It was a different kind of Fat Tuesday in Austin this year. Just a few steps away from the beads, beer, and breasts of the Mardis Gras celebrations on 6th street, the dark and divergent of the south took part in some aural debauchery in the form of a power noise show at The Atomic Café. And a debaucherous night it was! Tuesday is normally the club's fetish night, so the fetish folk were out in full attire. Mardis Gras revelers stumbled in with their necks adorned with almost as many beads as there were beats emanating from the PA. There was a very large man adorning an even larger albino Burmese python, and a guy called Thor who carried a big stick. The entire club was permeated with the scents of Patchouli, Nag Champa, and Sandalwood that combined with the liquor that was constantly pouring, and the intensely trance inducing music made for an intoxicating evening in all senses of the word.
It's just that kind of diversity that the show was all about. All three acts that appeared, Imminent (formerly called Imminent Starvation), Synapscape, and Savak, are all acts that defy genres. Drawing from fans of Industrial music with their aggressive electronic style, the noise crowd with the railing static and discord, and the techno crowd with their moments of bass filled beat tangents and occasional ambient bliss, these bands have something to meet all kinds of tastes. That they did! Amazingly with all the different folks that showed there wasn't a long face in the crowd of romantic Goths, drunken businessmen, college kids on a night out, rune fortune tellers, punks, and doms with swinging whips and subs that had paid $5 to be tied to the racks scattered throughout the club.
First on stage was DJ salt, owner of Ant Zen Records in Germany, with a DJ set that just went all over the spectrum of great music. He played the signature Ant Zen sound to rave-style dance tracks with a spattering of off the wall tracks in between. A smattering of patrons danced across the floor while many sat along the sides to listen and some began their lesson in newer styles of dark music that are out there.
IAround 11pm, Savak stepped on stage. Armed only with a laptop and some really fancy effects boxes, they pounded out a very complex set with such a minimal amount of equipment. Savak is the solo project of Scott Beebe from Holocaust Theory. With the help of his Holocaust Theory partner, James, he uses Savak as his outlet for the wide range of music concepts he devises. Talking with Scott that evening, I found he really did have a very extensive taste in music. With his likes ranging from Industrial (of course), to "hair" metal bands, to gothic, to hip hop and everything in between it was not a surprise to see his set cover an expansive range of styles. Some of his tracks were hypnotically ambient, and others very harsh and aggressive. All were wonderfully performed, and really got the crowd warmed into what was to come next.
During a short intermission between acts, DJ Eckoe of Dallas spun a DJ set. Introducing the audience to a new form of electronic music for many of the Industrial and Gothic fans in attendance, his set of dark Goa Trance was well received by the group.
It wasn't too long at all, however, when Synapscape took the stage. All eyes were on them as they hypnotized the audience with a set of extremely powerful beats. The pounding rhythms combined with grinding and popping synth sounds kept a large portion of the people on their feet and moving through the entire set. When they would occasionally reach over for a microphone that was pumped through a series of harsh effects, the rest of the audience really went wild. With their series of highly danceable, yet incredibly abrasive rhythms, Synapscape totally stole the show. I have a feeling they walked away from the set with a few new fans.
After the Synapscape set, while all the folks were still pumped, DJs STDJ from Austin and DJ Eckoe again graced the stage for a tag team DJ set of sorts. Interweaving between the Goa of Eckoe and the more familiar Industrial from STDJ, everyone was dancing and kept primed for Imminent to take the stage.
It wasn't long for Olivier of Imminent to do just that. Climbing up on stage around 1:00 am, he played a set of tracks there were fairly new to the ears of even those more familiar with his work. Sounding quite divergent from many of his more familiar releases, it was assumed by many that the difference in sound went hand in hand with the change in name from Imminent Starvation to simply Imminent. It was a fabulous set just the same, and definitely followed suit with the other acts in that it opened new avenues of sound to many of the audience. However, in this case, it opened new doors for many of the more familiar fans as well.
