Theatre of Tragedy is shown in the music video and the song Machine. VNV Nation did this remix and there is a lot of love coming from this music video because of it. This video is one of the few that is actually decent in the overall quality and music that has been posted on Torture Tuesday.

With that being said, Enjoy this succulent morsel of decency. . Just kidding. It’s very hard to find a well created video to industrial music, so I am proud to share this will everyone;even if you have already seen it.

As Always, Here is A Fix.

Post from: Industrial Addiction

This brings a new feel toward the genre and a sort of surprise to the fans as far not knowing which song is going to have a touch of another of their favorite bands.  Granted some of the remixes should have been left as a thought and never produced, but I suppose every artist as their bad moments.  

On top of that, many DJ’s have gone about remixing songs, with consent of course, and have proven to be very good. They’ve most often added a new feel to the song as far as making the tune more mellow or angry. It’s either one of these or pure crap when it comes to change the sound. Least that is what I found out to be true.

As Always, Here is A Fix

Post from: Industrial Addiction

In this time and hour of the century, when people ask: “What are some of the most influential bands for industrial music?” people often give the response of bands such as Skinny Puppy, Depeche Mode, Oghr, :Wumpscut, Pigface, & K.M.F.D.M. Though these bands have done a great number on seeing industrial music keep a presence and expand, the band Kraftwerk, has often been neglected.

This band was the most and is the highest on the board for influencing industrial music.

During the mid-’70s, Germany’s Kraftwerk established the sonic blueprint followed by an extraordinary number of artists in the decades to come. From the British new romantic movement to hip-hop to techno, the group’s self-described “robot pop” — hypnotically minimal, obliquely rhythmic music performed solely via electronic means — resonates in virtually every new development to impact the contemporary pop scene of the late- 20th century, and as pioneers of the electronic music form, their enduring influence cannot be overstated. Kraftwerk emerged from the same German experimental music community of the late ’60s which also spawned Can and Tangerine Dream; primary members Florian Schneider and Ralf Hütter first met as classical music students at the Dusseldorf Conservatory, originally teaming in the group Organisation and issuing a 1970 album, Tone Float. Schneider and Hütter soon disbanded Organisation, re-christening themselves Kraftwerk (German for “power station”), beginning work on their own studio (later dubbed Kling Klang), and immersing their music in the fledgling world of minimalist electronics; their 1971 debut, titled simply Kraftwerk 1, offered a hint of their unique aesthetic in its earliest form, already implementing innovations including Schneider’s attempts at designing homemade rhythm machines.

A series of lineup shifts followed, and at one point Hütter even left the group; however, by the release of 1972’s Kraftwerk 2, he and Schneider were again working in tandem. Recorded without a live drummer, the album’s rhythms relied solely on a drum machine, creating a distinctly robotic feel without precedent — the concept of purely technological music was, at the time, utterly alien to most musicians, as well as listeners. A series of well-received live performances followed before Kraftwerk began work on their breakthrough third LP, 1973’s Ralf and Florian; honing their many ambitions down to a few simple yet extraordinarily innovative concepts, their music began growing more and more revelatory — even their clean-cut, scientific image was in direct opposition to the dominant pop fashions of the time. Kraftwerk’s first album to be issued in the U.S., 1974’s Autobahn was an international smash; an edited single version of the epic title track was a major hit at home and abroad, and in America the previously unknown group reached the upper rungs of the pop albums chart. Performed in large part on a Moog synthesizer, Autobahn crystallized the distinctive Kraftwerk sound while making the group’s first clear overtures towards conventional pop structure and melody, establishing a permanent foothold for electronic music within the mainstream.

Kraftwerk resurfaced in 1975 with Radio-Activity, a concept album exploring the theme of radio communication; indicative of the group’s new global popularity, it was released in both German and English-language editions, the latter appearing early the following year. Train travel emerged as the subject of 1977’s Trans-Europe Express, which marked an increased movement towards seeming musical mechanization; the line became even further blurred with the follow-up, 1978’s aptly titled The Man Machine, a work almost completely bereft of human touches. By this time, the members of Kraftwerk even publicly portrayed themselves as automatons, an image solidified by tracks like “We Are the Robots.” Having reached the peak of their influence, however, the group disappeared from view, the first of many extended absences to follow; they did not return to action prior to 1981’s Computer World, a meditation on the new global dominance of technology — a society their music long ago predicted and pre-dated. After topping the British charts with the single “Computer Love,” Kraftwerk again vanished, enjoying a five-year layoff culminating in the release of 1986’s Electric Cafe. By now, however, pop music was dominated by synthesizers and drum machines, and the group’s stature flagged; but for a 1991 best-of collection titled The Mix, they remained silent during most of the decade. They finally released a new single, “Expo 2000,” in late 1999, and surprised fans by announcing tour dates. On the recording front, Kraftwerk celebrated the centennial anniversary of the Tour de France with a new version of their 1983 single “Tour de France,” and followed with a full album Tour de France Soundtracks in August 2003. The live record Minimum-Maximum followed in 2005.

