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Tag Archive | "Ministry"

Mortiis – “The Great Deceiver”

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Format: (Album) CD, Digital
Skivbolag: Omnipresence (Mortiis)
Releasedatum: 31 mars 2016
Genre: Industrial Rock
Bandmedlemmar: Håvard Ellefsen
Land: Norge
Recensent: Niklas Hurtig


(English version below)


En amerikansk chopper genom de eviga nordiska skogarna

Mortiis består av den föredetta Emperor-basisten Håvard Ellefsen som sedan 1993 skapar musik i form av sitt soloprojekt Mortiis.

Förra albumet ”Perfectly Defect” från 2010 var en intressant blandning av industriella ljud med både ambienta och bombastiska inslag. Det gav upphov till både några väldigt bra spår, men också några halvt mediokra. Soundet på ”The Great Deceiver” har i princip skalat bort de högsta topparna och de djupaste dalarna och lämnat kvar en Ministry-influerad industrirock. Kontrasten kunde inte vara större mot Mortiis tidiga ambienta ljudlandskap, även om gruppen är känd för att dela in sitt sound i flera ”eror”, där ljudbilden tar en helt ny riktning vid varje byte. Det kan lätt uppfattas som att Mortiis musikskapande är en spretig historia men vad vore en artist som inte utvecklar sitt sound under nästan 25 år?

Borta är den mystiska nordeninfluerade tematiken om djupa dalar och eviga skogar och fram träder en kombination av Al Jourgensen och Lemmy Kilmister på en amerikansk chopper komplett med läderbyxor och cigarett i mungipan. Detta till en total kontrast mot den trollika framtoningen som Håvard hela tiden associerat Mortiis med. Texerna följer samma stilförändring med mer svärord och katchigare fraser presenterat med distade gitarrer och skrikig och något hes sång. Trots detta är det de långsammare och mer melodiska spåren som är de starkaste på detta album. ”Bleed Like You” är en metal-ballad utan några komplicerade inslag och med ett enkelt sound, men är ändock ett av de bästa spåren på albumet. Industrivalsen ”Sins of Mine” påminner om den fantastiska ”Perfectly Defect” från föregående album med samma namn, men med ett lättsammare sound.

Bortsett från några få höjdpunkter är ”The Great Deceiver” relativt ointressant och likartat trots det radikalt förändrade soundet. Betyget blir då därefter.

6/10 BRA!



01. The Great Leap
02. The Ugly Truth
03. Doppelganger
04. Demons Are Back
05. Hard To Believe
06. Road To Ruin
07. Bleed Like You
08. Scalding The Burnt
09. The Shining Lamp Of God
10. Sins Of Mine
11. Feed The Greed
12. Too Little Too Late


(English version below)

An american chopper through the eternal nordic forrests

Mortiis was founded in 1993 by the former Emperor bass player Håvard Ellefsen as a solo project.

The last album released in 2010 – ”Perfectly Defect” – was an interesting mix of industrial sounds along with ambient and epic elements. It rendered some very good tracks and some mellow ones. On ”The Great Deceiver” Mortiis has streamlined the sound into a Ministry-induced industrial rock. The contrast could not be more apparent to the early works of ambient, even if the group is known to divide the sound into ”eras” where it take a whole new form after each change. One could easily think that the makings of Mortiis is like an unfocused and confused story, but who can actually call themselves artists and not change their sound over the course of 25 years?

The once so prominent influences of nordic thematics with deep valleys and eternal forests has been replaced by a combination of Al Jourgensen and Lemmy Kilmister riding an american chopper wearing leather pants and smoking a ciggarette. That is also a complete contrast to the troll like appearance that Håvard has associated Mortiis with since the beginning. The lyrics has also changed in the same way with more swearing and a more upbeat performance, presented with distorted guitars and a somewhat shrieking and hoarse voice. Despite this it is the more mellow and slow tracks that really stands out. ”Bleed Like You” is a simple and uncomplicated metal ballad and is one of the best tracks of the album. The industrial waltz that is ”Sins of Mine” reminds of the fantastic ”Perfectly Defect” track from the album of the same name, but with a more easygoing sound.

