Iris is back with a brand-new release for 2008, called “Hydra”. Like the mythological multi-head growing beast, “Hydra” takes the Iris sound and expands it in multiple directions. Hydra features 3 brand new tracks, as well as remixes from bands like Mesh, Alpinestars, Conetik, Datguy, Benz & MD, and Dan Kearley.

On top of that, Iris has bundled this succulent CD with a 30 minute “behind the scenes” tour diary on a special DVD. “Hydra” creates yet another chapter in the constantly evolving Iris story and will be released by Diffusion Records on March 25th.

Also, Iris will also be touring the US for the first time in March 2008. The band will be embarking on a double-headliner tour with their good friends of Seabound! The tour starts March 16 and end on April 1st.

Wonder if they are planning any April Fools tricks…anyway, here is the predicted tracklist for “Hydra”:

Tracklist:

1. New Invaders
2. Stop Breaking Your Own Heart
3. Nobody Wins
4. It Generates (Darker Days Mix V2)
5. Wait Move On (Andrew’s Detective Mix)
6. Lands Of Fire (Datguy Mix)
7. Vacant (Benz & MD Mix)
8. 68 (Alpinestars mix)
9. Lands of Fire (Mesh Pyromix)
10. Appetite (Datguy Mix)
11. New Invaders (Beatnursery Mix)
12. No One Left To Lose (Conetik Mix)
13. Delivered One (Kearley Edit)

You can check out more from Iris at their official Myspace: http://www.myspace.com/iris2 since their Official website, http://www.irismusic.com is under construction.

As Always, Here is A Fix.

Post from: Industrial Addiction

EMI/Mute

This is all very odd considering Depeche Mode has been very close with Daniel Miller, the owner of Mute, and they would often have a 50/50 deal and be as much responsible as the label was when it came to returns and investments. I’m not the only one bugged about this news since it doesn’t make that much sense. I mean if someone wanted to go indie, especially Depeche Mode, why would they give this up just so they can be the number one boss?

Seems awfully fishy, but eh, I never did enjoy Reuters.

As Always, Here is A Fix.

Post from: Industrial Addiction

This just doesn’t pertain to one genre of music nor is any message received from music the same in any of the genres that people listen to. Each genre of music holds there own voice, look, feeling, and personality. With this being said, Industrial music’s voice is the most varied and often, unheard.

It’s often unheard because of many reasons. One of the main reasons is actually the most obvious. Industrial music is 8 out of 10 times, underground and comprised of local bands. Yes there are major bands out there on labels, but even then they are not considered to be “mainstream” because of the style, message, and where it is played at. Another reason why the industrial genre of music isn’t and most likely will never be as huge as pop rock or even blues, is because of the desire from it’s listeners, producers, and band members to remain underground. This is all fine and dandy, however, when people say that industrial listeners should have a bigger “following” then turn around and grip about bands that dare to expand their voice and message to other potential listeners, seem to give the genre a hypocritical look and feeling.

Enter the Mall Goth. 

Now the true look of industrial music is best summed up by the elder band known none other than Kraftwerk; Steel against Steel, factory sounds, metal working… all of that was and still is TRUE industrial. Now the bands such as Oghr, (Old 80’s) Depeche Mode, Skinny Puppy, and Combichrist, are industrial as well. These bands are the new industrial and yet they still have the beat of the original industrial sound and well as so much more which makes these bands the forerunners of this glorious genre.  

What of the message that is industrial? You maybe are asking yourself. TELL ME DECAY TELL ME! You maybe scream from behind your monitor as you read this page in the tomb of knowledge that is INDUSTRIAL ADDICTION… but alas, I cannot tell you. Reason being is that the message of industrial music is unique for each and every person who even samples it. Now the message can be similar when sharing views on a certain song or band, though, there will always be a difference even if it is ever so slightly. That my friend’s, is what adds and creates to the style, look, feeling, and voice of industrial music.

So share on and enjoy this beautiful genre of music. 

As Always Here is A Fix.

Post from: Industrial Addiction

Well now, this song is one that of memories. The song name is “Industrial Love” by In Strict Confidence and remixed by none other than, VNV Nation!

Now the movie is Metropolis by Fritz Lang… old, corny, and fits perfectly with the overall theme of the song. I was surprised to see a lot of the hits were able to be matched to the beat. Even though this movie is the “crap of the crop”, it needed to be shown on Industrial Addiction.

So, sit back, enjoy the trip back into time, poke fun at the oddity of the movies performance, and most of all; enjoy the MUSIC!

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

Angelspit is a glorious band. The song 100% can be found on Asleep By Dawn – DJ Ferret’s Mix #2 as well as on their official album Krankhaus. The song is simple yet seductive, short and to the point, and outright insane.

This song can give you a quick fix if you are in need of an electro beat and an attractive female voice. However, if you are looking for a song that makes sense, you are better off looking some place else.

Now as for the music video (if you can really call it that), well since when did you hear this song on Ultraviolet? Any one who would try to fuse this song with UltraViolet needs to be taken out and beaten BEFORE broadcasting it.

For one, speeding up the fight scene makes it look even worse than it already is. It looks like someone managed to press the fast forward button and lost the frigin remote. Even with the fight scene sped up, it STILL doesn’t match the bass from the song and therefore looks like… how would I put it lightly… ah yes, CRAP.

Also, replaying the same move twice or more in a row very rarely looks appealing to any viewer and should be avoided. Seems this person never got the memo and put it in twice.