As Always, Here is A Fix

Post from: Industrial Addiction

This is a genre that has been long associated with industrial but not many see it that way. It is and so it shall be covered in I.A.

On a second note, I.A. is expanding and is now on Myspace! So fellow readers and lovers of industrial why not put a picture to all those comments and add I.A. to your Myspace! You can catch it here at: Industrial Addiction Myspace. I look forward to seeing everyone there!

As Always, Here is A Fix

Post from: Industrial Addiction

Well Hello ladies and gents. Normally I utterly loathe fan made music videos but this one is done fairly well. Razed In Black – Visions is the last video on the Triple Torture Tuesday list. Yes Yes I know you all are sad, but no worries, more videos will be on next Tuesday! Onward and upward…

Visions is off the Damaged album which was released in 2003 by Cleopatra Records. The over album is a huge hit and has many remixes as well as original mixes by the band. Razed in Black has been adored by many for years, and has put out as many crappy songs as they have great. Visions, just happens to be one of their great songs. Go figure.

This music video is a recording of a live show as far as the sound quality goes, but the footage is obviously. What’s this?! The makings of an actual music video?!! By a fan nevertheless. Wonder if the poster actually has a degree in video editing or just has some sense in their brain.

Visions, as far as billboard ranking, is only rivaled by that of Razed in Black’s previous release of Oh My Goth! Both have a sensual female voice somewhere in the song. There isn’t much to tear apart in this video since they linked the audio format perfectly with the video. So I’ll give them credit. The only thing I can see is that if a person who is susceptible to epileptic seizures, they shouldn’t watch the music video too closely, unless they want a free trip to the hospital while the ambulance is driven by a wannabe taxi driver from New York… or California.

Anywho, As Always Here is A Fix.

Post from: Industrial Addiction

DJ Amateur night for Doom and Gloom sounded okay to go to even though I knew I was going to tear apart the transition styles of the DJ. Granted, yes, they could be decent but then again there is a reason on why the flyer said amateur.

Yes I am an amateur DJ as well. Even before I got into being a DJ I knew a 90 BPM song just doesn’t mix well with a 129 BMP song. Ever heard the saying “It’s like trying to fit a square in a circular hole”? Just throwing it out their folks.

Other than the retarded DJ’s playing what seemed to be their favorite songs in random order, the night was eventful and I came back with a few new songs that I think everyone would enjoy. Granted some were obviously not meant for the dance floor (Yet they somehow appeared there), they are great to listen to while working or just rocking out.

• Zeromancer – Doctor Online and Colonial Lover.

• Emilie Autumn isn’t dance floor spectacular but a remix of “Dead is the New Alive” by Velvet Acid Christ is.

Now for the songs that should have stayed at home.

• Razed in Black – Visions (Assamblage 23 Remix): Yes the beat is catchy but there are too many dead-spots in the beat. In turn that makes it obscenely hard for even the best dancer to move to.

• Depeche Mode – Macro: Do I really need to explain? The songs overall feel is more of a seductive and make-out tone. Part of the lyrics start off with “thundering”, “pounding”, “driving”, and here’s a big hint on why it shouldn’t be used on a dance floor “Our bodies moving with pure precision.” COME ON PEOPLE THINK!

As Always, Here is A Fix

Post from: Industrial Addiction

Now what song can be better than this one… I mean right off the bat the sensuous voice of a female can be heard that would make most guys blush. Not to mention the fact that I’ve accidentally yelled “Oh MY GOTH!” instead of “Oh MY GOD!” from listening to this song so much.

The hypnotic melody and seductive lyrics from both the male and female singer can make any industrial fan bite their lip out of shear ear-pleasing pleasure while jamming out to this song.

Razed in Black has been around since 1984 and was formerly known as Lost Souls. Since singingwith Cleopatra Records, Razed in Black has released 5 solo albums and have appeared as a notable remixer, producer, or guest artist on more than a hundred albums. Notable high profile albums include providing remixes for Berlin, Information Society, Bowowow, Switchblade Symphony, Gary Numan, just to name a few.They have also contributed to many tribute compilation CDs to artists like: Depeche Mode, The Cure, Metallica, Skinny Puppy, and many more.

