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Metropolis Releases Cabaret Voltaire Tribute Compilation This Week

Occupying the middle ground between punk and industrial, there was a British music group from Sheffield, England called Cabaret Voltaire.

While their earliest performances were Dada-influenced performance art, Cabaret Voltaire went on to blend pop with dance music, techno, dub house and experimental electronic music, evolving into one of the most prolific and important groups of their time. While their tenure was short, their impact was no less profound and influential to the bands they would help to shape in the future.

It is with this in mind that, “WHY KILL TIME (WHEN YOU CAN COVER CABARET VOLTAIRE)“, was conceived.

Bringing together bands such as: AkA, Bestial Mouths, Bioassay, Black Agent, Canter, Elegant Machinery, God Module, Having Issues, Kriistal Ann, Maleagant, Manufactura, Microchip Junky, Mirland/Larsen, Missing Witness, NØIR, PulseWidthMod & Databomb, Snowbeasts and SØLVE.

Eighteen bands with different approaches to music, joined by the common thread of paying a respectful homage to one of the progenitors that they all owe a small piece of their sound to. “WHY KILL TIME (WHEN YOU CAN COVER CABARET VOLTAIRE)” will be available digitally through Metropolis on October 19th, 2018.

Click HERE for pre-orders

 

Paliki – Radiornot (Bulbart, 26 October 2018)

This project owes its existence to the peninsula, named Paliki, on the Greek island of Kefalonia.

During a vacation, Naples-based multi-instrumentalist Mariano Felisio (previously Lads Who Lunch) is so struck by the unique clash of wilderness, beauty and abandonment that the island has to offer, that he starts to record nature sounds around him: cicadas and sea waves, but also, thanks to an old Grundig radio from the ’70s, radio stations from all over the world, noises and voices.

All of this ends up in Paliki’s debut album, with Mariano playing, recording and producing every sound on his own.

Armed with his trusted Telecaster guitar, a Fender Mustang bass, a Yamaha RX5 drum machine and percussions, he has put together a multifaceted set of songs that take cues from the likes of TV On The Radio, Prince, Suicide, The Cure, Animal Collective and Gang of Four, while putting his unique twist on things.

The album title, playing with the word “radio”, has several layers of meaning.

Firstly, a reference to Mariano’s childhood: he used to play with an old radio, travelling all around the world with his imagination.

The trick on words “Radiornot” also asks a question: are you ready or not?

People often linger too long before taking a decision.

Finally, “radio”, as a means through which music is delivered to listeners.

Sometimes artists are so keen to produce something supposedly radio-friendly, to eventually sell out.

Paliki, on the other hand, doesn’t compromise.

This is his idea of independence.

Keep up with Bulbart

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Posted by on October 13, 2018 in Alternative

 

The Dead Daisies prepare to set sail on the KISS CRUISE, as they release “Can’t Take it With You”

The Dead Daisies release their latest single “Can’t Take it With You”.

This has quickly become a crowd favorite, from the chart-topping album “Burn It Down”.

The band features in their ranks some of the finest Rockers on the planet, among them one of the premier lead guitarists of this day and age, Doug Aldrich (Whitesnake, Dio).

He completes a powerhouse lineup consisting of charismatic singer John Corabi (Mötley Crüe, The Scream), bassist extraordinaire Marco Mendoza (Thin Lizzy, Whitesnake), the groove machine Deen Castronovo (Journey, Bad English) and bringing the thunder from down under, Australian rhythm guitarist David Lowy (Red Phoenix, Mink).

Preparing to set sail on the Kiss Cruise, then head back to Europe for the Daisyland Winter Tour, playing at Hardrock Hell, Monstersfest, O2 Academies sold out throughout the UK, Winterstorm Rock Festival and Planet RockStock.

Rolling Stone GermanyRock’N’Roll like this is a rarity these days: dirty, passionate, full of anger, and lust for life without irony or distance“.

 

 
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Posted by on October 11, 2018 in Rock

 

Polly Panic – Losing Form (Write Hook Records 20 November 2018)

Rasputina’s Polly Panic announces new ‘Losing Form’ album

Cello-shredding rock siren Polly Panic is back with her third studio album ‘Losing Form’, to be released on CD and digitally via Write Hook Records on November 20. This is Polly Panic’s first album in six years, following ‘Fragment’ (2012) and ‘Painkiller’ (2006).