Late in the evening, all were tired and the sets were done. STDJ and company climbed back on stage to finish out the night with music for those still clinging onto the party. As we were helping the bands load their equipment and themselves into the van, many words were exchanged between the promoters, the fans, and the bands themselves. No one walked away displeased as the bands felt that they had a new group of loyal fans in Texas, and the audience felt that they had walked away seeing something very special. Special it was, as unfolding before their eyes were bands that had not walked Texas soil previously, and Imminent was unveiling his new identity. And once we all got back to the hotel, we quickly went to bed with sleepy grins on our faces from a successful night.
Reviewed and photographed by ::CyBeRiNa FluX::
1624 chapin st
alameda, ca 94501
Snail Mail: 705 Red River Austin Texas 78701
Booking and Band Info: email@example.com
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Changelings, Sumerland, Children of Paradise
Friday, March 10, 2000. EJ's, Portland, Oregon.
~by guest writer Sonya Brown
With candle light glowing the ambiance was set for a remarkable night. An ideal gathering of musicians assembled for a unique presentation.
First in the line-up is Children of Paradise, a sort of gypsy ensemble with belly dancers to set the mood... and a rather nice preface to Sumerland. Sumerland was, as always, magical. One of the great things about living in Portland is the opportunity to see Sumerland perform live - something I do at every given opportunity. Dorien's deep vox and the beautiful sounds from his 12-string acoustic guitar gel so perfectly with the haunting keys of Marshall, Enrique's exotic drumming and "bowing" of his guitar; and of course, David bringing it all together on bass. Sumerland put on one of their best sets yet... perhaps partially due to their fortune of performing at such an incredible show, or perhaps simply because this band has become so beautifully polished over the years.
When the Changelings took the stage, the crowd drew nearer in anticipation of what was sure to be a enchanting performance. The Changelings did not disappoint. Untraditional, exotic and beautiful describes the sounds of the night. Regeana looked like an angel with her beaded headpiece and gown - with a voice to match, and swirling lovely sounds drifted & weaved through the rafters of the club. One of my favorite sounds being the violin of Paul Mercer.
I think the audience must have felt as if they had been swirled up into the smoky layers of sound and transcended somewhere medieval that night. A delicate journey, one you did not realize you had taken until you returned to reality after the set. I would love to see The Changelings perform in Portland again very soon, and I hope they will return often.
by Middle Pillar:
"Have you ever come over a rise in the road and seen something from a dream long ago? Something so beautiful and frightening and glorious that you can't breathe? … Beautiful despair. 'Freedom's just another word for nothin' left to lose.' Like Janis by way of Nick Cave by way of Jim Morrison by way of the Swans" - Kirin for StarVox on Myssouri
The Echo Lounge
~words and photos by Blu unless otherwise noted
On an ordinary Friday night, some of Atlanta's best bands took the stage for what would be an extraordinary night of music. The venue was The Echo Lounge - a smallish but hip place in East Atlanta that's fast becoming one the more popular places to go for drinks and music. Decorated in a retro 70's style, egg-shaped chairs hang from the ceiling in the back room where you can also get $1.50 cups of decent coffee when the nights grow late.
This was my second time seeing Spectalux play live (see The Cruxshadows concert review) - a four piece band with enough raw energy to give punk bands a run for their money. Having heard the songs once before I was familiar enough with their music to really get into it this time. They started out a little tense but had loosened up by the middle of their set and by the end, were interacting with each other on stage and genuinely having a good time. This is a band I expect to see a lot more of in the future. The vocals are a powerful combination of smart, twisted lyrics and an intense delivery that waivers somewhere between singing, spoken word and sometimes all out, unleashed upheaval. By the end of their set I was convinced that buying a CD from them would be a good thing too (see CD reviews).