”The Great Deceiver” is apart from a few highlights somewhat mediocre despite the drastically changed sound and the overall assessment is ofcourse based on that.

Intervju: Dead When I Found Her 2015

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Niklas Hurtig fick en pratstund med den albumaktuelle Dead When I Found Her där den den enda medlemmen Michael Holloway från Portland, Oregon förklarar de allvarliga ämnen som albumet kretsar kring, hans totala hängivelse till industrialgenren samt sin dröm om att kunna leva på sin musik.


(Publiceras på originalspråket)



– You just finished your third album as Dead When I Found Her (DWIFH). What can we expect to hear?

You can expect to hear an album that sounds very much like the Dead When I Found Her you already know, but which very deliberately pushes itself into new directions — stylistically, thematically, vocally. It’s my most ambitious album yet, and was designed to be experienced as an Album, rather than as a collection of songs.

You can also, perhaps, expect to be in a dreary mood while exploring the material, so hopefully that’s ok with the listener. It’s an exploration of the fear of old age, “end of life care” and death itself, so it’s not exactly light-weight subject matter.

– So one could say that the overall theme of the album is about death and how we all eventually end up there?

Yes, but more specifically, it is about the experience of the elderly — of being old, probably alone, and facing death while dealing with a progressively deteriorating life. Really what I’m hoping to explore here isn’t death itself but the experience that precedes it, for those who live to an old age.

I think it’s deeply uncomfortable territory, and usually avoided by the world of arts & entertainment. I know my own level of denial about being Old and Infirm some day is very deep, and that’s probably true of many of us. And that probably explains why (at least here in the US) the attitude toward the elderly is: let’s not talk about them, let’s not make art about them, let’s just sort of pretend we don’t have to face any of that until, well, we become one of them.

So, being a musician, I figured I could attempt to explore my feelings about all of this via music. And that’s what this album is about.

– It’s a pretty heavy subject. How do you keep those thoughts and ideas in your mind for that long a time an album takes to produce?

I’m not sure, exactly. I think I naturally am good at compartmentalizing my feelings. I’ve worked a lot in health care fields — mostly residential mental health care, tending to the severely mentally ill — and I think you learn how to keep your headspace clear outside of work of all that baggage going on during work. So maybe it’s the same with music: I venture into that space when I’m actually writing the songs, but stay away otherwise. Cool trick, eh?

– I would say that it’s a good property. And I understand that you have that if you have experience of healthcare.

Well I think the people who can’t manage their feelings about working with very negative, very ill people won’t last very long in the field.

– Has your other professional life helped you in your musical career?

Not really. I currently work in immigration, so that’s a total mess. I value the time I spent in mental health care specifically for the exposure it gave me to human experience — that is, the huge range of human mental experience, getting outside of typical healthy comfort zones and into really scary, self destructive places. It certainly helps one get some perspective on their own mind.

Currently I’m working on making Music my full time career, so I can just focus on doing what I love, as well as paying the rent.

– Is that an old dream of yours? The Sex, drugs and rock n’ roll lifestyle-dream?

Ha, not so much. I’m a pretty mild mannered guy, I’d say. But to make a living creating music, that’s certainly a dream, yes. Hopefully a realistic one!

– Has anything changed in the production compared to the previous two albums?

Overall the process, technically speaking, was the same: I do everything at home with software, it’s zero-to-finished all within my bedroom, because that’s just how spoiled we are these days with the computer technology. I use Ableton Live for everything, I’m what you could call a FanBoy for sure.

So the production process wasn’t different, broadly speaking. But I’m also learning new tricks and refining my process here and there. There is always more to learn in the world of digital music production. And always one more plugin to buy!

– So you don’t feel like designing sounds by recording them in asylums or in caves and forests and such?

Field recording is something I’m very interested in getting into, but no, I haven’t really explored that yet. I’m sure I will, it’s on my To Do list!

But with DWIFH, developing elaborate FX chains is my favorite form of sound design. I love synths and my samplers of course, and sampling movies and random sources discovered on the internet is a huge part of the process. But everything winds up in Ableton, running through my massive FX chains.

– What is your musical vision of DWIFH?