Polly Panic is Jenette Mackie, who wrote and recorded the 10 songs comprising this album in 2016-2017, sandwiching the process around time spent rehearsing and touring both coasts with her cello-driven band Rasputina, founded by Melora Creager and formerly including Zoë Keating and Julia Kent.

Arguably the best Polly Panic album yet, this also represents a turning point for this artist, having joined forces with Write Hook Records on the heels of touring as part of Rasputina. Inspired by PJ Harvey, Tom Waits, Tori Amos and Nirvana, this is cello-driven art rock with intense, powerful vocals and lyrics that take center stage.

Driven by a nucleus of cello, drums and vocals, these tunes are woven from tales of lustful obsession (‘Side Piece’), co-dependent addiction (‘Losing Form’), joy in realizing you don’t need who and what you thought you needed (‘Hollows’), and a scorned lover’s lethal revenge (the anthemic rocker ‘Annie’, an ode to Annie Oakley and to women everywhere who live life and experience love on their own terms).

Polly Panic’s uniquely dark and theatrical chamber rock has a sound that’s much larger than one would expect from just one vocalist playing a cello along with a drummer.

“I knew the cello could be everything. Of all the instruments, the cello is closest to the human voice and its capacity for expressing emotion is unparalleled. It was the most fierce and yet the softest most sorrowful instrument I had ever heard,” says Polly Panic.

“This album represents the strength to march on, being inspired by self-examination and reason for existence.”

Indeed Polly Panic herself had gone through massive challenges to continue with her art, from constant touring and getting sober to label changes and childbirth. Every step of the way has defined her to find that Polly Panic was not just something she did… It was who she is.

On ‘Losing Form’, Polly Panic got a helping hand from recording engineer Stephen Shoenecker at the Heritage Music studio in Bristol, Tennessee, studio drummer Ryan Rasnake, and mastering engineer Seva (Corrosion of Conformity) at Soundcurrent Mastering.

‘Losing Form’ will be available in stores as of release day and can be ordered digitally via Bandcamp. CDs be purchased in advance at Polly Panic’s live show and pre-ordered via the artist’s website.

Polly Panic is currently touring the East Coast to promote this album, together with drummer Caleb Beissart, spreading the gospel of the southern-gothic high priestess of cello rock.

CREDITS
Written and performed by Polly Panic (Jenette Mackie)
Recorded and mixed by Stephen Shoenecker at Heritage Music
Mastered by Seva at Soundcurrent Mastering
Drumbs by Ryan Rasnake

TRACK LIST
1. Annie
2. Beggar Rose
3. Losing Form
4. Purpose
5. Precious
6. Hollows
7. The Sidepiece
8. To the Bone
9. Twisted Up
10. Shadow

TOUR DATES
Oct. 06  The Station – Carrboro, NC
Oct. 13  Garden Grove Brewing and Urban Winery – Richmond, VA
Oct. 15  Thomas Street Tavern – Charlotte, NC
Oct. 20  Classic City Fringe Festival – Athens, GA
Nov. 08  Monstercade – Winston-Salem, NC
Nov. 15  Fleetwoods – Asheville, NC (EP release show)

Keep up with Polly Panic
Website | Bandcamp | Facebook | Twitter | Instagram | Soundcloud | YouTube | Reverbnation | Spotify

Keep up with Write Hook Records
Website | Facebook | Instagram | Twitter

 
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Posted by on October 11, 2018 in Rock

 

Noctorum (Marty Willson-Piper) – A Girl With No Love (Schoolkids Records 24 October 2018)

Marty Willson-Piper announces new Noctorum album ‘The Afterlife’, previews ‘A Girl With No Love’

Noctorum have announced they will be releasing their fourth album ‘The Afterlife’ through Schoolkids RecordsThis is the duo’s first long-play in seven years. It will be released exclusively on CD and gatefold vinyl to PledgeMusic contributors in November 2018. The general release of this album will happen in February 2019.

Noctorum is guitarist/singer-songwriter Marty Willson-Piper and producer Dare MasonNamed for the village Noctorum, located near to their childhood homes on The Wirral (near Liverpool), Dare and Marty liked its association with night and its Latin derivation. This collaboration has an eclectic focus, making the quiet loud and vice-versa, singing words that might be spoken and playing indoor instruments that should be heard outside. It has to be imagined to exist.