Back from their headlining West Coast trip (see their concert review from Portland), The Changelings were welcomed by their hometown crowd with great applause. I haven't seen them play in quite a while and I was happy to re-discover just how amazing they are live. You'd think by now I'd be used to it, but I'm not. I always come away stunned. Regina, in a playful wig and boa, was a siren that lured many people to the front of the stage that night. It always delights me to see so many people moved to dance when they play…its gotta be great from the band's perspective to see that. Josh Brown - a long time friend of the band sat in that night to treat us to his exotic sitar playing. It was a truly enchanting set - at times fast beat and riveting and at others - museful and heavenly. The musicianship of this band is an amazing thing to witness - classical, romantic and poised, if you ever get a chance to see them - don' t let it slip by!
Myssouri finally took the stage after a bit of a break between bands - clad in simple black, somber and composed, everything about this band speaks of professionalism and a certain confident calmness so that you expect great musicianship based solely on your first site of them. They do not disappoint.
There was a nice mix of new songs as well as old favorites that I've long since memorized the words to off their first CD. They opened with "Red Grass" - letting the lonesome notes of the guitar and the steady drive of bass sink into the ears of the audience then charged full speed ahead into the rousing Western sounds of "Blindy." "Malimony" and "Violence" were next followed by one of my favorites - the sexually charged "Devil On My Shoulder," which ends in a riotous group chorus that seem to summon the very pits of hell up on stage for a grand party. "You Are Mine" slowed it down a bit - and even though this was the first time I've heard this song, it left quite an impression as the words "…you are mine" slithered out of Michael's mouth throughout the chorus and was all at once terrifying and beautiful. The bitter sounds of "Open Contempt" was next - a painfully emotional song that's always as intense performed live as the dark words that form the prose-like lyrics. "My Eye" and "Hey John" - also among my favorites from the first album, poured out through the speakers - polished and clean and absolutely right on the money like golden honey on a spring day. I've never heard this band sound so good and so together. They ended their set with a new song, "Drag" but the crowd was left unsatisfied. In a highly unusual act, the local crowd clapped and demanded an encore. Not quite prepared for such a thing, the rest of the band had already dispersed amongst the crowd so Michael humbly quenched the crowd's thirst with a quiet, beautiful song; solo on stage with his guitar.
If you ever have the chance to see this band play live - be prepared for a journey… to be transported back through time to a different place and circumstance. You'll drift with them through desolate Western deserts in impossible heat and then stand weeping at the beauty of stars in a clear sky on a cold night. You'll feel the pain of wrongful convictions, the injustice of ancient generations and the comforting, loyal love of a soulmate just when you've lost all hope. Bradly's lyrics are at times delicate, gothic prose in the most traditional and classic sense and at others - twisted insites into genius the likes of Nick Cave. This is truly extraordinary music - unique, unclassifiable and utterly passionate. They've already began work on their second CD - needless to say, adoring fans wait anxiously.
next performance is MAY 6 at MUSIC MIDTOWN - Atlanta
Monday, March 27th, 2000
Time is an odd thing. The older you get, the faster it goes. Years pass and you hardly notice… until nights like these. Tonight - on stage in the bright lights, poised, beautiful, and energetically timeless - Peter Murphy was a wizard of time travel. Back through summers past, first loves, bitter heartbreaks and reconciliations, he stirred old memories with a musical wand. He opened old wounds and let them bleed clean. Tears were shed that night both in joy and sadness… and no explanations were needed. A friend turned to me once, tears wavering on the edge of his eyes, and hugged me without a word. This is the power of song - of soul-drenched lyrics and memories attached to significant parts in our lives. This was realizing where you've been, where you are, and where you've yet to go.
