The EBM / industrial scene is proud to present the newest release by Atropine, a Norwegian duo consisting of ALX and Cthulberg who since 1994 explore, experiment and create sounds formally advanced through a wide range of modern hardware/software equipments and instrumentations from the 70's, 80's generations. The constructive integration of the two protagonists into the projects Epilektrician, Panzerveps and Pogrom Synod have considerably heightened their ability to formulate advanced functions by an electronics musicality tending to obscure, made of hissing/harsh vocalizations, minimal programmed symmetries, hypnotic midtempo/uptempo drum-machine sections, samplings and icy synths.

After the success of the previous album "Master Raze" published in 2001, here are the new Atropine ready to surprise us again, this time with the full-length entitled "Recurring Nightmares" that includes thirteen episodes which transmits restlessness, mystery and alienating atmospheres, subjugating inevitably the listener dragging him into a dark spiral of technological modulations. The new release is tactically founded by dry and robotic drumming combined with precise sequenced geometries, by aggressive vocals, by poisonous lyrics, alienating industrial resonances, effects and by minimal emissions of keyboard.

Arrow Video is delighted to announce the latest addition to its roster of Brian De Palma movies with the UK Blu-ray debut of Sisters, arguably the first true Brain De Palma suspense thriller. Following the recent release of The Fury and the truly one-of-a-kind Phantom of the Paradise, Sisters has been treated to an all-new restoration that hopes to bring an all-new interest in one of De Palma’s greatest early works.

Complementing this dual-format Blu-ray and DVD edition are a host of brand new extras including interviews with co-writer Louisa Rose, actress Jennifer Salt, editor Paul Hirsch and unit manager Jeffrey Hayes, a film-by-film guide to Brian De Palma's five-decade career by critic Mike Sutton, a visual essay by author Justin Humphreys and an all-new collector’s booklet featuring new writing on the film by author Kier-La Janisse, Brian De Palma’s original 1973 Village Voice essay on working with composer Bernard Herrmann as well as a contemporary interview with De Palma on making Sisters, and the 1966 Life magazine article that inspired the film, illustrated with original archive stills

Synopsis: 

Before 1973, Brian De Palma was impossible to pigeonhole: he made comedies, political satires and openly experimental pieces. But with Sisters (originally released as Blood Sisters in the UK) he turned to the suspense thriller and discovered his natural home – and a style that would lead directly to later masterpieces like Carrie, Dressed to Kill and Blow Out.

When Danielle (Margot Kidder) meets potential boyfriend Philip (Lisle Wilson) after appearing on the TV show Peeping Toms (a nod to the Michael Powell shocker), she invites him home, only to attract the ire of her twin sister Dominique. From across the courtyard, Rear Window-style, reporter Grace (Jennifer Salt) witnesses Philip being murdered by one of the twins – but the police find no body or any physical evidence. Naturally, Grace takes things into her own hands, and discovers more about the sisters’ relationship than she bargained for…

Strongly influenced by Alfred Hitchcock and Roman Polanski, and with a score by the great Bernard Herrmann (Citizen Kane, Psycho), Sisters was the first true “Brian De Palma” film.

Special Edition Contents

· High Definition Blu-ray (1080p) and Standard Definition DVD presentation

· Original Mono audio (uncompressed PCM on the Blu-ray)

· What the Devil Hath Joined Together: Brian De Palma’s Sisters – A visual essay by author Justin Humphreys (47 mins)

· All new interviews with co-writer Louisa Rose, actress Jennifer Salt, editor Paul Hirsch and unit manager Jeffrey Hayes

· The De Palma Digest – a film-by-film guide to the director’s career by critic Mike Sutton

· Archive audio interview with star William Finley (excerpt)

· Gallery of Sisters promotional material from around the world

· Theatrical trailer

· Reversible sleeve featuring original and newly commissioned artwork by Graham Humphreys

· Illustrated collector's booklet featuring new writing on the film by author Kier-La Janisse (House of Psychotic Women), Brian De Palma’s original 1973 Village Voice essay on working with composer Bernard Herrmann as well as a contemporary interview with De Palma on making Sisters, and the 1966 Life magazine article that inspired the film.