Ahead of the album’s release, they present the first single ‘A Girl With No Love’. Comical in its despair, the song explores the emotions of and options against physical loneliness in a world where, surrounded with many choices, people can find themselves not only alone with their thoughts, but with the incessant pressing pain of nature’s physical needs. In removing complicated social etiquette, compromise, personality, the perceived trouble involved and the cost, this one-time expense might adequately satisfy that nature in a world where communication skills, empathy and love are lost in a lonely room full of blind sentient beings unable to connect or trust, who are either doomed or blessed to an eternity of fantasy.

Having formed in 2002, Noctorum released their debut album Sparks Lane’ on Heyday Records in 2003. In 2006, they followed up with the album ‘Offer The Light’ on that same label, later re-releasing it as a digipak in 2010 via Second Motion Records. Heyday released their third album ‘Honey Mink Forever’ in 2011.

Marty Willson-Piper has been writing and performing internationally for over 35 years. He is best known as a long-time member of Australian psychedelic rock band The Church, who he was with from its inception through to 2013. He joined All About Eve in the ’90s, releasing two studio albums and several live albums with them. He is also lead singer and lyricist with Swedish band MOAT and a touring member of Swedish Prog legends Anekdoten. Since the mid-1980s, Willson-Piper has maintained a steady solo output, releasing six solo studio albums and three live solo albums to date. He has also co-written music with many artists, including Grace Slick, Aimee Mann, Susannah Hoffs and Linda Perry.

As a house engineer at London’s world famous Townhouse Studios, Dare Mason has worked with the likes of Prince, Paul McCartney, Boy George, Tina Turner, Ravi Shankar and Soul II Soul, among others. After becoming a freelance producer/engineer in 1991, he produced albums for The Grid, The Church, Placebo and AC Acoustics, working in London, New York, Sydney and Stockholm. He finally moved to Cornwall, where he set up the VIP Lounge studio in 2001. Nowadays, Dare is mainly known as a mixing engineer, having mixed recordings by Brix Smith (ex The Fall), Cinerama and Tommy Tokyo. Dare is also a composer, songwriter and accomplished guitarist, singer and dabbler in keyboards, usually contributing musically to the artists he produces.

As of October 24, ‘A Girl With No Love’ will be available across online stores and streaming platforms. The full album ‘The Afterlife’ album can already be ordered via PledgeMusic.

CREDITS
Marty Willson-Piper – lead vocal, electric lead and rhythm guitars, acoustic guitar, bass
Dare Mason – rhythm guitar, harmonica, backing vocals
Georgia Dulcie  – angelic vocals
Eddie John – drums
Written and produced by Marty Willson-Piper & Dare Mason
Lyrics by Marty Willson-Piper
Recorded and mixed by Dare Mason at the VIP Lounge, Penzance, England
Mastered by Poppy Weinberger for Riverfish Mastering
‘A Girl With No Love’ cover design by Olivia Willson-Piper
‘A Girl With No Love’ cover photography by Thom Masat
Executive Producer: Kevin L. Keller

TOUR DATES
07 Oct  NEW ORLEANS, LA – Siberia Lounge
11 Oct  FORT WORTH, TX – Fort Worth Live
12 Oct  SAN ANTONIO, TX – TBC
13 Oct  AUSTIN, TX – Cactus Cafe
15 Oct  MARFA, TX – Hotel Saint George
16 Oct  HOUSTON, TX – Warehouse Live
18 Oct  DENTON, TX – Patterson-Appleton Center
19 Oct  DALLAS, TX – Palo Santo Galactic Headquarters
20 Oct  DALLAS, TX – Palo Santo Galactic Headquarters
24 Oct  NEW YORK, NY – The Loft
26 Oct  HARRISBURG, PA – Stage On Herr
27 Oct  BERLIN, NJ – The Vault
10 Nov  HELSINKI, FINLAND – Nordic Music Days (as part of Anekdoten)
22 Dec  BURG STERNBERG, GERMANY – Geisterfest
02 Jan  LANDSBERG, GERMANY – Café Zirnheld (TBC)

Keep up with Noctorum / Marty Willson-Piper
Noctorum website | Marty website | Pledge Music | Facebook | Marty Facebook | YouTube | Soundcloud | Spotify

Keep up with Schoolkids Records
Website | Facebook | Twitter | Store | Discogs

 
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Posted by on October 9, 2018 in Rock

 

Katie Anne Mitchell … from the community to the world (by Lord Litter, October 2018)

When I first heard Katie Anne Mitchell‘s double CD I immediately knew I found something different. I don’t mean something that is wild and outrageous, or extremely difficult in structure, or produced in a incredible modern way… or or or. I mean different for what it is.

