It’s always a tough one when a much-loved band split up. Such was the case when Interlock did so – on the verge of announcing the release of a second album. Their first album proper, after a long period of playing small venues and releasing the odd track and a split EP with Needleye, was an impressive blast of industrial metal that refused to allow itself to be constrained by any limitations of genre, and so resulted in a varied album that was just happy to be melodic as it was face-meltingly heavy.
It won’t have escaped anyone’s attention in the UK at least that there is a wedding of two privileged people this Friday that will take place in front of a worldwide audience, shutting down the normal workings of much of central London for the day – and indeed the rest of the country as an additional bank holiday has been declared, and not to mention crowding out lots of more important (and actual) news in the media as they all fawn over the minutae of the wedding. Be that a dress, or the guest list, or seating plan. I am one of the many who couldn’t give a toss about the wedding, and will be watching none of it on Friday. If the weather is good, I’ll be in a park somewhere with like-minded friends, and if the weather isn’t so good, I’ll be in the pub – hopefully one without any coverage of it (which may make it tricky). Read more “Tuesday Ten: 128: Royalty and Privilege”
I’ve always been in two minds over whether Tim Skold is actually any good or not. He’s had his moments – some of his production work has been good (indeed his work with Marilyn Manson on The Golden Age of Grotesque resulted in MM’s best album in years), but then much of his work with KMFDM was hardly during their finest period, and I really don’t care at all for his glam stuff or Shotgun Messiah.
Matt Fanale’s rise through the ranks has been steady and impressive. From self-released/his own label early on, via some high-profile live slots, to this album being released on Metropolis. The steady change in styles has been notable, too. From early material having more of an industrial noise slant, to dabbling in what can only be termed industrial punk, other electro-industrial realms, even aCaustic (arf) ballads, and more than anything putting aside the goofing around for something a little more serious.
I think it's fair to say that I had begun to wonder if this album was ever going to appear. Endlessly delayed – 'Modern Ruin' was first revealed as the album title way back in 2009 at least – and seemingly with something of a difficult gestation, with various tracks debuted live and then not even appearing on the album when it arrived, the album finally saw a release during January 2011.
Thursday night was something of a trip into the past. Although not for the venue – somehow despite my fifteen years or so of gig-going in London, I’ve never made it to the Purple Turtle until Thursday night (and of course, in the way these things go, I’m likely to be there at least two or three more times in the next few months). I wasn’t all that impressed with the venue, to be honest – cramped, grimy and with little air circulation at all, thus reminding me of all the times I’ve spent in various small venues over the years. Read more “Into the Pit: 100: Meat Beat Manifesto – Live at the Purple Turtle – 07-April 2011”
Where on earth is time going? Time once again for my usual monthly roundup of great new songs. Read more “Tuesday Ten: 127: Tracks of the Month (March 2011)”
Killing Joke are a band that, to many peoples surprise, I have never managed to see previously. So when the chance to go to this came up, there was no way I was going to miss it (even if it meant missing out on Paradise Lost playing all of Draconian Times across ‘town at The Forum).