terça-feira, 14 de agosto de 2018

ZWEITE JUGEND ( INTERVIEW )

Resultado de imagem para zweite jugend ebm


Is a honor to make an interview with Eli Van Vegas from Combat Company and Zweite Junged. Eli Van Vegas is from Osnabrück, Germany. I had his contact,beacuse of my brazilian friend Karen Stürm. I have listen his job in Combat Company a long time ago. I hope all people like this great interview. More informations about Eli Van Vegas and his projects: 


Profession: musician, producer, studied designer Instruments: electric and acoustic guitar, piano, mandolin, drums.

 

Bands (active and released only) : 

Combat Company

 Founded: 2006 

Separated: 2015

 Reunited: 2017


 Members: Eli van Vegas: vocals, production,songwriting, sequences (2006 – now) Homer: electronic drums (2006 – 2015) Marcel Lüke: analogue drums (2012 – now)


 Releases:




 Life Is War (CD EP, 2007) 

Homo Superior (Mini CD Single, 2009)

 Guardian Angel (CD LP, 2010)

 Monochromaniac (CD Single, 2013)

 The Minimal Us (CD LP, 2013)

 Point Of No Return (Download Single, 2017)

 Below The Line (CD LP, 2017) 


No further releases planned.

 Best live references:

 Wave Gotik Treffen (2009)

 BeatClub Dessau (2009)

 Familientreffen (2010)

 

 Shows planned but not released so far.



 Zweite Jugend 

 

founded: 2015

 Members: Eli van Vegas: vocals, production, songwriting, sequences (2015 – now) Marcel Lüke: analogue drums, songwriting (2015 – now)


 Releases:

 Kleines Vorspiel (Demo CD, 2015) Liebe Ist Luxus (CD LP, 2016)


 Planned Releases:

 Leah Und Alissa (7” Vinyl Single OR Download Single) Elektronische Körpermusik (CD LP AND / OR 12” Vinyl)

 Best live references: 


Wave Gotik Treffen (2017)

 Future shows:
  
 Bastard Club (15th Sept. 2018)

 Further shows booked, but not released so far.


 Eli van Vegas (Solo Techno)

 Releases:

 Remix for Me The Tiger (Download Single, 2017)


 Future Shows: 

 Bastard Club (15th Sept. 2018)

 The latest releases as remixer:


 Orange Sector (Zweite Jugend Remix, 2017)

 AD:key (Zweite Jugend Remix, )

 Me The Tiger (Zweite Jugend Remix, )

 Bathead (Zweite Jugend Remix, )


 Some production references:


 Frontal – Alles Anders: mastering (2012)

 Tension Control – Im Rhythmus Der Maschinen: mixing, mastering (2017) 

all releases of Combat Company and Zweite Jugend: production, mixing, mastering (2006 – now)

 As live musician (active):

 Tension Control (just some shows): synthesizers and backing vocals in 2017 and 2018 and on tour as musician for Tension Control with FLA and Die Krupps (August 2018 – September 2018)




1) Great Eli Van Vegas! Beforehand, I would like to know when and how did you start to make music? And how do you create your music?

Picture by : Luc Luyten


 Well, I started to make music as a child. My parents wanted me to learn an instrument and I chose the electric guitar. But in lack of having teachers around, they sent me to learn to play the piano instead. Nevertheless, at the age of 14 I switched to the guitar which I am still playing. I started some bands during my youth, but it was 2006 when I decided to found Combat Company. I had some electronic projects before, but with this band everything really began. Meanwhile I worked as sound engineer and songwriter for many other bands. Over the years I bought a lot of old and even new (but vintage) synthesizers to produce the music I love so much. You do not need to know a lot about composing to create EBM sequences. I think, on the other hand some of the young bands do not work much on their lyrics and just write down the golden words that work pretty well for the audience. So when my cofounder of Combat Company left the band in 2015, Marcel and I decided to give birth to the band we always wanted to have: Zweite Jugend. The aim was to write good lyrics, play it completely analogue. German is a complicated language and I wanted to work out every single text as good as possible. I am noting down words, themes and ideas every time when I see something going on. I have learned this method while studying design. You need a catalogue to choose from when being creative. I am doing the same with the sequences by the way. And I have learned to use analogies, so I am writing my lyrics for Zweite Jugend like the artists worked in the time of cubism. I am going a few steps backwards, writing the lines like I see them fitting in and then I reduce them to the core as much as possible. Sometimes I am using some creative methods to find those themes. Afterwards we are going to the studio and chose or compose sequences and finally we are writing the drums and the final lyrics while rehearsing the new song. In most of the cases I have reduced the lines and words even more at this point. Now that is my secret to write minimalistic but intelligent texts. So please don't tell anybody. Hahaha... Since a while I am producing guitar music again. I have a new band playing oldschool punk or Oi! or whatever you would call it. But this is on another page.