Basically it is Folk songs and a spoken dark, gothic story interwoven. You’ll get a song, then a chapter from the story, then another song … next chapter and so on.

Deeper and deeper you sink into the world of “The Many Lives of Mockingbird“.

And that is the way I think this double CD should be listened to .. sit down listen to the whole release and drift away into the world of Mockingbird.

Another aspect that raised my interst in Katie Anne Mitchell’s work was this statement I found on the cover:”…I’ll say that making an album is a community process and to that end, I’d like to acknowledge the family, friends, romantic foibles, and successes, and chance encounters that inspired the words and stories of this album and gave me the encouragement and foundation to see the vision come to life.”

So it’s not the *impressive 4th release of this upcomming songbird that will mesmerise us with strong commercial songwriting and a line up of musicians that played with this or that known superstar etc etc* .. no, it’s community driven music/story culture.

All this was so different from the usual info/release I get for my radioshows that I decided to make an interview, which I don’t do often these days. After a airline strike made our in studio conversation impossible, I thought lets make a written interview – here it is. (And many thanks to Tribe4mian for having us here!)

Lord Litter (LL): On your album you have a paragraph about the aspect *Community*. In my opinion a community is the hard core of a certain kind of *different* art. People come together and artists get inspired by people (not by products) and thus find a truely unique way of expressing themselves. What is your sentiment about the aspect *Community*?

Katie Anne Mitchell (Katie): Well said! I think community has been essential to my birth and growth as an artist. I came to music and the folk community through a company I’ve worked for over the past five years, a subscription-based streaming service called The Standing ‘O’ Project which  is affiliated with a nationally syndicated radio program Art of the Song. Through listening and conducting interviews, dealing directly with fans and artists on a daily basis, and attending festivals and conferences I became intimately familiar with the folk community and fell in love with the individuals in the community—their challenges, what they stood for, how deeply they cared for each other and how open they were in sharing their lives without the sugar coating. It was something I had never seen before or knew existed. I was awestruck, and it felt impossible that I wouldn’t do everything I could to be a part of this group of people now that I knew it existed. Really, I fell in love with the music because I fell in love with the people. I think, not always, but often that art is created by individuals who are a part of a larger community that they strongly identify with and they internalize those feelings and observations and experiences of that community and are therefore able to discover, reveal, and ultimately create something that is greater than just themselves.

(LL): Your album is one of the rare releases that I simply can’t present with one song or / and one chapter of the story – it’s more like a world one has to visit for a while to understand  .. any thoughts on that?

Katie: I love stories. I love epic stories. I love series of novels that go on for 10 books, TV series that last 13 seasons, radio shows that continue each week for 20 years. I love sitting down with someone who has lived a full, long life and wants to tell me all the details they want to in that moment. I recently visited Europe and one of my favorite museums I visited was the Van Gogh museum. Although I like and appreciate his art, my main takeaway was that I was so thankful for the opportunity to walk around and get to know this one person intimately for a couple hours, instead of being overwhelmed by a myriad of different artists that I couldn’t possibly get familiar with in such a short amount of time.

My point with sharing this information is that I believe our ADD culture leaves little room for intimacy and I wanted to do my small part to address that malady by creating a world that people could sink into and a character people could become really familiar with. It is so important to slow down and take the time to do that. Also, for me, I also wanted to become intimate with Mockingbird, to see who she was and what made her come to life. Although the album has personal touches, Mockingbird is not my story and it was as much of a discovery in writing as it was a telling.

(LL): I could define your release as *Folk* but the pictures such a description arises all seem wrong – what was your inspiration to create such a work?

Katie: Folk really is where it started, but folk encompasses a broad range. I think it started with the fact that the artists who I was really drawn into were the artists who gave me a slice-of-life picture before or after the song they sang. The accompanying story was just as much a part of the song as the song itself to me and I wanted to emphasize that in my work as well as remind people that the essence of folk music is storytelling.

(LL): Your songs sound very *open* – not really following the verse/bridge/chorus etc structure. Sometimes it almost can be described as *free form*. How did that come about? Influences?