It’s pretty simple: I want to make the kind of music that I want to hear. Classic industrial music is just in my blood. It’s an integral part of my life, I’ve been listening to it for over two decades now. Making it just feels like a natural, essential part of who I am.

I always figure with DWIFH song: If i make an industrial song that I personally would want to hear, then there is probably someone else out there who wants to hear it, too. Because it’s such a creative, challenging style of music and I think the people who love it, like any deep niche of music, love it very deeply, and get very attached. So that keeps things tidy, because my only standard is just pleasing my self, meeting my own standards for what is Good Music in this genre.

– Reading your posts on social media along with what you just said indicate that you were a fan that decided to start making industrial music. What made you take that step?

Just the general creative urge that people get when they really love something — they want to get involved.

I got started pretty early — around age 18, when my parents bought me a K2000 synth as a high school graduation present. Before that I’d been trying to teach myself piano on a cheap casio keyboard and recording into Windows Media Player. It was awful, but it’s what I had. Then the k2000 really let me get going. I learned all about MIDI, sequencing, synthesis. It was a monster.

– It seems like most acts that are into this type of music are sound engineering geeks. Do you have a theory on why it is like that?

Sure, it’s because with a lot of electronic music — and certainly Industrial music in particular — sound design is just as much a part of the songwriting as anything else going on.

So anybody interested in sounds, the atmosphere they create, and to manipulate them or create them from scratch — well, industrial music is a fertile ground for that kind of work. Or it used to be, anyway.

Look at an album like “Last Rights” — the sounds themselves are more important than the musical elements, in a sense. If you tried to print sheet music for those songs, it probably would be mostly empty. It’s all about the crafting of sounds and then arranging them in engaging, exciting ways.

– So why is industrial ambient not a genre? :)

Good question. Though I’d say bands like Nurse With Wound have stuff I might give that label.

– Have you ever had thoughts of cooperating with other musicians or vocalists and include them in DWIFH?

I often have that thought, and I’ve made a few connections in that direction… but so far I haven’t followed through on any of it. I think it’s more likely that I’d start a side-project involving collaboration rather than changing the form of DWIFH. It’s probably an ego-driven, self-branding control thing. But I’m ok with that, I think. This project is my venue for expressing my idea of industrial music, very personally. But I’d love to collaborate and see what happens with others, it just probably won’t have the DWIFH name on it.

– Your musical career before DWIFH?

Before DWIFH music was just a casual hobby. I did scores to a few short films made by friends, I had some early industrial tunes show up on small indy compilations under an old name. Though for a lot of my twenties, I was in a different phase and playing indie rock songs on guitar with some other guys, and recording them at home. Thinking back on that now, it feels like a different person.

But I like to think that I can enjoy and, if wanted, learn to play most styles of music. It’s all one song, after all.

– Is it hard to come up with an original beat that doesn’t sound like something you have done before?

Yes, actually. Which is why it’s very important to listen to lots of different style of music, not just industrial. Even when doing syncopated rhythms and avoiding 4-on-the-floor, it’s still easy to just re-write the same beat. But listening to jazz, or non-western music, or metal or just anything else — it gets your mind thinking about different rhythms.

I’m listening to Tom Waits right now, and I love the percussion. On “Rain Dogs” there’s a lot of jangly percussion, hands on sticks and little drums and that sort of thing. It loosens up the rhythm a lot, which is great. That sort of thing inspires me to think about new ways to approach drums in industrial music.

On the new album, I did a lot of “fake acoustic” arrangements, using multi-sampled acoustic drums, to try and create a more “live” feeling to the drum parts. I’d say half the album takes that approach. It’s not better than the standard industrial drums, just something different. It can help create a sense of movement and momentum that static samples often struggle to acheive.

– What are your primary influences in music and why?

Influences, well, of course Skinny Puppy is the predominant one. But years of listening to Coil also shifted my thinking about music a lot, too. And Mentallo & The Fixer, I think, really impacted my sense of songwriting with electronic tools. I like to keep things very musical while still sounding “industrial,” and these bands I’m mentioning all do that very well.