DECADENCE: Eli,I love Oi! Music and Street Punk. We can do an interview for this project too. This blog is open for EBM and for other kind of musics like Oi!,Punk,Psychobilly,Ska and etc... You are welcome again.



Picture by: Luc Luyten

2) I have listen Combat Company for some years ago and I like it. Are you working on this project yet? If no, tell us why did you finish it? If you want to say of course…


 When Homer left the band it was stuck for a while. Someday I had the feeling to make the bestof record which we released last year and which is called “Below The Line”. I worked on every single song of the band and produced them all again. And I wrote a new and final song as well. This should have been another end of Combat Company followed by two shows. Since then we are not really thinking about it and rather work on other projects. But we already have a booking for 2019. So it's not dead at all. Probably we will have the feeling to produce a new record somewhen in the future, but this depends on the feeling. We will see.

DECADENCE:  I hope. Combat Company was great!!!!


3) When did you start Zweite Jugend? And Tell us more about this project?


 We started Zweite Jugend three years ago when there was nothing else to do. It was for fun and a little to have a dream come true as we wanted to make music exactly like the early inventors of this genre. Or let's say as the guys before the EBM inventors. It became what it should have become: It is raw, pure, minimalistic, analogue. Since the founding days Zweite Jugend grew and became so popular we never have dreamed of. And we played a lot of shows organizing the booking completely on our own. I know, a lot of bands have their promoters and bookers and I also know that we will have that as well someday, but until now we are proud to have done it all alone. This is the central message of the band: Being a band as like we have been around 40 years ago and making music for the people who love this time as much as we do. 

Picture by: Luc Luyten

4) Do you have plans to play at Familientreffen or in some Festivals around Europe?


 That is a story at all with the Familientreffen. They asked us to play twice but we never did play there with Zweite Jugend. It is a chaotic festival and, I guess, sometimes they don't remember who they asked. I don't know for sure. Haha. But we are sending applications to different festivals from time to time. Some have worked and other did not. And about some I can't say anything right now as we are not confident if it will be booked. We would like to play some festivals in 2019. 


5) What are some of the major influences on Zweite Jugend?


As I told you cubism is a real big influence as method to write lyrics. On the music side I would say that we have DAF and Nitzer Ebb being most important for our music. Some people say that we sound like DAF, but I am not sure if it is our choice to use German as language. Because there are a lot of sequences and ideas inspired by Nitzer Ebb. Some other influences are to be found in early punk music from the 70s or 80s. For our songs' themes I would say that I use things that I see on TV, on the internet, in real life, downtown or at a party or somewhere else. Or things that I have heard of. Then I am reading a lot about them. 


6) How is the EBM scene in Europe and specially in Germany? BTW: I lived in Germany, however Brazilian people have no idea how is EBM scene in Germany…

Picture by: Alex Jung www.hell-zone.de


Oh ,you lived here? So I should ask you how that time was and what experiences you have made. I am very curious. Germany can be beautiful and the country with by far the worst people at the same time. Here in Europe EBM is very relevant in Germany, Sweden and Belgium. But most of the other countries have an active scene, too. But there are a lot of concerts especially in Germany every year. And I mean they are sized from a 50 people audience up to 3000 or more. This has grown in the last ten years, I remember. But all events have one thing in common: There are great shows and party until the morning hours. 

DECADENCE: I lived in Berlin for 6 months,was a great experience in my life,I would like to know my father´s land. German people are nice,people here in Brazil have a bad stereotypes about German people that they are cold and moody. One thing that I learnt in Germany that German people aren´t cold they aren´t superficial,German give value a good friendship and it need to be consolidated for months or years.



