Industrial band Skold, the namesake group of producer, former member of Marilyn Manson’s band, ex-KMFDM member, Motionless In White producer, and co-founder of Swedish metal act Shotgun Messiah Tim Skold has released a brand new album today, Dias Irae, today via Cleopatra Records. The patently heavy approach is the throwback to Skold’s penchant for musical aggression of his earliest work as an artist. The band also shared a new music video for “Dirty Horizon,” another collaboration between Skold and filmmaker/award-winning music video director Vicente Cordero. The two had collaborated previously on the sweeping, cinematic video for “Small World” from Skold’s 2019 album Never Is Now as well as other past work. The “Dirty Horizon” video finds Skold paying homage to the legendary film by fellow Swede Ingmar Bergman, the 1957 epic “The Seventh Seal.” Shot in the stone dungeon of the stunning Abbey Arroyo. Watch the video:
Industrial Metal legends Stabbing Westward have shared a brand new Halloween covers EP dubbed Hallowed Hymns! The release, a gift to their die-hard fans and new ones too, is streaming and physical copies are for sale from their new label COP International at the link below. The covers include new takes on old Industrial and post-Punk/Goth classics from Ministry, The Cure, and Echo and the Bunnymen. The EP was produced by their longtime collaborator John Fryer, who worked on the band’s early classic albums. Fryer and Stabbing Westward are in the studio now working on a new full-length album for release in 2021. Purchase and stream the EP now!
The EP, released on COP International Records, features 4 tracks that were instrumental to the industrial band’s beginnings and conjure the feeling of the season and include original takes on “Burn” from The Cure (famously featured on the soundtrack to The Crow), the classic “Every Day Is Halloween” by Ministry and Echo And The Bunnymen’s eternal hit “Killing Moon.” There is also a special “Devil’s Night Mix” version of Stabbing Westward’s “Burn” cover to round out the surprise release.
Stabbing Westward— featuring original founding members Christopher Hall (vocals/guitar) and Walter Flakus (keyboards/programming) as well as longtime bandmate Carlton Bost (bass) and newest member Bobby Amaro (drums)—originally released their cover of “Burn” to much fanfare for the Cold Waves Festival compilation album in September; the track was premiered by Revolver magazine that called it a “reverent cover” that kicked off the compilation “with a bang.”
Says frontman Christopher Hall about this special surprise release:
“2020 has been a shit year. We were supposed to release our new album and tour the U.S. to support it. But clearly that’s not happening. We know Halloween is different this year with no parties and no Trick or Treating so we wanted to give fans something special …. something that will help tie you over until we can release some new music.
We picked these three tracks because, for us, they represent the feeling of Halloween and they were very important songs during our early musical stages. If there were ever two bands that I would say most influenced Walter and I to form Stabbing Westward it would be Ministry and The Cure. From the earliest days of Ministry’s With Sympathy through the evolution of Twitch, they were the band that opened our minds and hearts to industrial music. To be able to reimagine these songs as Stabbing Westward while still trying to pay homage to the brilliance of the original versions was a terrifyingly fun adventure.
We have been working on the album so hard for so long that it was really a joy to take a break and explore all these tracks had to offer. As often as you listen to your favorite songs it’s a totally different experience to take one apart and see how it was built. It gave me such an immense appreciation for what these amazing artists created—especially the Ministry track knowing how primitive the gear was that Al Jourgensen had to work with back then with none of the modern tools we take for granted today. He literally created new techniques in the studio that we still use today. He was light years ahead of his time. We hope you enjoy listening to these tracks as much as we have enjoyed recording them.”
The EP’s title coyly illustrates that Stabbing Westward is in fact neither dead nor gone, but rather ready to pick up where they left off after a string of mid-‘90s hits that dominated alternative radio and film soundtracks, including “Shame,” “Save Yourself,” “So Far Away” and “What Do I Have to Do?”, and resulted in two Gold records.
Cleveland electro-industrial rock artist Ghostatic has followed up his last single ‘Violence’ with a new single and video ‘Catastrophic Love’! The video is fraught with drama and feeling, complimenting the track. Watch the clip right now!