Outside the genre, I listen to a huge range of things, and all of it can influence me in one way or another — doom jazz like Bohren & Der Club of Gore, soundtracks by Angelo Badalamenti, indie music like The National and Mark Kozelek. I like country music, I like jazz music. Any genre can have inspiring stuff going on if you find your way into it, but if you look at my iTunes statistics, I think Skinny Puppy, Coil and Tom Waits comprise about 90% of my daily listening.

– What albums defined you as a musician or had a huge impact on your life? You have already mentioned “Last Rights”…

“Last Rights” was my first Puppy album, so that’s deeply imbedded in my experience of industrial music. The infidel by Doubting Thomas is another one. “Where Angels Fear to Tread” by Mentallo, that was a big one for sure.

I hate to mention Depeche Mode because I never listen to them anymore, but I should probably mention “Music For The Masses” — simply because my dad had a tape of it when I was very young, and it was a huge discovery for me. That was sort of my introduction to synths in music, and it really stuck. I remember replaying the instrumental track “Agent Orange” (I think that’s what it’s called anyway) (Från singeln “Strangelove” red.anm.) over and over again.

Perhaps it got TOO attached to my childhood, because when I try to revisit it, something doesn’t quite click, even though I know how important of a discovery it was.

– What do you think of the new acts of old-school-industrial that has emerged during the last ten years?

The other two, you mean?

– Haha…

I’m joking.. sort of. I’d love to hear more! I love Necro Facility, I think Oscar is just a huge talent and could probably do well at anything he attempted to do.

– Yes and he is like a pop-producer nowadays…

Yeah, which is great for him, but maybe not as great for us fans who want to hear more industrial music, ha.

– What about 3TEETH?

Oh. They’re great, for sure. You know, the Ministry side of industrial was never huge for me. I’m not Anti-Guitar, i actually really like them. But I think maybe the repetition and simplicity of the guitar-based industrial music always turned me off. 3TEETH add a lot of samples and layers in and keep things pretty dense, so that’s great. And I love their approach to imagery and branding, it’s so effective.

– Which leads me to my next question. How important is visual art when releasing music and do you have a vision that can act as a foundation for it?

I’m not a visual art guy, at all. My abilities and instincts just don’t communicate in that realm. So that’s where I rely on the talents of others — John Worsley does all the artwork for DWIFH, and even just simple decisions like the font used for the band name, that becomes a huge part of the image of the band and how the band is seen online, on t shirts, etc.

So I give him pretty general thoughts about what I want, and let him take over and make the decisions his own talent brings him to.

– What are your opinions about visual art bundled with physical copies of an album in this age of online streaming?

It’s probably a dying approach, I’d guess. It’s certainly nice when it’s done with thought and care, so the package feels like a work of art, something essential to the whole product and experience of the work. You can tell when it’s just packaging for the sake of product, something to snare hardcore fans and make $. But when it’s a great artist really creating a memorable package, that’s still very exciting.

Album cover art is so damn important. When I think about all my favorite albums, the album art pops up in my head, every time.

– So you believe there is a future for this ”art in package”-format?

Hard to say. I think that people will always want a visual cue for the music they are buying. We are just wired that way — full stimulation. It helps organize the contents, to associate the experience with other senses being engaged by cool images. Even if I’m only buying music digitally, I still want to see that album cover pop up in the player — it anchors the experience.

– You use a lot of samples from horror movies in your music. Why are you so fascinated in that?

It feels like a tradition, an inherent part of the genre and the landscape of this style of music. And I love the atmosphere of old horror movies, so it’s a way to make a sort of bridge between the mediums. You can borrow some of the atmosphere created in those films, by those voices, and put it to use in a new medium.

– Why is DWIFH relevant today?

I think that’s a question for the audience, not me. As I said before, my intention is simple: to make the music I’d want to hear. If I can keep doing that, I’m happy. If it’s also relevant to other people, that’s wonderful. But that’s up to them.

– If you could have chosen, would you have preferred to launch DWIFH in 1990 instead of 2010?

In a fantasy reality, there’s a certain attraction to that idea, of being literally a part of the thing that I mentally feel so connected to. But I’m happy to continue the tradition, rather than have formed it.

– How was it to tour with Velvet Acid Christ and what are your experiences of touring?