As he navigated through the songs nicely collected on the new Wild Birds CD, Peter sung and moved with an unrestrained conviction that he's always had - that somehow he's always been wise beyond his years - tuned into some greater life force that gets translated through the liquid precision of his songs. The band was inspired and on fire- every song perfect, never missing a beat. The tones were clear and the breaks cut clean in a dizzying, sudden assault of silence that left your heartbeat jumping in your ears before resuming their magical melodies. And near the end of the set, Peter took his guitar, and alone on stage, he captivated the audience - wove them into a slowly rocking mass of bodies singing along and eyes straining to see the stage - seeking salvation in that voice that cascaded through the speakers. Most notable was his performances of "Indigo Eyes," "Strange Kind of Love (acoustic)", and "Marlene Dietrich's Favourite Poem (acoustic)" that didn't leave very many eyes dry. The band rejoined him for a rousing version of "Cuts You Up" that had every one dancing.
When the concert was over, the crowd demanded more, and as expected, they came back out for an encore after Peter took the time to introduce the band members: Peter DiStephano (guitar, ex-Porno for Pyros), Eric Avery (bass, ex Jane's Addiction), Doug DeAngelis (Keyboards, former producer Love&Rockets, Psychotica) and Kevin Haskins (Drums...Bauhaus, Love and Rockets). They played, "Surrendered" and "Roll Call Recallgiven." Now given that I knew for a fact that only one encore was pre-planned - even down to the length of the encore; I was curious to see what was going to happen when the crowd heartily demanded, clapped, cheered and stomped after they had left the stage yet again. I wonder if it was the crowd's enthusiasm alone or his desire to communicate something more that brought Peter and the boys back out for yet another song - "Huuvola." The crowd loved him - and he smiled and mouthed thank you's to them. Once again he left, and once again, the crowd's thirst was left unquenched. The noise was incredible... I cannot even begin to imagine what that must feel like to a performer. And so, for a THIRD time, totally unplanned, Peter took to the stage alone, guitar in hand- almost giddy with his smiles, once more to the relief of adoring fans to play "Big Love of a Tiny Fool". And finally, with that, he tip-toed along the ledge of the stage- shaking hands, talking to people and accepting a few gifts with a wide grin. This is the payback - this is what he's earned from years on the road and years making music that meant so much to people. He was at the height of his game and totally adored by those who had traveled, sometimes from hours away, just to hear him. The beautiful thing was that he was so humble…so thankful and appreciative of his fans - appreciative of those who had spent the night, taking a ride through time and memories with him.
Peter Muprhy: More comments and photos of the Atlanta Show:
Peter Murphy.Org: http://www.petermurphy.org
Love & Rockets: http://www.loveandrockets.com/
+ Immortal + Angel Corpse + Krisiun + From The Depths + Somnus
March 29, 2000 @ The Flying Machine
~Words and photos by Matthew
Feeling utterly saturated with black/death metal, I refused to miss the chance to travel to Ohio from Pittsburgh to witness the spectacle of some of today’s leading European black metal acts perform on American shores. Despite the fact that there was a small group of drunken, wanna-be black metal enthusiasts sporting a laughable corpse-paint make-up job making my photographic attempts a living nightmare, I had a great time. Despite the seemingly low mentality of many sweaty puppets shouting “Norway!” at the top of their lungs while standing in the backwoods of Ohio, I had a great time. Focussing on the bands and the matter at hand, this lone Goth boy fought to keep his ground merely steps from the stage to bring to you exclusive photos and a write-up of one of the most memorable and intense shows he has ever witnessed. I have learned many things, though the most important of lessons is that black metal is best heard live and despite the seemingly juvenile conditions and occasional testosterone driven silliness of metal shows, there is a unity amongst the crowd. Many traveled far and wide to attend this show, and packed like sardines we all watched spellbound and delighted as six extremely talented acts demolished our ear drums with an intricate aggression that would be difficult to parallel.