Essential listening for all of us who love weird, dark electro with a retro feel and snarling electro-techno absolutely ideal for raving,

"There's a Place For You" is the new EP from Ethan Fawkes, one of the most respected and prolific artists driving Belgium's industrial-electro underground today. His latest release on I-Traxx Red Edition and its title track have already captured world-wide attention by enlisting enthusiastic remix support from none other than Things to Come Records' founder and living legend The Horrorist aka Oliver Chesler (NYC-USA,) Dancefloor Killers/Kobayashi's all-powerful Al Ferox (IT), and VV303 (B) the relentless master forging the iron-clad heart of European post-industrial electro-techno, as well as the blood-brothers duo known as The Plumbers alongside their brother-from-another-mother/label co-founder and partner, the singular Iñaki Kreator.

Ethan Fawkes "There's a Place For You" EP is an I-Traxx Red Edition exclusive; the place, in this case, is Pamplona, and all of us at Müsex Industries are blown away by Ethan Fawkes and all of the incredible artists who contributed to this must-have EP.

musex-industries.es/release/ethan-fawkes-theres-a-place-for-you

Since the release of the latest album ‘Black Waltz’, Avatar have had massive success all over the world. The singles Smells Like a Freakshow and Let it Burn peaked on #26 on US commercial rock radio charts, where they also stayed for several weeks well ahead of more established bands in the scene. This was followed by extensive and successful US tours.
 
The band will be on tour in April in Europe as well.
See dates below:

Tour dates:
April 12th - (BE) Maasmechelen, Jan Hertog
April 13th - (NL) Amsterdam, Winston Kingdom
April 15th - (DE) Ravensburg, Studio 104
April 16th - (AT) Vienna, Chelsea
April 17th - (DE) Weinheim, Cafe Central
April 19th - (FR) Macon, Le Sovengard
April 20th - (FR) Éragny, Covent Garden Studios
April 21st - (DE) Cologne, Underground
April 22nd - (DE) Hamburg, Logo

The biggest break through came when Avenged Sevenfold personally picked Avatar as support band on their sold out arena tour in Europe late 2013. Avatar got a reception far beyond expected by the crowds, which resulted in bookings on high profiled festivals such as Download Festival and Rock on the Range in 2014, among own headline dates of which most are soon sold out. More highly profiled tours and festivals are soon to be confirmed.
 
Now Avatar are up to date for the release of their new album ”Hail The Apocalypse” on May 12th through Gain/Sony in Europe and eOne in USA. The album was recorded in Karma Sound Studios, Bang Saray, Thailand, mixed by Jay Ruston (Stone Sour, Anthrax, Steel Panther) and mastered by Paul Logus (Volbeat, Clutch, Killswitch Engage).
Avatar is by many described as a perfect mix between Rammstein, Alice Cooper and System of a Down – something the band now have developed further with the upcoming video for the title track ”Hail The Apocalypse”. Avatar have gained much attention when it comes to their creativity in videos, always self-produced.

’Hail The Apocalypse’ is certainly an album to look out for, it is a fresh wind in a conservative metal swamp, it stands for something unique, something unexpected and something that’s been missing in the scene for the last decade.

One of the most powerful bands Melbourne has ever produced, presents their dark-yet-somehow-vibrant vision of electronic pop with their debut self-titled album.

Employing the weight of gnarling basslines, shimmering analogue synthesiser, punishing drum machine and the scathing lyrical vision of Jenny Branagan, Nun’s sound flows from sinister drone-orgy and hyperkinetic synth-punk to saturated new wave worship.
An unrelenting aesthetic sense penetrates every aspect of this record, resulting in a remarkably cohesive work of art. Song structures are simple, considered and direct - everything is fine-tuned to ensure maximum sonic devastation. The music is danceable and poppy, it’s sad and incisive, it’s fun, aggressive and heavy as hell. Most impressive of all is its immense force; the effortless delivery belying an overwhelming sense of something very heavy and unpleasant looming just beneath the scintillating pop surface.