Actually we never did — we just opened for VAC here in Portland. DWIFH has never been on tour.

We play the occasional festival when invited, and that’s fantastic. And we play a lot of local shows here in Portland, opening for industrial bands on tour. A few times, up in Seattle. Whether or not to expand on that is a huge question at the front of my mind. It’s a matter of time, energy & priorities.

– Did you know that it actually was me that got Bryan Erickson of Velvet Acid Christ into your music?

I did not! Right on.

– I mentioned DWIFH to him when I interviewed him three years ago. He later wrote on his blog that he started listening to you after that!

Ah, that’s cool. Thanks!

– You’re welcome. I find ”Curtains” to be one of the greatest tracks overall in later years. How did the track came to be? Was it the first track you produced as DWIFH?

The first song was actually “Glass Trap”, which was never released. The label, ArtOfFact, is probably going to re-issue “Harm’s Way” in 2016, because it has been out of print for a long time. And it will have two out-takes from that era, including the first DWIFH song.

“Curtains” was probably the 7th or 8th DWIFH song, so still pretty early on. And interestingly, it was one of the fastest written songs I’ve ever done. That’s partly because it’s instrumental, but the overall composition happened in one session and didn’t need very much editing or fixing.

– Do you have something in secret to reveal to our readers?

Heh, I’m not sure. The “Harm’s Way” re-issue was probably the only secret news I had to drop for now. I think I can confidently say that there will not be another 3 year wait for new material from Dead When I Found Her…. There is much underway and there’s no reason it needs to take years to get out there.

– Thank you so much Michael for your time and we wish you all the best in your future career!

Thank you Niklas!

Niklas Hurtigs recension av det nya albumet All The Way Down” hittar ni här.

Ministrys Al Jourgensen blir seriefigur

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Den brittiske tecknaren Sam Shearon (alias Mister-Sam) har skapat en tecknad serie baserad på Ministry-frontmannen Al Jourgensen med hans alter ego – superhjälten Alien F. Jourgenssen – i huvudrollen.

“Ministry: The Devil’s Chord – The Chronicles Of Alien F. Jourgensen” släpps i tretton delar, där varje del baseras på ett specifikt Ministry-album.

Al Jourgensens karaktär är en ung musiker som upptäcks av ett skivbolag som önskar forma, förändra och kontrollera honom. Men eftersom Alien har all sin fokus på att göra vad han verkligen brinner för – att arbeta med musik – så upptäcker han sin sanna talang och blir medveten om de inneboende krafterna som skiljer honom från alla andra – krafter som utlöses av musik.

Allt eftersom hans krafter växer så ser han sanningar som andra inte ser och de sanna avsikterna hos dem som verkligen härskar över planeten och de outnyttjade krafterna som finns inom oss alla.


Al Jourgensen berättar mer

“Handlingen kretsar kring utomjordinar, konspirationsteorier, det ockulta, avskyvärda, världens korrupta regeringsmakter… och givetvis skivbolag!”

Tecknaren Sam Shearon är specialiserad på skräck och science-fiction och har tidigare designat skivomslag och merchandise åt artister som bland annat RammsteinRob Zombie och  Fear Factory.

“Ministry: The Devil’s Chord – The Chronicles Of Alien F. Jourgensen” har premiär på Comic-Con i San Diego juli 2014.


Ministry tar avsked med sista album

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Knappt två år har passerat sedan Al Jourgensen återförenade sitt legendariska industrimetallband Ministry.

Men efter diverse hälsoproblem mitt under den pågående turnén förra året och gitarristen Mike Scaccias bortgång efter kollapsen på scenen i december, så är Al Jourgensen nu redo att presentera Ministrys definitiva avsked med albumet “From Beer to Eternity”.

Större delen av albumet är inspelat dagarna innan Mike Scaccias bortgång och de elva nya spåren är enligt Al själv: “Experimenterande med allt som vi alltid velat göra, från Stones-blues till dub – och givetvis tung gitarrbaserad rock!”. Ingen turné är planerad i skrivande stund, men Al Jourgensen överväger en sista avskedskonsert där musiker som spelat med bandet genom åren kommer inkluderas på scenen.