The long, exhausting evening at last began around 8:30 PM, an hour later than scheduled. Cleveland Ohio’s promising gothic/black metal act Somnus once again gained an honourable opening slot, and once again delivered a breathtaking performance. Characterized by anguished raspy lead vocals, twin guitar harmonies, and orchestral keyboards, the band ushered in the evening with intellectual and grandiose art and successfully set a tone of dark emotional splendour. Sadly, due to the number of bands playing that evening, there were not enough patches or some unfortunate technical shortcoming that prevented Rhiannon, the band’s keyboardist and backing vocalist, from contributing her angelic voice to contrast Scott’s daemonic death growls. Their set consisted of four tracks, including the crowd favourites “Forever The Serpent,” and “Unfulfilled Prophecy,” from their debut CD “Awakening The Crown.” Somnus were again an impressive treat for those lucky ones that wandered in early enough to catch their energetic and moving performance.
The next act was another band local to Cleveland, the infamous From The Depths. I had the chance to first see this band open for Cradle Of Filth last summer, and their brand of technical Edge Of Sanity styled death metal is yet another answer that there is hope for American bands to come to the level of European acts. Despite some more technical problems with the lead vocalist and guitarist, the band pulled off a great set, consisting of early material such as “Absentia” and “Dark Angel” and the title track from their new full length CD entitled “Elyzium.” They brought things to a close with a cover by death/thrash metal gods Kreator. It was a powerful set, and despite the technical difficulties, their talent brilliantly showed through and they got the crowd stirred up for the bands that were yet to come.
Brazil’s Krisiun soon followed and were actually a very nice surprise. I really wasn’t expecting much from them because I heard they were basically an average three-piece death metal act. But there was truly nothing average about Krisiun as most descriptions would really not do this band the justice they deserve. The stage was washed in a lovely dark red light as this trio just tore through their set without any mercy, creating a cool atmosphere to witness such apocalyptic raging. Their brutal style of blistering death metal was a delight! The drummer was absolutely incredible, producing some of the most innovative fills and drumbeats I have heard in this style of music in quite some time. Intense and severely fast, yet pounding and thunderous, he never missed a beat and held the crowd fascinated for the entire length of the set. The bassist/vocalist also raised some eyebrows. I thought that many of the vocal parts were well placed in the rhythms. Where he began to sing was not where you normally would have expected and it proved more effective in the long run, so a few creativity points were awarded to this band yet again for making a dated style seem more interesting than even in the past. Krisiun are one of those bands that play at ungodly speeds yet every note rings clear and resonates deeply, which is pretty damn impressive in a live performance. I was truly impressed by this band and would recommend that death metal enthusiasts check out this hot South American export as soon as possible.
Angel Corpse took the stage next, and whether it was the fact that I was still in shock and reeling from Krisiun or what, I just felt Angel Corpse didn’t live up to par. The crowd seemed to dig their brand of early Morbid Angel influenced death metal, but I wasn’t as easily impressed. The first half of their set was pretty cool, but by the fourth or fifth song, things really started to drag in my opinion. There were a few riffs that stuck out and they certainly come across better live than the studio material that I have heard, but still I wish instead the prior three bands would have been allotted more time and that these guys were omitted from the bill altogether.
Soon it was time for the first of the two headlining acts to arrive. Norway’s Immortal emerged from the shadows after a fitting symphonic intro. To the delight of the many 'virgin' American black metal heads, Immortal sported their corpse paint and raised their devil horns high in the air. I am going to get slain for this, but though their corpse-paint was cool, I couldn't no matter how hard I tried, shake the idea that Immortal looked like cast members from the musical "Cats" gone HORRIBLY awry! I mean, the way front man Abboth pouts in their his press photos just makes you want to reach out and pet him them and give him them a saucer full of milk or something. Ok now that everyone is going to kill me, I can continue on with that particular weight off my chest. My point is, Black Metal is REALLY starting to get a little on the commercial side and though Immortal are one of the pioneers, they should pioneer the death of dated trends. Most fans don't even get the point of corpse paint anyway. It's music. Not fashion.ANYWAY, more importantly, I enjoyed Immortal's set immensely, which consisted of "Battles Of The North," "Blashyrkh (Mighty Ravendark)" "Mountains of Might," and "Blizzard Beasts." Immortal come across much heavier, faster, and effective live. Their sound is clearer and more defined when it is heard performed as opposed to on disc. Though I do admit I am not as familiar with their material as most, but the difference between their studio work and their blistering performance was very apparent. I wish I could watch them play over and over again, because it was sincerely an experience. I was very impressed and warmed to a band I had previously been honestly indifferent to.
