IN SLAUGHTER NATIVES - Cannula Coma Legio
Lead by the enigmatic Jouni Havukainen since the late 80's, he is responsible for some of the brashest and intense releases of the post industrial genre.
This new release can be seen as a prequel to things to come, it contains 3 brand new tracks, in which we see ISN plunge into less bombastic terrain and delve into more obscure ambient territories.
Along side these new pieces is reworked, remixed and upgraded material used in the last years as part of live performances by extreme body art performer Chérie Roi, giving new life and direction to some well known passages and lesser known tracks with the trademark ISN bombastic sound and vocals.
A brand new album is also scheduled for release in late 2014, and this release serves as the perfect appetizer while we wait for the main course.
From the mastermind behind behind “C-lekktor” comes this new industrial sonic assault: “Circuito Cerrado” (spanish for Closed Circuit) with the full force of Power Noise and elements of EBM and Hardcore Music, this mexican duo composed of Markko and Psyklon bring this new project if you like acts like SAM, fabrikC and Alien Vampires mixed with the characteristic sound of mexican industrial music, armed with 16 sound blasting tracks.
This is not a virus, this is not a war, this is not hatred, this is torture… This is Circuito Cerrado!!!!
Marilyn Burns, one of the original “scream queens” who starred in Tobe Hooper’s original 1974 “Texas Chainsaw Massacre,” died Tuesday in Texas. She was 65 and was found dead in her home near Houston.
“Texas Chainsaw” was her first lead role; in it she played teenager Sally Hardesty, who goes with her brother and friends to the cemetery where her grandfather is buried and ends up as the only survivor of an encounter with the insane family led by chainsaw-wielding Leatherface.
Burns was born in Erie, Penn., raised in Texas and had small parts in films including Robert Altman’s “Brewster McCloud” while she was still in high school, and George Roy Hill’s “The Great Waldo Pepper.”
But she was most known for horror films including Hooper’s 1977 “Eaten Alive,” about an insane hotel proprietor who feeds his guests to his pet alligator. Among her other films were “Kiss Daddy Goodbye” and “Future-Kill.”
In 1976, she appeared in TV movie “Helter Skelter” as Charles Manson follower Linda Kasabian. She had a cameo in “Texas Chainsaw Massacre: The Next Generation” and was seen in her original role in archival footage in “Texas Chainsaw 3D.”
Source: Variety
Amazing debut by Swedish industrial-metal outfit, coming in digipak with exclusive remixes from COMBICHRIST, ALIEN VAMPIRES, NOISUF-X and SERAPHIM SYSTEM! A devastating debut of incredibly assured and polished songwriting and production skill – a heady and complex cocktail which the band’s own description “industrial metal with modern electronic styles” hardly does justice to.
Ethereal female soprano vocals sail sweetly over the epic choruses of an electro-metal onslaught – providing the perfect musical counterpoint to the carnage of heavy riffs and hard electronics seething beneath the surface. 13 superb tracks, “Rave the Reqviem” is in itself a colossal sounding work. So who on Earth could have been asked to help create a bonus section of the same quality? Scandinavian Andy LaPlegua of course – who promptly delivered a COMBICHRIST remix of bone-crushing intensity – Jan L, already behind the mixing desk, who transformed “Exhale” into a NOISUF-X club classic, and ALIEN VAMPIRES…who summon the spirit of mid-90s SCOOTER for a Eurodance workout. SERAPHIM SYSTE, out of North Carolina close the remix section, whose remix completely captures the musical essence of RAVE THE REQVIEM’s own fusion of styles, and belongs among such illustrious company entirely on its own merits.
Ash Code is the moniker for the meeting of Alessandro's sensivity and Claudia's taste. Their music describe a collage of darkwave, noise and electronic music with a solid drum machine. Dark ballads and obsessive beats, deep and melancholic synths, noise and distortions, arpeggiators and delays. Lights and shades. Dances of Death. Visions and theatricality. Coded ash.
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