Al Jourgensen berättar mer

“Mikey var min bästa vän i hela världen och Ministry utan honom existerar inte. Men jag visste att vi var tvungna att släpps musiken som vi spelade in tillsammans under de sista veckorna av hans liv till hans ära. Så efter begravningen så låste jag in mig i studion och färvandlade låtarna till det bästa och sista Ministry-albumet som någon någonsin kommer att få höra. Jag kan inte göra det utan Mikey och det vill jag inte. Så ja, det här blir Ministrys sista album.”

Den nu 54-årige Al Jourgensen, som över nästan två dussin album har lett sitt Ministry från det tidiga åttiotalets mer electro-industriella tongångar via nittiotalets stilbildande industrimetall och de senare årens alternativa och experimentella rockalster, är även aktuell med den 288 sidor tjocka biografin “Ministry: The Last Gospel According to Al Jourgensen” som släpps den 9 juli.

“From Beer to Eternity” släpps i september via 13th Planet Records.


  1. Hail to his Majesty
  2. Punch in the Face
  3. PermaWar
  4. Perfect Storm
  5. Fairly Unbalanced
  6. The Horror
  7. Side FX include Mikey’s Middle Finger (T.V.4)
  8. Lesson Unlearned
  9. Thanx But No Thanx
  10. Change of Luck
  11. Enjoy the Silence

Ministry – “The Last Sucker”

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Ministry presenterar en musikvideo till “The Last Sucker” hämtad från bandets album med samma namn från 2007. Enjoy!

Albumdetaljer från amerikanska Ministry

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Precis som vi rapporterat tidigare så är de amerikanska industrimetall-pionjärerna Ministry åter albumaktuella i vår.

Efter att ha aptitretat med singeln “99 Percenters” tidigare i vinter (lyssna nedan), så presenterar man nu detaljerna för det kommande albumet “Relapse”.

Bandet arbetade totalt tre och en halv månad med albumet som producerats av Sammy D’Ambruoso och enligt frontmannen Al Jourgensen spelades det in av två olika “lag” (Dallas vs Los Angeles), där Mike Scaccia (från Rigor Mortis) och Casey Orr (från Rigor Mortis och GWAR) ställdes mot Tommy Victor (Prong) och Tony Campos (från Static-X). Bandet har videodokumenterat delar av inspelningarna – se skivbolagets Youtube-kanal.

Den första officiella singeln från albumet – “Double Tap” släpps den 24 februari och albumet levereras sedan utöver den ordinarie CD-utgåvan i digipak även på vinyl och i en begränsad fanbox med extra lulllull.

“Relapse” innehåller inslag av thrash, crossover metal, groove metal, angular prog rock, psychedelia och till och med klassisk rock och låttexterna fokuserar på statlig korruption, storföretagens girighet, missbruk och den smärta och förfall som följer med sociopatisk girighet.

“Relapse” släpps den 23 mars via Al Jourgensens egna skivbolag 13th Planet Records.


  1. Ghouldiggers
  2. Double Tap
  3. FreeFall
  4. Kleptocracy
  5. United Forces (S.O.D. cover)
  6. 99 Percenters
  7. Relapse
  8. Weekend Warrior
  9. Git Up Get Out ‘n Vote
  10. Bloodlust
  11. Relapse – Defibrillator Mix ***

*** Endast på den begränsade utgåvan.

Politiken i fokus på nytt Ministry-album

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Bortsett från diverse samlingsskivor och remixskivor så har det har varit tämligen tyst från de amerikanska industrimetalljättarna Ministry den sista tiden, men nu verkar det som att det rådande politiska klimatet i USA har givit inspirationen som behövdes.

Singeln “99 Percenters” finns ute nu via itunes och kommer senare under december släppas via samliga kanaler.

Låtens budskap hyllar de pågående protesterna mot den rådande amerikanska ekonomipolitiken. Storföretagens girighet, den mördande kapitalismen och politiken gynnar som den procent av befolkningen som tjänar miljontals dollar per år och fortsatt erhåller stora skattesänkningar på sina inkomster.

