The LP starts out with an industrial dance anthem. The cool thing is I think I hear the vocalist I once heard on the LP Music For A Slaughtering tribe. Yes Aleta is back with her dispassionate talking vocals that i loved so much on slaughtering tribe’s Fear in Motion and She is Dead.
The art work kind of put me off at first. It is unique I must say. Grew on me a little. Still the music is where its at. There are slow songs, up beat songs, and in the middle songs. Still one of the better wumpscut LPS I have heard.
Rudy in my opinion is the best Industrial Vocalist. Hands down my favorite in the genre. On this LP he does not fail to deliver. I like this LP more than Puppy’s Weapon,
Here is the Free Net only Velvet Acid Christ ReMix of Super Girl:
Sound of the LP is very ELECTRONIC with pounding industrial dance beats.
My favorite tracks are Rubber Corpse, Atrocity Dancer, Super Girl, Pagan Crusade, Cross of Iron. Over all the LP still sounds very industrial with some super catchy songs on it. Rudy always seems to know how to make things catchy and harsh like no one else.
On some of the slow songs I love the violin and classical sounds. On the upbeat tracks I dig his choice in software synth sounds. It is amazing that he gets this industrial sound in the box, and I even picked his brain about what synths he uses. Some tone 2 stuff, and he loves Ohmboys distortions. On the slower tracks like atrocity dancer he makes them exciting with the vocals and the frantic synth lines. He still has it, This lp reminds me of the older wumpscut, the box double cd, regulat + remixes. Very cool. There is a Velvet Acid Christ Remix of Pagan Crusade on it.
I give this an 9.3 out of 10. Rarely these days do I even listen to a new industrial LP more than once. I have had this in the car all week and I am not tired of it yet. Please buy and support This music. With out it many of these bands will cease. Help Support US Please, help us make cool videos and cool merch for you the fans, if you buy it, this allows us to do all these things.
I am quite happy to have them. Quite happy that not everyone likes me, seeing how I dislike about oh gee most of the human race it is not surprising that i only get along with so very very few. And my appeal is for the very very few. I think my art appeals enough though. I mean it has let me travel the world. Play shows all over. I do have fans and lots of them. At one time I sold thousands and thousands of cds and over all could have sold over or close to 100 thousand cds over all this time.
That being said, I am glad to not fit in. Glad to not be loved by all. I am glad for the freaks i do click with, and those who do like my art, but also glad that I annoy and piss the fuck out of stupid lame normal people and stuck up pricks alike. I try to entertain and focus on what I like and what my fans like, but still if people are going to poke fun at me, i will one up them and show them I am my own worst critic and do it in a fun way.. You cannot win them all, you cannot make everyone happy and if you do, and if you try, you are more than likely inane, pointless and believe in nothing of any substance any how. The masses are idiots, and if you appeal to lots of them, well do the math..
In this I am going to describe the business of music, record labels and all. I feel that I am qualified to speak on the subject as I myself have run a record company into the ground and I have been on 4 different record labels.
Let me state this loud and clear right up front. RECORD LABELS ARE GOD. Let me explain why. Market penetration, their mailing lists and marketing machine. On my own I could never get my cds or music even featured in any positive way on itunes. Labels also give you street cred. Now saying that I know it does not work out for everyone. That is because in business most things do in fact fail. Success is rare compared to the big fail in all things. Music is gambling, you never know for sure if people are going to buy. You try and do everything you can to get them to, but still so many factors are fighting against us now and I will get into that later.
I have tried to sell my cds myself when I first started, and even recently when i had a lot of left over merchandise from touring. Filling out orders and getting them right is hard when you are not really set up for it. My label is set up for this. Plus they have massive distribution contacts and can get my stuff in places I cannot.
Lets say I decide to release myself. If I am touring, and making music, time to market and advertise and do all the things alabel does is almost full time work.
The money pie. It works like this. Say you sell a CD for 13.99 retail in walmart or mom and pop store. The artist only often sees 1 dollar or less than this. I have a very good deal, and I will not talk about that. so lets say the artist gets 2 or 3 dollars of that. the distributor gets 3 or 4 dollars, the retail shop gets 3 or 4 dollars and the label gets the rest. The label often gets like 3 or 4 bucks. This is how the money ball rolls. So people think the labels get all this money, well they don’t, and they have over head, they have to rent space for merch, employees who sit around all day and organize releases, manufacturing, distribution, marketing etc. Because of the piracy in this industry I have seen labels go from a staff of 12 down to 3. Its so bad now.
Labels in the end if they have a lot of good selling artist do have a pool of cash to do things like lend money to the artists from their royalties in advances and for promotional projects. What this allows for is a chance for newcomers, if they get on a label with other big acts they can get some support and street cred.
People think labels are magic fairy dust, that the money they have grows on trees, and you instantly win the pot of gold when you get on a label. So we’re told, heaven’s paved with gold, But it has to come from some where. This delusional thinking is what leads to the heartbreak of a lot of delusional musicians. The the flip side of the coin, if you fail then its all the labels fault LOL. Seriously. This is a business. Labels and selling music is a business. The faster you understand this, the easier it will be on your aspirations.
