Hands Production

Winterkälte is one of the original rhythm noise acts that is still producing the finest in grating beats. Scratchy distortion and static screeching runs rampant on the 10 tracks of the German duo’s third full-length release. “Solar Peace,” “Eco Lateral Damage” and “Ban Depleted Uranium Weapons” indicate an environmentally charged political theme throughout. Winterkälte has always been therapeutic for homicidal days or for the times I need a boost in addition to caffeine. Disturbance is more of what Winterkälte does best and it’s impossible to get enough of it.
This review originally appeared in Modus Operandi, March 2005, Issue 195.

Hanzel Und Gretyl Scheissmessiah

Hanzel Und Gretyl


Years ago, I lived in Logan, where music stores were limited. In a desperate craving for new music, I went to Hastings, spotted a Hanzel Und Gretyl disc and decided to give it a shot. Got the CD home and skipped through the tracks and in less than an hour I was back in the store returning it. That was the first and only time I have done that. Expectations were pretty low for the latest HuG, Scheissmessiah, and the hardcore metal act didn’t win me over this time (do they even own a keyboard?). Now I am contemplating how relevant this music is for a label like Metropolis. From time to time, I run into somebody who claims to be a huge fan of industrial and then they talk about Rammstein, Marilyn Manson and the likes. Metal fans call it industrial and the industrial connoisseurs reject it because it is metal. There are bands that are excellent live, but just don’t translate well onto CD. Novelty acts like Hanzel und Gretyl and Genitortures and Slipknot are just that. If metal industrial rock is your thing, this might be fun. One track manages to break through the clutter—“Hellelujah,” a cover of Handel’s Messiah complete with choir, guitars and drums. It’s like the metal Mo Tab choir.
This review originally appeared in Modus Operandi, March 2005, Issue 195.

Venetian Snares - Infolepsy EP

Venetian Snares
Infolepsy EP

Coredump Records

The Salt Lake label showcases more tasty treats with Venetian Snares’ latest, Infolepsy. Many of you are going to remember the famous pinball machine song on Sesame Street about the number “12.” Well, Mr. Funk has his own version of “Twelve” that takes your innocent childhood memories into a tunnel of hard, brutal bass while opening the EP teaser. Next, on “Where’s Bill,” you get stabbing hits while Uma Thurman screams, “Where’s Bill?” You can really hear the bloodbath. “Americanized” continues with more savory stabs with a contrasting melody and features sampling of a madman raving about “communist gangster government” and “worldwide living death.” The 21-minute short disc ends with the drilling tempo of “Punishing2004 ft. MC SKM.” Chocolate Wheelchair, Horse and Goat and all the other weekly releases from the Canadian superstar have been fantastic; however, this is my favorite thing to come from Venetian Snares since the Doll trilogy.
This review originally appeared in Modus Operandi, March 2005, Issue 195.

Mad EP When I’m 6

Mad EP
When I’m 6

Ad Noiseam

The Ad Noiseam label is doing what other labels haven’t dared. Switching up typical IDM, noise, experimental, electronics and hip-hop while bridging a variety of genres and doing a phenomenal job with artists like Mad EP gives the label the leading edge on dull music trends. Mad EP is the solo work of Matthew Peters, an accomplished cellist and producer of classical music. When I’m 6 has been a project Peters has held onto for several years and serves as an appetizer to the full-length that just came out, Eating Movies. If When I’m 6 wasn’t enough to satiate you, Jason Forrest (a.k.a. Donna Summer), End and Mothboy show off their exquisite remix stylings on the debut EP. If you are not yet convinced to pick up the entire Ad Noiseam discography at this point, you should at least consider picking up this gem.
This review originally appeared in Modus Operandi, March 2005, Issue 195.

Violent Entity - Mechanized Division

Violent Entity
Mechanized Division

Black Rain

The coolest things about Violent Entity is how he manages to pull out original old-school industrial without sounding dated or dull. As the only U.S. artist on the Black Rain label, Damon Dullinger had his work cut out for him to match the quality of labelmates Davantage and Feindflug. Danceable EBM, minimal sampling and growling vocals are consistently pleasing on the 11 tracks of Dullinger’s first album. Violent Entity has already gained popularity in the electronic/industrial music community. After spending months on the road as a live member of Terrorfakt and then later adding Karloz M. of Manufactura as an unofficial member, you are going to be hearing a lot of good things from Violent Entity. Favorites include “Embrace my hate,” “Cold as Ice,” and the Supreme Court remix of “Dark Reality.” Mechanized Division is a refreshing break from the regular industrial club rotation and will leave listeners awaiting the next release.
This review originally appeared in Modus Operandi, March 2005, Issue 195.