Den numera Texas-baserade frontmannen Al Jourgensen uttalade sig enligt följande

“Putting out this song is the least I could do. We wanted to fly to New York and protest and get arrested and pepper sprayed. But we can’t do it because I got a Christmas deadline on this album. But I’m with ‘em in spirit so the least I could do is give them a chant-along song. I’m going, Hey man, here’s your song. All you gotta do is chant the chorus!”

“99 Percenters” är det första smakprovet från det kommande albumet “Relapse” som släpps tidigt i vår och den nya fullängdaren har ett genomgående starkt politiskt tema. Frontmannen planerar en stark stödkampanj för demokraterna i de kommande valet i Texas och uppmanar sina fans att se till att landet får fler demokrater i kongress och senat – och se till att behålla president Obama vid rodret. Detta trots dennes oförmåga att kompromissa det minsta med enprocentarna så här långt.

Det kommande albumet “Relapse”, som släpps under våren är bandets första nya studiomaterial sedan “The Last Sucker”, som släpptes för fyra år sedan. Al Jourgensens nyskrivna låtar framförs tillsammans med gitarristen Tommy Victor (Prong), Mike Scaccia ( tidigare i Rigor Mortis och Lard), bassisten Tony Campos (från Static-X) och Casey Orr ( tidigare i GWAR).

På den kommande turnén, som inleds med fem datum i USA, kommer även trummisen Aaron Rossi göra bandet sällskap på scenen och Europadatumen presenteras under januari månad.

“Relapse” släpps den 23 mars via Al Jourgensens egna skivbolag 13th Planet Records.

Siva Six – “The Twin Moons”

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Format: CD / Download
Skivbolag: Alfa Matrix
Releasedatum: 17 juni 2011

Genre: Harsh-EBM, Dark Electro


Grekiskt hårtsluggande gung

Det har varit rätt tyst från den grekiska duon Siva Six de senaste åren. Efter släppet av genombrottet “Black Will” har mycket tid lagts i studion på den tredje fullängdaren “The Twin Moons”.

De ursprungliga upphovsmännen Noid och Z bildade bandet 1997 tillsammans med dåvarande keyboardisten Evi under namnet Wintermute. Efter två demos lämnade dock Evi bandet och kvarvarande Noid och Z fortsatte arbetet efter att ha tagit det nya bandnamnet Siva Six.

Debutalbumet “Rise New Flesh” släpptes under 2005 och gav en mindre fanbase där de bland annat slog sig in på ravescenen. Efter att ha gått igenom en förvandling av det mörkare slaget blev “Black Will”, släppt november 2006, en framgång för grekerna som turnerade Europa runt. I dag, två keyboardister senare, står sångaren Z tillsammans med keyboardisten Herr Khaos (aka Dimitris Douvras som även är känd från Iambia) för det grekiska gunget. (fortsättning nedan)

Med en blandning av Ministry, Gothminister, God Module och en minisläng Marilyn Manson sluggar sig Siva Six igenom det tio spår långa “The Twin Moons”. Likt en tung boxare på överraskande lätta steg är soundet tilltalande och tempoväxlingarna skapar en lyckad kombination med Z:s growlande hesa sång. “Valley of the Shadows” är ett av de mest lysande exemplen på detta där man paketerar allt snyggt och ordentligt.

Det gothsynthiga soundet Siva Six håller har lyckats bära fram dem så här långt och jag tror att det här är ett steg i helt rätt riktning för grekerna. Uppenbarligen behärskar man kombinationen väldigt bra och fansen verkar så här långt ha tagit emot “The Twin Moons” väldigt bra. Jag hade dock gärna hört helt instrumentala spår. Herr Khaos har inneburit ett riktigt lyft och ibland känns det som att sången stör mer än  den tillför, till exempel på nostalgiskt rejviga “Angels of the Nine”.

“The Twin Moons” för Siva Six framåt i utvecklingen. Tempoväxlingarna från sluggande gung till softat ambient är imponerande och potentialen är hög. Som en bonus ger avslutande “Two Against the World” ordentliga Mind.In.A.Box-rysningar som lämnar mig hungrandes efter mer.

(Albumet levereras även i en begränsad 2-disc utgåva tillsammans med bonusdiscen “Alpha & Omega” ** Lyssna på ett smakprov nedan!)