7) What do you know or think about American EBM scene? I mean all the continent ( North, Central and South America). 


 Well, I do not know much about that, I must confess. I visited the USA several times and Cuba just once, but this was for holidays. I would say that North America is a whole lot more different from the other regions. They have their very own sound, sometimes mixing it up with other genres. Everyone would know what I mean. But to speak about something new, I think there is a lot to be going on in the near future when we talk about Central and South America. Some people from there are visiting festivals in Europe and some became close friends since then. I have a good friend in Peru for example. Most of these guys told me that the scene is quite small over there. But on the other hand I see a lot of events and new bands from America from time to time. The world is perfectly connected on social media, so it could be a simple impression instead. I am not sure. 



8) Do you know something about Brazil? Without to say Carnival and Football. Hahahahaha…


 Yes, indeed I know a little about Brazil. I wanted to go for one year after school. But too bad, the organization of this exchange sent someone who was a religious guy and I am absolutely not. I don't like religion at all, I must say. I started to learn Portuguese before that decision, though I can't understand it anymore. And even worse that I was young and didn't have the money to go without an organization. Now I am curious again to visit Brazil somewhen. An interesting story is that I met the original cast of Soulfly after a show of one of their first tours and that I have all their autographs on a Brazilian football shirt. I know, Max founded the band later when he lived in the USA, but this story is still connected to Brazil. And for football I am an England supporter, just saying. Now that you asked me I really would love to travel around in South America.

DECADENCE: If you want to visit Brazil you are welcome mate.

Picture by: Alex Jung www.hell-zone.de


9) Here in Brazil there are some people that like EBM and them like your projects. What do you think about it?


 Now I am really impressed. I have heard about our status in America, but I can't believe it until I am going to see it with my eyes. And I am interested if they understand our lyrics or if they can translate them. I am saying this, because I am working on some of my Zweite Jugend lines to be translated into Spanish for some reasons. Some people right here have problems to understand English words as I got to know. Especially in East Germany many have learned Russian instead of English at school.


10) Would you like to play here in Brazil?


 Indeed! I really would love to go to Brazil to play a show or even more than one. This would be a big deal and a dream coming true. But I know as well that it is difficult to catch enough audience to make such a show feasible. Or am I wrong with that?

DECADENCE: Would be nice,however I don´t know Eli. Maybe,but I don´t know...




11) Eli you are free to say what you want…


  I love you all. Or, I would say that I love the most of you. Or at least some. But you can be sure that I love you American guys! Thank you so much for your support!

Thanks a million Eli was nice to know more about you and your projects. You are always welcome on DECADENCE. 


CONTACTS:
The social media links are these (both bands and my personal artist site):

https://www.facebook.com/ZweiteJugend/ 

https://www.facebook.com/CombatCompany/ 

https://www.facebook.com/EliVanVegas/ 


https://soundcloud.com/brandsatz-records 

https://combatcompany.bandcamp.com ("Point of no Return" download single)

Websites:

https://www.zweitejugend.de

https://www.brandsatz-records.org

Label Online Shop:

https://store.brandsatz-records.org


All records are also online at Spotify, iTunes, Amazon, Apple Music, ...

Eli Van Vegas on youtube:

https://www.youtube.com/channel/UC91REOhwdkA7Xw4s4RVQEug




 

segunda-feira, 13 de agosto de 2018

HARRY AND THE ADDICTS

Resultado de imagem para HARRY AND THE ADDICTEDS

Harry start in 1985 as trio,they were a post punk and power pop line. 1987,they add a keyboardist and the became  pioneer band here in Brazil to mix rock and electronic music. Between 1987 and 1995 they record one EP ( CAOS ) , two albuns ( FAIRY TALES and VESSELS TOWN ) and a CD ( CHEMICAL ARCHIVES ) .



Resultado de imagem para HARRY AND THE ADDICTEDS

 After a few years inactivity, they return in 2005, along with the launch of a box set ("Taxidermy") covering their entire work. Starting in 2010, they resume the direction of the beginning of their careers. The "Electric Fairy Tales" CD is released in 2015, and its successor is in the final stages of mixing.