What a prick.

The ONLY good thing about this fan made music video is that it’s comprised of fights scenes and nothing more. That is a bonus since it keeps the viewers eyes peeled to the video. The only downfall is it fails to match up to the tempo of the song. Now if it did… well it would be a bit more pleasant on the eyes of everyone.

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

YES YES AND OH GOD YES!

This is the very FIRST, Numero Uno remix video ever posted on Industrial Addiction and it is AMAZING in not only the song BUT video! Today is a good day.

Now this song is called Love to Blame [DJ Lee Perception Mix]. This DJ did an EXCELLENT JOB on remixing this already beautifully intoxicating song. Apoptygma Berzerk has been around since 1989 and has been blasting their musical blissfulness world-wide since!

As of late though, Apoptygma Berzerk is becoming more Synth-Pop than what they originally started out sounding. Some say that the band has steadily declined after their Harmonizer album debuted in 2004. Others say it started after their 1999 release of Welcome To Earth.

Sometimes fans tend to disregard the fact that industrial has the sub-genre of SYNTH-POP for a reason. It does sound popish but it carries that familiar industrial beat. Though I have to agree, the band keeps changing their tunes and is becoming, regrettably, more mainstream pop than Synth-pop. I really hope that isn’t their goal since the band has been around for so long and so many people have enjoyed them over the reason.

That’s like a smoker switching a brand of cigarettes just because everyone else is smoking them and they want to fit in. COMEPLETELY RETARDED. Before I go on a rant on how retarded it is that some industrial bands go mainstream just for the money involved, I’ll cut myself sort and bite my tongue…

… for a few paragraphs that is.

The remix of Love To Blame has that techno-ish “buzz buzz bleep beeeep buzz”, sound to it, but it is done with a very subtle touch that it doesn’t take away from the industrial beat. It actually compliments the original beat and adds a deeper feeling and UMPFH to the song. The song is still cream-your-pants-tastic, though, without the remix which makes this a number 1 song; the Music Billboards are proof of that statement.

Overall the remixed song and music video is very well done and really doesn’t need improvement save for that fact of the random damn people showing up during the music video and throwing off the whole story.

First the woman is with an older baldy putting on a coat, and then out of LITERALLY NOWHERE a younger mate with colored peach fuzz on his face comes up and tries being all intimate. Alright fine… industrial music videos are known to make little sense but Christ guys you had SOMETHING going. Don’t screw it up by throwing in random people that could be considered “semi-attractive”.

Oh, whoops, too late. It’s already a frickin music video. I suppose that’s what you get for sounding more MAINSTREAM. Jerkoffs. While you’re going all mainstream why don’t you sing into the leader singer of U2’s eyes and confess how much more money you’re making and disappointing fans.

Also… if you noticed near the end of the video, the singer goes from short hair to hair down to his shoulders… WHAT THE %#@!

I guess Rogan™ does work. Must be the “overnight formula”.

As Always, Here is A Fix.

Post from: Industrial Addiction

Oh how I have been on a Zeromancer trip these past few weeks. I feel abosultly in LOVE with this song as well as Eurotrash, Need You Like A Drug, & Clone Your Lover. This song is very popish and does remind me of Orgy, (No offense guys, since I love the band Orgy, not the act people! Sheesh.), but they are considered to be Industrial Metal.

Zeromancer has been around for quite some time and was formed after their previous band Seigmen fell apart. The band is comprised of 5 members:

Alex Moklebust: Vocals (Previous Member of Seigmen)

Moralf Ronthi: Drums (Previous Member of Seigmen)

Kim Ljung: Bass (Previous Member of Seigmen)

Chris Schleyer: Guitars (Previous Member of Kidneythieves)

Erik Ljunggren: Programming (Previous Member of Vampire State Building)

Cleopatra Records quickly signed this amazing band and was quickly delighted even more that they did when Zeromancer won the Best Newcomer of 2000 Award at the GAMA (Germen Alternative Music Awards) with their DEBUT album Clone Your Lover. In 2001 Zeromancer released Eurotrash which was followed by their 3^rd album called Zzyzx (I have no idea how to pronounce that. To me it just reminds me of some lumberjack snoring), in March of 2004.

In 2003, however, Zeromancer reissued Clone Your Lover for distribution in the good ‘ol US of A. Enough back history on the band. I know you all have been waiting to hear the mad and sinfully witty comments of Decay RIGHT?!

.. no?

WELL TO BAD HERE THEY COME! Bwuhaha. Ehrm.

Dr. Online is without a doubt in my mind, one of the most pleasant songs I have heard in awhile, but this video bites a big crusty bag of … well you get the picture. After all if the video was retarded.. it wouldn’t be on TORTURE TUESDAY now would it… tee hee.

There’s nothing like singing into the eyes of another guy.. I give kudos to those guys though. I couldn’t do it without laughing halfway through the song. Also I’m not sure if the band was trying to save money on the whole music video or not, but they accomplished it considering the stinking set was completely WHITE. I wonder how many times they had to clean that thing because some jerkoff walked through without taking off their shoes or tracked mud through it set. Also there was what looked like a chair made out of pizza boxes wrapped in saran wrap so they wouldn’t fly everywhere when sat on. Nice 10” TV as well their guys.

Such big spenders, they are.

Again, Great song, crappy music video, yet still weird enough to have fans scream ”I LOVE YOU GUYS”.

Well enjoy the torture and As Always, Here is A Fix.

Post from: Industrial Addiction