The reality is that Labels are kind of a glorified bank. They can only really help you by advancing you on your part of the pie. The 3 to 4 dollars they make on every cd must go back into investing and pay the bills of their operation.
The reality is this. It is on the artist to appeal, to make good music, sell the image, and the music. If you cannot make hits for the radio, or the clubs, good luck. In the alternative scene the single biggest promotional tool besides your label are DJS. If the DJS don’t spin your stuff in the clubs in the big cities on the big event nights, you chances of selling are really low. This is one thing I can complain about the labels these days, they do not support the DJS like they used to, now they get promo codes to download mp3s. They need physical copies, and if you make special dj editions with swag you get djs playing your stuff more and wearing your gear. So important in our scene.
If There is one thing I would want the labels to do better, its just service DJS better. This would be my only complaint. Still my advice to you as an artist is to swag the fucking DJS even if you are not on a label. This is a big fucking deal. DJS are the other GODS in the music industry.
The 3rd and Final GOD in the chain is your FANS. Its like this, Djs spin the tunes, you make songs people like, so they dance to them, word of mouth kicks in, they find out who it is, then set off to go buy it or download it. No matter what you need good distribution to get people to buy it in all the places where they can. If you do not make music that appeals to people, the DJS, The Labels, the Distribution and advertising will not help you one single bit. In the end, it is on the artist to appeal and drive sales. Everyone else just helps you. All things must be in sync to have success.
If your music is good and appeals to the masses. The labels and DJS can really make you famous and get you a bigger piece of the pie. The thing is, music production is expensive to do it right. Costs on swag and merch are very high, touring is very expensive, and we now live in a culture that has been brainwashed into hating record labels and often I see this as an excuse of why they pirate stuff. The people at my record label work very hard. I work very hard, the DJS work very hard. If the music industry dies because of piracy, it will kill off the DJS, the Labels, and the musicians. All musicians become small time youtube one hit wonders. the money to do this will dry up, the professionalism will be taken out, and the quality of music will suffer. The appeal will die. And music will become hobby. If a musician cannot sit around all day and night writing music and sharpening their writing and playing skillz, if they all have to work 2 jobs to afford the gear and or studio time and have 0 time to practice and play and write all the time to turn them into hit writing machines, hobby lobby. Weekend warrior musicians always fail usually. Music production must be full time to make hits and quality product. Take out the money, musicians do not have the time to put into the projects to be professional and the product suffer. I can hear a lot of this in music today already, and its why i prefer music from the past, the quality of musicianship was better in the old days because of the money and the artist sat around full time writing and getting very good at it. 10,000 hours might not make you a genius, but it will sure sharpen your skills.
I don’t know if i want hobby music. I love professional music. Its what I grew up on.
Why am I on a label and turning to crowd funding? Because labels do not have the money they used to, i still use them to market but I get paid way less now because of piracy. Still I cannot afford to do all my own distribution, and sales and go on tour, and make an lp every 1.5 years. I want to make a lot of merch for my fans, and I don’t have the capital, and my label does not have the capital to pay for the initial costs of this anymore. To make the swag it costs thousands of dollars up front. You cannot even get the ball rolling unless you have thousands up front. My label handles the cd manufacturing and promotion. I the artist must pay for all the merch up front.. I see it like the fans invest in VAC to produce cool stuff that will make them buy things. No one wants just a lousy cd anymore, they want a mug, a patch, a poster, sticker etc. They want autographed merch too. This is what I will give you with crowd funding.
Now with piracy, the only way to make product and merch is crowd funding. So crowd funding right now is the answer to piracy. Even with labels.
PS: Huge record labels like sony, um this is bs. I am talking about indy music labels.
When I started, labels where keen on giving tour support. This would just be an advance on your royalties paying for the expenses. This is how it worked back in the 90s. This was when newcomers in the underground would sell 1500 right off the bat, oh the good old days. Because if a band had potential then, they could sell up to 25000 or 40000 cds if they tour and make club and radio hits. Back then food was less expensive as where hotel stays and fuel. These days its WAY WAY WAY more expensive to hit the road compared to how it was. With record sales dropping across the board for every artist, this money to tour has vanished also. Most concert promoters will not even front you and advance on the show these days and rely completely on the door for everything.
So what does a band have to do to make t-shirts and pre book hotels and save enough to get the ball started? Well t-shirts can cost 7 to 21 dollars each depending on how they are made and how many colors. So think you get the most expensive cool design you can this is 21 usd, then make 300, that is $6300, Pre booking hotels on 35 show tour would depending on rooms and size could be any thing from 3500 to 6000 usd up front. Fuel for that in a tour VAN that gets around 10 to 15 mpg would be around 5700. Food for 5 people over a month and a half on the road can be as high as $5400. Then bringing CDs, most labels charge you 5 to 7 for tour cds each, so you bring 500 cds and thats 3500.