Johnny Hansen - Guitar, vocals ( R.I.P. in 2017 )
Cesar Di Giacomo - Drums, vocals
Richard Kraus - Keyboard, Vocal
Lee Luthier - Bass, vocals
Marcelo Marreco - Guitar

Resultado de imagem para HARRY AND THE ADDICTEDS
JOHNNY HANSEN. Great person R.I.P.

Albums



Fairy Tales
Wop Bop
1988

Vessels' Town(LP, Album, Promo) Stiletto 492.035 1990

Electric Fairy Tales(CD, Album, Ltd) Not On Label (Harry (2) Self-released) none 2014

Singles & EPs


Caos(12") Wop Bop W-45.002 1987

Compilations


Chemical Archives(CD, Comp) Cri Du Chat cdc0008 1994

Taxidermy - Boxing Harry(3xCD + Box, Comp) Fiber Records FIB BOX 001 2005

You Have Gone Wrong Again (The Very Best Of Harry)(21xFile, Comp, 128) Not On Label (Harry (2) Self-released) none 2008




CRISIS ( BRITISH PUNK ROCK BAND )

Imagem relacionada

Crisis are a British punk rock band formed in 1977 in Guildford in Surrey. They performed at rallies for Rock Against Racism and the Anti-Nazi League, and at Right to Work marches. British music magazine Sounds used the phrase "Music to March To" to describe their distinctly edgy, controversial and far-left form of punk rock


Resultado de imagem para CRISIS ( BRITISH PUNK ROCK BAND )

History

Formation and career

Crisis formed in 1977 with the lineup of Phrazer (vocals), Lester Jones (lead guitar), Douglas Pearce (guitar), Tony Wakeford (bass) and Insect Robin the Cleaner (drums).
Their debut single, "No Town Hall", was released in 1978 on Action Group Records.
On 11 January 1978, Crisis recorded four tracks at a Peel Session for BBC Radio 1, with two of the tracks released as the "UK 79" 7" single in 1979 on the Ardkor label. The remaining two Peel Session songs were posthumously issued by Ardkor in 1981 as "Alienation".


In early 1979, the band underwent a major change in personnel when Phrazer and Insect Robin the Cleaner were replaced by Dexter (a longtime fan and roadie) and Luke Rendle. After performing their last show, supporting Magazine and Bauhaus in their hometown of Guildford on 10 May 1980, the band broke up. A recording of the final show was released in 2008 as the Ends! CD.


Later projects

Resultado de imagem para crisis punk

 

Pearce and Wakeford went on to form Death in June in 1981. Wakeford later joined The Runners from 84, Above the Ruins and Sol Invictus. Rendle joined the Straps, then The Pack/Theatre of Hate. Jones formed Carcrash International. In 1985, Jones also performed as a touring member of Andi Sex Gang & the Quick Gas Gang.

Legacy

The Crisis discography has been compiled on CD twice (as We Are All Jews and Germans double CD in 1997 by World Serpent, and as Holocaust Hymns single CD in 2005 by Apop Records), as well as once on vinyl LP Kollectiv in 2014 by La Vida Es un Mus).


Reformation

In 2015, Wakeford formed the ensemble 1.9.8.4., to perform the songs he had written for both Crisis and Death in June. In 2017, 1.9.8.4., was renamed Crisis,, announcing concerts in the UK and Europe in 2017 and 2018. The new Crisis line-up consists of original member Wakeford on bass, Lloyd James (of Naevus) on vocals, Clive Giblin (of Alternative TV) on guitar and Igor Olejar (of Autorotation) on drums. In a November 2017 interview with Louder Than War, Wakeford said, "It became increasingly obvious that there was major interest in Crisis and that the band and songs held a special place in people hearts...There is obviously a growing interest in that period, with a lot of bands reforming. Crisis were an important part of that history, and I think the band sound fresh and the songs are still valid, perhaps even more so today".

