual effects,” Kai admitts. “We want our fans to see, hear and feel our Music.” Visual and aurol stimulation at it’s peak.

Bandmembers:
Kai – Progamming, Synths, Vocals
Lutz – Gitarre

Genre:
Metal / Industrial / Rock

Tracklisting:
01. Soweit
02. God
03. Einsam
04. Mehr
05. Schmerz
06. Neon
07. Irgendwie
08. Kälte
09. Spiegel
10. Zeit
11. Ratten
12. Abwärts

Releasedate:
April 16th, 2010

Year of foundation:
2006

Videolink:
http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=100388363

Order:

http://www.majorrecords.de

b.o.s.c.h. @ Myspace:

http://www.myspace.com/boschmusic2

Label:

www.majorrecords.de