Quote from Adamo Fiscella:
“The Catastrophic Love video was actually shot at two locations: an abandoned house in the middle of nowhere in the mideast part of Ohio. My friend and videographer, Jeff, had showed it to me for my paranormal/urbex channel on YouTube(conveniently called Ghostatic) and an old victorian house in Dover, OH. The storyline was something thaas organically birthed by the song’s lyrics, but taken to the next level. It’s an extreme case of toxicity in a relationship that gets our of control. I directed it, alongside Jeff Hartman of Bitmod Studios(IG-@bitmod), featuring Jenny Lynn(IG-@fallenangel_7). They are very talented and great to work with. I also did all the post production work. It was a pain, but I had a vision in my head that I wanted to bring to life.”
I basically came out of the womb listening to music. I was lucky enough to be one of those children that grew up being exposed to a multifaceted plethora of music genres. Today, when I started listening to the new album by Pinkish Black, Concept Unification (Relapse Records), I was caught up in a wave a delightful nostalgia. The music flooding my ear holes, created by the Fort Worth Texas duo of Jon Teaque and Daron Beck eerily reminded me of the solo work of one of my favorite bassist of all time, John Entwisle. Entwisle did an album in 1972, titled Whistle Rymes (MCA Records), that I feel the new Pinkish Black album echo’s. What am I trying to say here? I am saying that Concept Unification is fervently grandiose. Continue reading →
There are very few bands that seem to fly under the radar but yet are insanely popular. Combichrist is one such band. Mention the band name Combichrist to a self-proclaimed music buff, and you may or may not get acknowledgment that the person has heard of the band. Now, play a song by Combichrist to the same person, and that person will respond favorably, most likely saying something like “I fucking love this band!” Honestly, how can you not love a band that is absolutely fearless when it comes to penning lyrics. Frankly, Andy LaPlegua, the band’s founder and songwriting mastermind, is my spirit animal. Throughout his career, LaPlegua has always expressed exactly what he is thinking using his full throttle in your face style of Industrial Metal. Their new album, One Fire, (Out Of Line Music) continues the no holds barred, face melting journey fans have come to expect from this band.Continue reading →
The Sisters of Mercyhave bookedheadline gigsatThe Roundhouse London on Friday 20 and Saturday 21 September 2019. They did a brief tour last summer, and have already been booked to headline a stage at this summer’s Hellfest. The band has been especially active lately on social media and their last full-length original album, 1990’s Vision Thing (East West/Elektra) was just released on streaming platforms for the first time last week. Tickets for the London shows go on sale this Friday 18th January 10 am local time at the link below. Continue reading →
Tayne is a London based Experimental, Noise, Pop outfit by Matthew Sutton. Tayne’s music is an aural assault that weld moody, atmospheric vocals, punishing guitars and overwhelming electronics, to pulsating rhythms that create an intense listening. Debut album Breathe (Strange Brew) is out now.Continue reading →
It’s long past the time of day when Thomas Giles (aka Tommy Rogers of Between The Buried And Me) began being able to do whatever the hell he wanted. To be fair, to say his day job band has moments of eclecticism is like saying that Brexit negotiations have been a little bit difficult. And that diversity of spirit, of zig-zag, is absolutely at the core of fourth solo offering Don’t Touch The Outside (Sumerian Records), a record that is everything and nothing, and that is laissez-faire in respect of genre while being incredibly focused in trying to keep the listener moving.Continue reading →
When a band that formed in 2006 have already recorded ten full-length albums and so many EPs and splits that I can’t be bothered counting them, it’s fair to assume that they’ve (I know, it’s only one person, but you use a band-name you get called by a plural – science) nailed their sound down by now. With Metal/Noise pioneers Gnaw Their Tongues, however, it’s a bit more complicated than that – they’ve somehow managed to develop a style that is instantly recognisable but changes subtly across each album, to the extent that you’re never sure exactly what you’re going to get when a new one is announced, and how heavily it will lean towards their disparate sides.Continue reading →
A five-year gap between records and a litany of line-up changes would slow down the momentum of any band, but Michael Keene has always been driven to make The Faceless work, even if it means taking on the majority of musical roles on himself. However, with a new set of musicians backing him up, Keene hopes to push The Faceless back to the forefront of people’s minds with In Becoming A Ghost (Sumerian) and prove that, despite the trials and tribulations of the band’s history, his ambition for creating the most extravagant music possible can still lead to great things.Continue reading →