Discography

 

Studio albums

  • Hymns of Faith mini-LP (1980, Ardkor)

Singles and EPs

  • "No Town Hall" 7" single (1978, Action Group Records)
  • "UK 79" 7" single (1979, Ardkor)
  • "Alienation" 7" single (1981, Ardkor)
  • Holocaust - U.K. 12" EP (1982, Action Group Records/Ardkor)

Live albums

  • Ends! (2008, Neroz)
  • Paris '18 (2018, self-released)

Compilation albums

  • We Are All Jews and Germans (1997, World Serpent)
  • Holocaust Hymns (2005, Apop Records)
  • Kollectiv (2014, La Vida Es un Mus)

GRENZKOMMANDO ( GERMAN BAND )

Resultado de imagem para Grenzkommando band

The Border Troops of the German Democratic Republic, in German Grenztruppen der DDR, were a military force of the GDR and the primary force guarding the Berlin Wall and the border between East and West Germany. The Border Troops numbered at their peak approximately 47,000 troops. Except the Soviet Union, no other Warsaw Pact country had such a large border guard force.
The border guards were responsible for many deaths at the Berlin Wall. At least 29 border guards were killed in the line of duty.



NOWADAYS:
GRENZKOMMANDO is a German band from the city of Dresden, capital of Saxony, Germany. Members : 

Feldmarschall Helmut Strasser  (grido di battaglia);
Rittmeister Fritz Hochlang  (artigliera pesante);
Oberst Ian Fröster  (apparato di propaganda).
Resultado de imagem para Grenzkommando band
Their music is a Harsh EBM very dark and strong with distorted beats,acid synths,agressive and distorted voices. The lyrics are hard and joke about taboos and controversial themes.

quinta-feira, 9 de agosto de 2018

VAMPIRE RODENTS


Resultado de imagem para vampire rodents


Vampire Rodents was the name of a sound collage and experimental music ensemble based out of Phoenix, Arizona, although its core members originally came from Canada. The creative nucleus of the project comprised vocalist and composer Daniel Vahnke and keyboardist Victor Wulf. Daniel Vahnke was primarily influenced by 20th-century classical and avant-garde music, whereas Wulf drew from new age, ambient and synth-driven pop music. Their work also dabbled in big band, bebop, musique concrète, industrial, electro, Indian classical and Greek music.
Vampire Rodents debuted with War Music (1991), an album that showcased their knack for dark humor and experimentation with the pop and industrial music format. Premonition (1992), recorded with violinist and cellist Andrea Akastia, revealed the band's artistic ambitious and interest in electroacoustic and ambient music. Considered by some to be the group's magnum opus, Lullaby Land (1993) further expanded the sound with the inclusion of additional musicians, house beats, swing rhythms and world music.
In 1993 Akastia and Wulf ceased to make direct contributions to Vampire Rodents and it became Vahnke's solo project, although he continued to utilize music his former bandmates had recorded previous to their departure. Vampire Rodents embraced an electro-industrial sound informed by orchestral music on Clockseed (1995) with the help of producer Chase and the contributions of numerous musicians already established in the 90s industrial rock scene. The final album, Gravity's Rim (1996), returned to the more aggressive and sardonic nature of past work while emphasizing dense string and horn arrangements backed by drum machine rhythms.
Resultado de imagem para vampire rodents

Vampire Rodents' last recodings were made in 1996 when Vahnke was preparing the follow-up to Gravity's Rim. Legal issues with Fifth Colvmn Records unexpectedly halted activity and the project was put on hiatus. After over a decade of inactivity, Daniel Vahnke officially announced his musical retirement and the project's abandonment in 2009. In 2016, Vahnke established an official YouTube page titled Rodentia Productions and began issuing unreleased material with the suggestion that it would be made available for purchase. On November 11, 2017, Vampire Rodents' sixth album, Noises in the Wall, was issued digitally on their official bandcamp page.



History

Early years in Toronto (1987–89)

Composers Daniel Vahnke and Victor Wulf met while studying anthropology at the university of Toronto. Victor had been composing film music under pseudonyms since 1977 and was composing experimental pop track with samplers during the 80s. Daniel had been working on player piano pieces based on Chinese character stroke analysis since 1986. They began collaborating in 1987 and composed several independent films scores together. In June 1989, they began a project that incorporated elements of industrial rock and sound collage, which was conceived as a form of self-entertainment and as a way to play a joke on the music industry. They named the project Vampire Rodents after an animal skull with two large incisors that Vahnke discovered on an Anthropological dig in Arizona.