R.i.B.’s Song “Oh My Goth” can be found on the album… dun dun dun Oh My Goth. Hah who would have thunk. Such a cleaver band Razed in Black is.

Over 5 minutes and 40 seconds, this song will make your feet want to move, your body shake, and give you a sense of being unable to stop from singing along with Romell Regulacion, the lead singer, belts out his silk-like voice whilst screaming the delicious chorus. If you feel like working on those new pole tricks or just feel like dancing to an addictive beat, I highly recommend this song.

As Always, Here is A Fix.

Post from: Industrial Addiction

Any who. Zeromancer, Covenant, Ministry, Wumpscut, and some Razed in Black were the bands of choice that night (from what I was able to hear). So it was a good night in that area. One thing that was very new as well was the whole feel of the club.

Normally this club is full of elitist jerks who would rather glare and act snobby to you just for standing next to them and ordering a drink, alcoholic or not. This time around though, as soon as my brother and I walked into the club, heads turned and a few endearing looks ensued.

For some reason the night was overall more “friendly” instead of the whole “I’m better than you are because I am wearing a kilt and you’re not” vibe. There were a couple new faces in the joint and word had it that they were trying to know more about the whole scene as well as the music.

Heck of a place to start. Normally it would be a great idea to start at a club, listen to the tunes, and converse with others, right?

..:: Alarm Sounds ::..

Not at this one. So I cut them some slack and tried helping them out by explaining what songs where playing, by who, and what style they were. In the end, they ran back to their cars like giddy children as if it was Christmas Eve.

True Goths are nice. Plain and simple. A person could be wearing a gorilla suit in the middle of July and if that person crossed paths with a goth, the goth person would simply say “Nice suit”, AND MEAN IT. So the night was good but a bit pricey. Never knew bottled water would cost more than to get into the club. Sheesh.

I will cut this club update short and leave you with the best part of it all, the song of the night. If you’ve never heard it or even if you have it. I suggest getting it and listening to it!

The song of the night chosen from the club is:

== :Wumpscut – I Want You ==

As Always, Here is A Fix

Post from: Industrial Addiction

Suicide Commando has been around for years. Well 20 years to be exact and they are still pumping out albums, rocking fans, baffling novices and keeping the music at its best. Over the 20 year onslaught of melodical bliss, Suicide Commando is bringing out their 7^th album called X.20 (Best Of).

The CD will have 15 handpicked, fan adored songs, original and club hits. That’s right, I said FAN PICKED. Right there is one in-your-face reason to love Suicide Commando. Metropolis Records is the proud label to be putting out this album.

The only thing I hope that doesn’t happen is Suicide Commando calling it quits. It seems like ever band, industrial or not, quits after they release their “Best Of” or “Greatest Hits”. That will be a sad day indeed when Suicide Commando does decide to call it a show and pack of their equipment for good. I know it will eventually happen but NOT YET.

The CD is intended to be released August 21^st of 2007. This is a must for any listener of Suicide Commando to get as well as anyone new. (If you don’t get it, I hope you get backhanded with the CD.)

As Always, Here is A Fix

Post from: Industrial Addiction

Starting off, I will dedicate Wednesday to the club nights spent here in Norfolk. Hopefully this will give a more enveloping feel to the site. Not to mention a way for the people of I.A. to see what the clubs are like here in VA. (So far nothing to jump up and say “YES… I’m so there.”) 

Well this week’s club was interviewing a new DJ that in all honesty needed to learn more about transitions in industrial music and the likes. Yes I know it can be hard to find the best transition for songs, but when the floor dies for almost a minute, the DJ needs to edit some part of the songs.

The DJ and the whole night was more interesting from the last time my roommate and I went there a few weeks ago. The club is called Doom and Gloom which is held every Tuesdays at The Wave. Normally it is full of the gothic scene and some ravers. This is because of.. well you guessed it.. INDUSTRIAL is blaring through all their speakers from 10pm – 2pm.  

What made this last event particularly special was its theme was ‘Sinners and Saints’. So I had the joy of looking at countless widow peaks and white faces. There were a few people dressed in normal “dark” attire which was a nice change.  

They finally did change the type of music playing instead of playing pure techno all night long, they did a switch of EBM, Industrial, Synth-pop, and a some Techno for all those ravers twirling their lights on the dance floor.

After a few hours being there I noticed that the majority of guys dancing looked… like idiots. Granted some did know how to dance but other than that it looked like the scene from Matrix: Revolutions.

Overall the time there was great but the DJ needed to brush up on his transition skills.

The song of the night was == And One – Military Fashion Show ==

As Always, Here is A Fix

Post from: Industrial Addiction