In 1995, it was thought to be over. After 13 years, Skinny Puppy was dissolving and it seemingly came to a close with the overdose of Dwayne Goettel. In the years that passed between now and then, a multitude of side-projects by members of the legendary act resurfaced. Download, The Tear Garden, OhGr, Ritalin and Plateau gave solace to the act that ended abruptly. Then in 2001, the unthinkable happened. Skinny Puppy reunited for a one-off performance at the Doomsday Festival in Germany. Thanks to the persistent promoters with big dreams, the two remaining members of Skinny Puppy reunited and chose to move forward with the music that had been buried alive.

SLUG: At what point did you decide to resurrect Skinny Puppy?

Skinny Puppy: Well there were these two German guys calling me each year starting in about 1997. Originally, I thought it was just a joke. An then they called me the next year and they said, “We’re really serious. We want you and Ogre to regroup and be just like how you were in the beginning days and perform some songs and be how you originally were and we’re willing to do whatever it takes.” And so I said, “You guys are crazy.” Then I ran into Ogre at a concert and told him about these guys and I thought he’d find it just as funny as I did. He said, “Gee that sounds sort of interesting.” I understood at that point that maybe it wasn’t a bad idea. Afterwards, we felt very energized and healed, putting water under the bridge, like it was a magical journey to get there. After we had done the show, we were sitting on a train to Prague and we said, “That was so much fun, we’ve gotta do some more. Maybe it would be more fun to not just do old, looking-backward shows, but maybe make a new album and see where we would be now.” So that is where we came up with the idea to move forward.

SLUG: How do you compare Skinny Puppy 10 years ago to where it is now?

Skinny Puppy: We’d have to go back further than 10 years ago for me to compare. The good Skinny Puppy was where we were being very functional, to modern-day functional Skinny Puppy again. Ten years ago, we were not a functional Skinny Puppy. We were making the album, The Process, and we were having a horrible time—not so much in making the album, but with ourselves. That was the difference between 10 years ago and today. But if you go back 15 years ago and today, it really isn’t soo much different, in the sense of how important the music is to us, and how important we like to make Skinny Puppy music. We’re probably its first fan, its biggest fan.

SLUG: So, looking back, what do you see as maybe high points and low points?

Skinny Puppy: This whole thing has been a high point. When we started making music to begin with, we didn’t really make music for people to enjoy. We were just making music for ourselves. Then people just quickly picked up the pace. We’ve had some mishaps along the way—we’ve lost our best friend, but we carry him with us and feel that he would be supportive of where we’re at now. I think things were left in a bad light.

SLUG: Did you ever imagine in 1995 that things would ever look up again?

Skinny Puppy: No, to be quite honest, 1995 was a devastating year for us, and I was faced with this decision to either give up or pick it up for both of us. I’ve been pretty much running Subconscious in the entire direction of that label myself, ever since. I think we’ve had 30 releases since then. So, it has been just about working and working and working. I never thought I would have the chance to do Skinny Puppy again. So, when given the chance, it’s certainly more than I have a great amount of respect for. It’s a very good place to be after you’ve gone through the gamut.

SLUG: The Greater Wrong of the Right has so many contributors. How did you decide who you wanted to participate?

Skinny Puppy: Friends. First and foremost, the prerequisite was that you understood Skinny Puppy and that you could verbalize that. I limited it to working with one person at a time on each track and not making it an overwhelming situation with too many cooks in the kitchen. Therefore, sort of leaving the doort open to see which sound would be the most inspiring, but as it turned out, they all were the most inspiring because there were so many different avenues to go down. In the end, it made logical sense that when it came together it was discollective which we’d be able to stand up and bring some goods to the table.

SLUG: How has the reaction been with the tour? Has it been satisfying?

Skinny Puppy: Yeah. It’s nice to see a varied audience that consists of young and old, male and female, thick and thin, goth and whoever. There’s no predominant factor and it’s nice to see that. Unpredictable.

SLUG: What plans do you have when you return from the tour?

Skinny Puppy: More new albums. More new Skinny Puppy.

SLUG: What about the side-projects?

Skinny Puppy: Right now we’re having too much fun with Skinny Puppy. But I think people would have been more than happy that we are dedicating 100% of our time in Skinny Puppy.

Experience the blood, screams and mayhem of this immortal act on Wednesday, November 24th In The Venue. For all other inquiries, refer to