So this is not even a complete expense report and so far we are up to $26900 usd. This is just to pay expenses. Who can get this kind of capital on their own? Touring costs a lot of money even when you do it on the cheap its still very expensive.
No one likes to talk about the money. But money is what kills friendships, love, and projects and hard work over and over. Every time I toured it was like standing in crossfire. People ask why I never toured, because i hate how it works. If you pay people to do it for you, the booking and management you make nothing. If you diy, it is a ton of work and a lot of out of pocket expenses that if things fail you go bankrupt. For the Indy musician this means you could lose your home, or your car. A lot of people have to take out loans to do this, most don’t have that kind of credit. And some bands will get an advance on their royalties to pay for the tours. Still this is a very brutal world that most people do not like talking about.
If two bands go out together, and one band sells well on merch and the other does not, this can spell disaster for one of the bands. Bands usually have to share expenses when they team up on the road. Still Shirts and cds must be sold because most shows do not pay off for two bands these days in the underground. People can come home broke and in debt to their label or the bank they borrowed money from.
It is brutal.
Now if you have noticed, I have cut down on show dates and do fly ins. This cuts down bigtime on costs if you have a small band not very many people. I can only afford to do small mini tours now, and one off shows. To succeed you need a lot of shirt sales, you need cds sales. Decent crowd draw, and promoters that are fair. If you don’t have 1 of these things, it can completely fuck you up. Gotta have it all to have success.
I am not bitching, I am just sharing my experience. Things have gone great for me at times. But then really bad sometimes. Make one mistake, print too much merch and if someone doesn’t pay up, it can ruin you. Only the brave should venture into the music industry. Why do I continue to do it? I love my fans, I love music, I love traveling. I love the stage. I love the underground. So think about this when you say, bands should tour to make money. With out CD sales backing tours it really sucks for up coming and small independent artists.
I am done doing reviews, but I will do VS.
KILLZONE: By far Killzone kicks the shit out of the other two, Killzone really takes the cake and honestly looks like a top notch PC game running on top notch hardware. The Detail in the killzone maps far surpasses the other two games.
COD GHOST: Ghosts is just likes like a re wrapped black ops 2. Ghosts has frame rate issues esp with certain aiming scopes used.
BF4: Battlefield 4 actually looks pretty good though still not as good as kill zone.
Conclusion: Battlefield 4 is better than COD ghost and Killzone Shadow Fall is better than both put together graphically speaking…
KILLZONE: finally catches up to COD and Battlefield. It still feels heavy, but with way less lag. Killzone takes more skill as well, it does not have aim assist on like the other two seem to. You must be a good shot in this game to do well. So it feels way more real because of this. There are very cool add ons in this game, Turrets, Air gun ships, and drones that follow you to revive, kill, or stun and to set spawn points. The game is way more strategic because of this. And the WARZONE online stuff is bad ass, how it is a big long game and the objectives switch. Once you get good at this, it is very rewarding, it does have a learning curve, because you do have to learn to actually shoot with out aim assist that most all other FPS games have.
BF4: There are a lot of guns and stuff to unlock and I like this. Still it suffers from bad team syndrome, in order to use the vehicles the thing that makes BF 4 worth a flying fuck because the game mechanics are not as good as COD or Killzone is the vehicles, but when the team takes em all out, and you end up re-spawning back at the base cause your team is dead, it becomes a game of i have to spend 10 minutes trying to get across the fucking map to get into the action. What makes BF4 fall on its face even more is the fact that there is no party system, meaning that you cannot launch in and out of games with your own friends, So it becomes a game of party chat and hurry and join me now cause i just found a server with open slots and this takes forever. FUCK YOU EA BF4 is a DO NOT PURCHASE GAME BECAUSE OF THIS ALONE!!!
COD GHOSTS: Fast Twitch aim assist heaven. Frame rate is good on most maps, but in the open maps it suffers with certain load out scopes. This game plays like all the other ones with better graphics but still not as good as BF4 or Killzone. Ghosts does not have enough maps or guns and load out unlocks to really make this worth the $65 it costs to play it. There are add ons now, but man does that get expensive especially when killzone gives you free maps!!!!
Conclusion: BF4 is broken Do not buy. COD Ghost buy if you are die hard COD that’s it. Killzone wins again, the party system, the unlocks, turrets and air drones and WARZONE put it way over the top. This is the must buy FPS on PS4.
Final words: Killzone feels like a step up to the next gen when compared to the last gen killzone games. It looks way better, controls way better and has finally brought its self head and shoulders above the competition. The Single player game is much better than the others. The multiplayer game is WAY WAY better, takes more skill, and is more strategic. If you just button mash and run around like rambo, stick with COD GHOSTS. If you want a true next gen FPS, KILLZONE SHADOW FALL IS THE ONLY REAL CHOICE. BF4 is BROKEN!!! STILL!!!!! DO NOT BUY IT AND FUCK EA!!!