Finally, the grand finale of the night: the performance of Satyricon. Though in the studio, Satyricon consist only of drummer Frost and front man/mastermind Satyr, they performed as a six-piece, with Satyr at the helm handling only vocals due to a tendonitis condition. Two guitarists, a bassist, female keyboardist, and Frost were there to back him with a cacophonic and innovative style of dark black metal. What I instantly enjoyed and respected about Satyricon was they came across as professionals as their stage presence was minimal, therefore coming across as very stark and foreboding. There were no vulgar expressions of testosterone by way of cheesy crowd interactions, which was surely a relief. Satyricon as well are somewhat ill-represented by their studio recordings, for the production just does not capture the majesty of this band when they are flesh and blood at 120 decibels three feet from you. It is an entirely different experience. With a dim light show of reds, greens, and violets, they tore through cuts from their newest release "Rebel Extravaganza" such as "Filthgrinder" and "Tied In Bronze Chains." They closed their set with the crowd pleasing "Mother North" from the "Nemesis Divina" album, and though that song was certainly a highlight, the most memorable moment for me was the track "Blessed From Below" where Satyr strummed some eerie watery chords and offered some cool whispered rasping. Between the verses, the rest of the band absolutely CRUSHED us with one of the heaviest rhythms I have ever been exposed to in a live setting. This severely detuned, sludge fest of a rhythm gives unique meaning to the word 'doom.' This track can be found on Satyricon's prior EP "Intermezzo II" however, the live version was much more consistent and polished, and I hope that they will re-record this song for a future album or EP, preferably a live release. The band returned after "Mother North" for an interesting encore, choosing to reinvent Slayer's "Reign In Blood" with a near double timing of the thrash/speed metal classic…only to segue into the infamous opening trio of chords of Black Sabbath's classic title tune. Intense and amazing, and above all, memorable.
Thus, it was two AM and time to depart for a long and grueling return from Cleveland to Pittsburgh. Admittedly a little saturated from black metal and reluctant to attend this show, upon leaving I was utterly impressed and overwhelmed at the quality of talent, brutality, and superb aggressive music I was able to witness that particular evening. If you still have time to catch this tour if it has yet to role through your city, it is a must!!!
Official Website: http://www.geocities.com/somnusohio/index2.html
THE DEPTHS contact:
CORPSE Official Site:
Century Media Bio:
Nuclear Blast Bio:
Shape of Things to Come
with The One Bob
89.1 WFDU.FM (New York)
6pm to 9pm ET on Saturday evenings
this isn't a formal review as I haven't had a chance to tune in myself,
I'd like to take a moment to thank Bob Westphal at WFDU.FM for his
kind promotion and support of GothCon. Bob attended GothCon and when
he got back home, made a point to play and list bands whose CD's he picked
up at the event which was what Jett and I had hoped for doing our promotions
there on behalf of StarVox and Nocturnal Movements. So here's a big round
of applause for Bob - keep up the good work!
sample listing of GothCon promos played on the air by Bob:
(please check out his playlist on his website as he's played more since this list was posted)
Bunker Soldier - "Deviant" & "Don't Break the Ice"
Psuedocipher - "Time"
Bitter Grace - "Precious"
Joe Christ - "Some Velvet Morning"
Nothing Inside - "Lost"
Cruxshadows - "Cruelty"
Materials should be sent to:
1000 River Road
Teaneck, NJ 07666
radio porgram is heard all over NYC and the surrounding area.