Katie: As much as I’d like to say that this was a conscious artistic choice, I think this was really bred as much out of a lack of formal songwriting training and my impatience with highly structured things as it was out of my love for free form poetry and strangeness. Honestly, it was a fortunate happenstance. If I have to call it anything, I refer to my style as “sung poetry”. As far as influences, I’m a lover of the bardic tradition, the poetry of Charles Bukowski (bastard that he was), the writing of Neil Gaiman, and the musical stylings of folkies like Sam Baker, Grant Peeples, Terry Hendrix, and Beth Hart to name a very few.

(LL): The story of the Mockingbird is a very dark/gothic one – are you interested in these forms of expression? In my case I’m a true maniac for *Old school* gothic – Edgar Allen Poe, Frankenstein, Bela Lugosi …

Katie: Oh yes! I love that you love that—well put too. For me, I have a morbid fascination with morbidity. I had a very vivid and dark dream life, especially as a child, and it led to some measure of obsession with the occult….but the occult with poetry and significance to the human condition. I’m not a fan of horror just for the sake of violence, or evil just for evil’s sake. I like some humanity in my monsters, which is why I’m drawn to old school gothic which is, in many ways, quite layered in their commentary on men and monsters alike.

(LL): What made you call your main character Mockingbird – any meaning behind?

Katie: I started working on the Mockingbird song first. Originally, it was a political song personifying truth in this character of a mockingbird bound to other people’s voices and perceptions but longing to have her own voice. It also reflected my own struggles with sharing my thoughts and emotions and not giving away my voice in relationships in my life.

However, the character Mockingbird itself came to life in a strange way. A couple days into working on the song, I created a mock Ouija board with a friend of mine (I’m sure after a couple glasses of wine) and I asked something about what was going to be important in my music and it spelled out ‘Mockingbird’. My friend didn’t know about that song at the time. Whether real magic or perceived, that is the moment though I knew that Mockingbird was a person and not just a song. She was born in that moment. Indeed, like the song, her journey is in larger part about uncovering her own identity, truth, and voice even when she is part of a larger community. Community and individualism are not mutually exclusive, and I believe both must be developed to reveal the depth to our humanity.

(LL): “The Many Lives of Mockingbird” is comprised of songs and stories woven together like a web, spun from a fine silk thread – describes one reviewer – how did that come about? Much more conventional would be to have one CD with songs and one CD with the story – which would probably lead to more airplay/promotion, did you care/think about this aspect?

Katie: Oh boy, yes, I did not make the smartest move for commercial airplay. I gave this a little bit of consideration before creating it, but not much. Once I got it stuck in my mind that this was how it was supposed to be created, it was set. It didn’t feel like a choice any longer. I’m of the belief that sometimes stories choose us and tell us how they want to be brought to life and sometimes it isn’t our place to contradict that. So, I decided to serve the story instead of my career. I stand by that decision.

(LL): You are also an actress – how does that fit into the picture? How does this influence your world as musician – what kind of characters do you play as an actress?

Katie: I started as an actress so I think that my pieces are by nature theatrical and my writing trends toward the cinematic. However, the beauty of performing live is that I can be the imperfect, over-the-top persona that I can’t be on camera, which I love. I haven’t been focusing so much on the acting side of things but when I do it, I suppose my preferred role is tragic, deranged, heartfelt and, if I’m lucky, all three. However, I will say LA being what it is, there’s not a lot of range of small roles for folks only pursuing it some of the time. Mostly, I go for what my agent sends me. I think that was the beautiful thing of doing the storytelling/song combo is I was able to play a character that I wanted to play.

(LL): The cover of your release breathes Art Nouveau and 60s Counter Culture. Was that intended and who is the artist?

Katie: The artist is a gal named Eliza Lutz who, by design of engineer/producer Dave Badstubner, I chose as the album artist. He brought one of her pictures into the studio as ‘inspiration’ while we were recording and I immediately gravitated to it. When I brought her onto the project, I told her I loved what she did and to just have free range to see what she came up with. I sent her the lyrics and she woke up one day with this image in her head a few weeks later and it pretty much came out first draft in completion. I would love to take credit for it but I can’t at all, this pretty much just landed directly in her head and onto the paper. She also designed all the inserts and had the idea for the format. It was all her. She’s a genius….and a brilliant musician as well. I’m so grateful to her. If you want to check her out, she’s HERE

(LL): You are closely cooperating with Rebekah LeAnn Wiggins, somehow I have the impression she is all around in your work – like a shadow she’s everywhere – she creates the depth – a second level .. you also have a live duo. Who is she?