// Joakim Holfve, ElektroSkull – Synthportalen


  1. Faileth Stars
  2. The Twin Moons
  3. Intha Ren
  4. Valley Of The Shadows
  5. Love Is The Low
  6. Serpent Whore
  7. Hell Is Where The Heart Is
  8. Necropolis
  9. Angels Of The Nine
  10. Two Against The World
  11. Blade Runner (Stardust)

Tracklist bonusdisc – “Alfa & Omega” **

  1. Faileth Stars (remixed by THE SYNTHETIC DREAM FOUNDATION)
  2. The Twin Moons (remixed by NEIKKA RPM)
  3. Intha Ren (remixed by CHRISTIAN CAMBAS)
  4. Valley Of The Shadows (remixed by STRESS)
  5. Serpent Whore (Sadistik Remix by C- LEKKTOR)
  6. Hell Is Where The Heart Is (remixed by GRAMMA)
  7. Necropolis (remixed by PreEMPTIVE STRIKE 0.1)
  8. Angels Of The Nine(remixed by HYDRA DIVISION V)
  9. Faileth Stars (remixed by DJ LIQUIX)
  10. Valley Of The Shadows (remixed by MEMMAKER)
  11. Intha Ren (remixed by EX.ES)
  12. Valley Of The Shadows (remixed by LATEXXX TEENS)
  13. Faileth Stars (remixed by ACYLUM)
  14. Hell Is Where The Heart Is (remixed by DEAD FOR A WHILE)
  15. Valley Of The Shadows (Dark Illusion Grab by AMGOD)

Terrolokaust – “Just One Fix”

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Officiella musikvideon till Terrolokaust‘s cover av Ministry-klassikern “Just One Fix”. Enjoy!

Spanska Terrolokaust gör Ministry-cover på debutalbum

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Spanska dark-electro duon Terrolokaust, som släppte singeln “No Control” under december är nu aktuella med sitt debutalbum. “God Loves The Violence” innehåller 18 spår inklusive remixer signerade bland andra Die Sektor, Reaper, Grendel och Nachtmahr.

Duon levererar även en cover på Ministry-klassikern “Just One Fix”, till vilken man även spelat in en video. Utöver detta gästspelar även Betty från Code Name“Your Fucking Drugs”.

(Den censurerade versionen av videon kan just nu avnjutas i vår videokategori.)

Deatchwatch Asia står för den japanska utgåvan där man inkluderar tio exklusiva remixer, samt den ocensurerade versionen av “Just One Fix”-videon, som ej finns tillgängliga via bandets europeiska skivbolag Infacted Recordings.

“God Loves The Violence” släpps den 25 mars via Infacted Recordings och Deathwatch Asia.


  1. I.N.T.R.O.
  2. Exposed To The Wrath
  3. God Loves The Violence
  4. Feeding On The Lies
  5. No Control
  6. Nihilismo Moral
  7. Just One Fix
  8. IgnoranZe
  9. The Pain Of Knowing
  10. Your Fucking Drugs (feat. Betty from Code Name)
  11. Thirsty
  12. La Realidad
  13. Evolution Of Tomorrow
  14. Primitive Ways
  15. Nihilismo Moral (Nachtmahr Remix)
  16. No Control (Grendel Remix)
  17. Thirsty (Reaper Remix)
  18. Your Fucking Drugs (Die Sektor Remix)*

Tracklist CD2 “One More Fix”*

  1. Feeding On The Lies (Latexxx Teens Remix)*
  2. Just One Fix (Studio-X Hard Dance Remix)*
  3. IgnoranZe (Reaxion Guerrilla Remix)*
  4. La Realidad (Code Name Remix)*
  5. Thirsty (DYM Remix)*
  6. God Loves The Violence (Prreemptive Strike 0.1 Remix)*
  7. No Control (Extinction Front Remix)*
  8. Your Fucking Drugs (Soman Electrofloor Remix)*
  9. The Pain Of Knowing (vProjekt Remix)*
  10. Exposed To The Wrath (Freakangel Remix)*

+ Musikvideo “Just One Fix”*

* Endast via Deathwatch Asia’s dubbel-CD utgåva!