You can also hear it on the web at www.wfdu.fm
with Michael and Brian
88.5 FM WRAS-Atlanta and via the internet
~ Reviewed by Blu
Every Thursday from 10-Midnight EST on WRAS 88.5FM, Michael and Brian of Dead Air bring their listeners the best in darkwave, gothic, and ethereal music. The Atlanta scene has been happily spoiled by this duo for some time now and with the addition of archived, downloadable shows via the internet, the word is out internationally just how awesome this show is. From their web page at http://www.apogee.net/deadair.htm, their purpose is stated loud and clear:
"A weekly program on WRAS-Atlanta, Dead Air approaches the darkwave, gothic & ethereal genres with fervor. Broadcasting over 100,000 watts of power, our objective is rather simple - to expose the 90's artist. Although we do get nostalgic every now and then, today's darker music scene is strong, global and very much alive.The boys of Dead Air have earned the esteem and respect of both musicians and labels through out the music industry. I keep joking that one day I'm going to write a book about them - but then, that might not be a bad idea. This is the stuff legend is made of. It seems every where I go as a music critic, their name pops up. I cannot begin to tell you have many CD sleeves I've read where bands thank either Dead Air or the DJs themselves. Just look in, say - the credits and thank you's for Faith and the Muse, Advent Sleep, Nothing Inside, etc. They're every where. They get recognition and thanks from the stage too - not only at local concerts like Metroscene where John Phillips dedicated Pulp's "Disco 2000" to Michael but also at concerts like Faith and the Muse where William Faith dedicated his solo to Michael.
Dead Air does not play industrial - nor do we digress into some of the fodder that is all the rage today. We do dance on the outer fringes of EBM, but we leave the rivethead music to other radio programs.
The program is very real - it is simply about new music. Without it - Dead Air would not exist.
Come in, take a look around, check out our rotation - give us a listen, you might find a new favorite band. "
I'm constantly amazed at the influence this radio program has as well as its incredible ability to help promote and assist bands. The help isn't only on the air - it comes in the form of vigorous enthusiasm at live events too. Don't think you can stand and talk to either one of them at a concert for any length of time because as soon as the music starts, they're up front, center stage on the floor singing, dancing and cheering on their favorite bands. They don't just spin the music as some sort of hobby on the side - they're true, die hard fans. So if you're a new and upcoming gothic/darkwave/ethereal band out there - this is a BIG HINT: Get your promos to Dead Air; it'll be worth the effort ten times over.
Their playlists are always impressive. As they eluded to in their introductory statement, if you listen, you'll probably find a new favorite band. I listen to them on a consistent basis for that exact reason (well, ok, and cause I think they're funny too <wink> and they give away nifty prizes sometimes like concert tickets). Want the inside scoop on something? Want to hear the latest offering from your favorite band? Michael and Brian probably have it or know where you can get it. A sampling of a recent rotation included bands like: the Cure, Magentic Fields, Rasputina, The Machine in the Garden, Anteros Bullet, Ozymandias, All the Miserable Times, the Flowers for Luci, Otto's Daughter, Gossamer, Kismet, In The Nursery, Run Lola Run (sndtrk), Backworld, Cogent One, Faith Assembly, Thread, Unto Ashes, B Movie Valentino, Skylash, Peter Murphy, Faith and the Muse, Deine Lakaien, the Changelings, Opium Den and Element.
Not only do they PLAY the best music, they have some pretty cool guests and interviews on DeadAir. Past guests/interviews have included the likes of writer Caitlin R. Kiernan, The Creatures and the Cocteua Twins. Dead Air has also been instrumental in helping Jarboe get her latest project off the ground and running.
radio program comes most highly recommended - I know you won't be disappointed.
Impress your friends and make your enemies jealous: turn your dial to 88.5FM
WRAS on Thursday nights or point your internet browser to http://www.apogee.net/deadair.htm
and get some Dead Air for yourself.
with Michael and Brian
Thursdays, 10-Midnight EST
WRAS 88.5 FM - Atlanta
Dead Air website for more info AND internet broadcast:
WRAS website: http://www.wras.org
Dead Air - Michael & Brian
Atlanta, GA 30302-4048
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