Katie: Rebekah (or Bekah to her friends and family) is a close friend who I met through the film community in Albuquerque when we both lived there. We actually weren’t close until coming to LA and bonded over some depression we were going through after the move. We both used to take frequent drives between LA and New Mexico and carpooled on one of them and just started singing together and something clicked. I had started performing out a few months prior and been doing the storytelling/song format from the get-go, but when she came on it brought a wonderful, fuller dimension to the performance. We had actually considered doing the album as a duo album, but she had more of a focus in the film world and the story, concept and most of the songs were written by me so it ended up being my solo album with her heavily featured and, of course, debuting her beautiful song Self-Made on the album. Our duo’s on a bit of a hiatus at the moment—she’s a brilliant actor/writer/director and has been swamped with those pursuits this fall. If you’re interested, you can keep updated HERE

(LL): All in all your release is impossible to *quick check* … it just really works when you sit down, have a glass of wine, dim the lights and if possible listen to the whole work. It’s the absolute *counter culture* to the quick check, click click click, next next next *culture* we suffer from today. Did you get any specific reaction concerning all this.

Katie: I definitely had people who encouraged me to do an EP or just do songs, but it didn’t feel right to me. I think I have an anarchist living in me….wrapped in the package of the girl-next-door look. I don’t like the single-song consumption culture. I think it’s cheapening our potential of intimacy between artist and fan. I think artists should make the art that moves us in a direction they want to see, not cater to what is. Artists should drive change. I see little point in contributing to the tapestry of what already is. There are people who can do that and do it much better than me, I want to add something that says something different than what’s being said at the moment. Although not everyone got what I was doing or why I was doing it, the people who got it *really* got it and I’m grateful for that.

(LL): From your website: “As one fan describes on watching her perform at Folk Alliance International that watching her is like watching the musical “Theatre of the Absurd”. I like this very much! Somehow it proves that everybody seems to have a quite unique description of what you do – what do you think what you do?

Katie: I love that quote! It’s one of my all-time favorite things someone has said about my music. I think I am, quite simply, a storyteller. I love writing and performing, I love being strange and off-kilter, and being all the colors I can be, and some that I can only be on stage or in my writing. At my best moments in it, I really feel more than myself. I believe that art is a collective build-upon thing and when you put it out in the world it becomes larger than you once others put their insights, and hopes, and fears on it, it becomes all of our work instead of just my work. So what do I do? I do what all storytellers do. I give people a place to start.

(LL): 13 questions seem perfect to present an unusual/unique artist .. so question number 13 is: What’s next?

Katie: I’m in the beginning stages of working on an EP called “The Songs of the Nearly Forgotten” compiling songs and spoken word pieces about individuals who are overlooked in society. If the last album was the novel, this is akin to a collection of short stories. Some of these pieces are stories from family history, some are dealing with overarching everyday struggles, but all are about finding place and purpose in a life that may be seen as unextraordinary to some.

There are many stories about remarkable people and I, as much as the next person, am inspired by these stories. However, I believe our humanity is, at times, best represented in the folks who lead lives that aren’t widely recorded or remembered. Those small, intimate moments and struggles that are forgotten by the rest of the world build who we are…and I suppose that if those are the moments that build individuals then it might also be those moments that build a community, a society, a species. Some of my very favorite moments in this life are those that will not be remembered by anyone other than me and the people I shared them with. And, hell, if that isn’t something remarkable.

Katie Anne Mitchell
Singer-songwriter/Storyteller/SAG-AFTRA

Keep up with Katie Anne Mitchell

Website | Facebook | Instagram I IMDB

 

 
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Posted by on October 7, 2018 in Alternative, Interviews

 

Eisbrecher to release Best Of Collection on Metropolis Records

On November 9, 2018, Metropolis Records will release ‘Ewiges Eis – 15 Jahre Eisbrecher,’ a 2 CD, 15 year best-of celebration of Eisbrecher that brings together the most beloved tracks from this powerhouse German band.

Emotional, honest and forthright, Eisbrecher forges delicately brutal music without compromises.

Heavy industrial guitar sounds, driving electro beats and distinctive vocals that are modern and danceable while simultaneously rejecting the usual Neue Deutsche Härte genre cliches.

 
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Posted by on October 6, 2018 in Uncategorized