RED BLOOD Gothic Radio
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if you are interested in participating in that promotion at
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the station staff are available to help ensure your tour to the Greater San
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She Wants Revenge
In the decade and a half since it technically ground to halt, the Eighties
have gradually come to be considered something of a musical Golden age.
Responsible for spawning numerous enduring bands and styles, and some remarkably
bad hairdos, it has come to be held as perhaps modern music's ideal decade. Now
a generation, who were little more than a mischievous twinkle in their father's
Vuarnet shaded eyes, have not only come to appreciate the sound of the Eighties,
but strive to emulate it. Overtime, styles reinvent themselves to appeal to each
new generation. Aspects of some may change drastically, but there always those
quick to point out any readily apparent influence with scorn and loathing. The
fact of the mater is: precious little is original at all. Some people
acknowledge it more than others, but virtually everything is derivative of
something else. The only question beyond that is how obvious and to what extent?
Where would we all be today if ol' Mick and Keith didn't fancy themselves as
Delta Bluesmen? Yet, the contrary can so easily be argued. Nothing is worse than
talent-less hacks blatantly capitalizing on the brilliance of others. This
brings us to the subject at hand. 'She Wants Revenge' burst into being following
air play on a pair of their native Los Angles radio stations. The track 'Out of
Control' managed to land them a spot on Fred Durst's vanity label through
Geffen, 'Perfect Kiss'. Adam '12' Bravin, and Justin Warfield are the
responsible parties for a sound saturated with the flavor of all that was '80's
Goth. Bravin's Ian Curtis cum Gary Newman monotone vocals over a looming
synthesized aire of mystery and intrigue. "Tear You Apart" picked up where
similar sounding 'Interpol' left off, and attained that coveted mainstream FM
airplay, despite invoking the sacred video. Leaning on their Hollywood
connections, Joaquin Phoenix produced the accompany video, giving them enough
momentum to chart their debut, in the Top 40. The follow up single the equally
danceable 'These Things", continued the trend. They are a true dichotomy of
taste. On one hand, ‘She Wants Revenge’ is one of the freshest sounds to land
squarely in the danceable Goth category in years. On the other hand, a
pretentious re-tread of tired themes, bordering on hyperbole. They pose a
perfect example of the divergence in preference and definition of what was, and
what is to be.
She Wants Revenge
Industrial with an asterisk might be as good a description as one might get
in pinning down the multi-faceted Die Warzau. A New Order/ NIN mash up might be
another. The duo of Jim Marcus and Van Christie, while resembling a Swedish
Milli Vanilli , spin a mosaic of loops, beats and found sound into a funkified
mélange. The pair released their debut "Disco Rigido" on the influential
'Fiction' label at the tail end of the eighties. In typical fashion of many
entries, it was uneven, tentative in spots, almost jagged ion others. A basic
foundation for what was to follow. It spawned several hit singles. The Jessie
Jackson inspired "I've Got to Make Sense", "Land of the Free", "Strike to the
Body", and "Welcome to America". In something of artistic irony "Land of the
Free" jumped to the top of US dance charts, while the salacious video for"
America" was banned by most outlets. This brought them enough clout to forsake
their meager contract through Polydor. Oddly, they were distributed in the US by
Atlantic records for their second album, long the home of the commercial
resplendent and musically conservative. "Big Electric Metal Bass Face" followed
up nicely in the footsteps of it predecessor, and further widened the band's
spectrum, refining their approach while still utilizing a wide variety of
styles. The band also enlisted the help of some Nine Inch Nail alumni to round
out their sound. Compromise was not something Die Warzau was accustomed to.
Sitting on the fringes of Industrial allowed them the ability to experiment to
astonishing extent. They were liable to incorporate anything in to their songs.
'Big Electric' was not the knockout follow up they were hoping for, and only the
track "Funkopolis" of significance. "Engine", in 1995, was their breakthrough
album. Each track, was like a wild ride, on an industrial hip hop roller
coaster. It contained perhaps their best single effort, the song "All Good
Girls". Following this apparent success, Marcus and Christie decided to put Die
Warzau on the shelf. Marcus formed the Funk outfit "Everplastic', while Christie
founded 'Eco Head.' Perhaps due to the fruitless efforts of their sole pursuits,
they reformed nine years later and released the long hoped for fourth album
‘Convenience’, so named, presumably because it was recorded in their home
studios. It was released through the independent Pulseblack label in their home
of Chicago. They showed they still had their ambition about them, and return
with the unexpected. For their return, Die Warzau skewered and twisted modern
pop music. No safe cozying up to the industrial crowd for them! This time
augmented with additional members Dan Evans and Abel Garibaldi, it shows just
how much they have matured and mastered the art of mixing and production. Built
upon some of the same thematic beats as 'Engine', it grows in a completely
different slant. It’s an encouraging reprise that awaits compliment. Time will
tell what the future holds for Die Warzau.
TOP 10 TRACKS as of 2006.09.27
Mystic Dream - Tempus Et Spatia
My Ruin - Blasphemous Girl
A Covenant of Thorns - State of Mind
Azoic - Redemption
Forrest Fang - 4 a.m.
Dark Sanctuary - Presence
Trisomie - Youth Calls to Age
Front 242 - Headhunter
Lycia - In a Lonely Place
Dead Can Dance - Ascension
Top 10 tracks, thanks to your VOTES.
RED BLOOD Gothic Radio