War Music and move to Arizona (1989–90)





By 1989, the duo had relocated to Phoenix, Arizona and enlisted the aid of Karl Geist on bass guitar and keyboards, Ivan Koci on guitar and Jing Laoshu on percussion. Recording for War Music was completed in January 1990. Vahnke chose to compose and record under an alias, and was credited as Anton Rathausen on every Vampire Rodent release. He would use the alias when being interviewed and would ask that the interviewer address Vahnke and Rathausen as separate people.
Like other industrial rock at the time, the compositions of War Music made heavy use of sampled movie and television dialogue. Because of this, coupled with Vahnke's vocal technique, publications drew comparisons between the Rodents' music and that of early Skinny Puppy. The album also received attention for the lyrics, which utilized dark humor to sardonically critique Western culture.

Premonition and experimental phase (1990–92)







Geist left the band after the release of War Music, opting to seek employment with the Bristol-based label Words of Warning. Vahnke and Wulf realized the artistic merit of their project and began moving away from the mock industrial rock of War Music to draw inspiration from electroacoustic and ambient music. In 1991 the duo issued a thirty-minute cassette tape titled Premonition, which would serve as the foundation for their second full-length album.
Premonition was expanded and completed in 1992 with violinist and cellist Andrea Akastia. The album garnered further praise from critics and the band began to receive wider notice, with tracks such as "Sitio" receiving airplay on the college radio stations.

Lullaby Land and critical acclaim (1992–93)




Premonition caught the attention of industrial music label Re-Constriction Records, who adopted the band into its roster. Lullaby Land was released in 1993 and marked a musical maturity for Vampire Rodents. The music boasted house beats, swing rhythms and world music influences while continuing to explore avant-garde and industrial music. It also marked the first time Vampire Rodents collaborated with guest musicians, utilizing the singing talents of Dan Grotta of Babyland; Jared Hendrickson of Chemlab; and Pall Jenkins of Three Mile Pilot. After the album's release, Akastia and Wulf scaled back their involvement with Vampire Rodents to pursue other interests. Their final in-studio collaboration was the track "Lizardman", which was released on the Masked Beauty in a Sea of Sadness various artists compilation.
Lullaby Land was well received by critics upon its release. Exclaim! called it their best work, saying "these folks can turn collage into counterpoint the way only masters of the avant-garde have done; Zappa comes to mind for those old enough to remember the delirious metamorphoses on Absolutely Free." Gear credited the band with creating a cinematic experience with their music, saying they "want to create classic horror movies and are using music, not film, as their medium." Much was also said concerning the eclecticism of the music, with RIP and i/e crediting the band for pushing the boundaries of industrial music, the latter saying "with no repeated chorus rhymes and musical riffs, they forge ahead, staying away from stale techno and industrial treachery" and that "nobody creates the different moods and emotional states that the Vampires create."

Clockseed and mainstream sound (1992–95)

With Vampire Rodents essentially becoming his solo project, Vahnke decided to take the music in a different direction. He began moving away from the dissonant industrial sound that characterized his earlier work to focus on composing lush arrangements comprising clarinets, bassoons, trumpets, trombones, flutes, oboes and saxophones. The music became more dependent on dance beats and informed by electro and even hip hop music.
1995's Clockseed introduced this new sound, with heavy emphasis placed on dance beats and vocals. Guest involvement had been increased to feature a new vocalist on every song, with Vahnke providing vocals for only four of the twenty-two tracks. Because of this, the lyrics contain social commentary more typical of industrial rock and electronica and less of Vahnke's grotesque humor. In an interview with Under the Volcano, Vahnke explained the reasoning behind the collaborative process: "We've always felt that it was important to have as much vocal diversity as possible. Clockseed finally brings the whole concept together, thanks to all the great singers who volunteered their effort and ingenuity. Chase [head of Re-Constriction] was instrumental in orchestrating the whole process. We're continuing to work with nearly 25 vocalists and following a similar approach. I think the experimental "hands off" policy seems to bring excellent results. It gives us new challenges to create for these artists." He further stated "We try to give a vocalist a challenging task. Often we intentionally offer a track totally unlike what the artist is used to working with." Besides connecting Vahnke with the contributing artists, Chase also provided loops for the music.

Gravity's Rim and hiatus (1995–2016)

At the advice of Chase and Jared Hendrickson, Vahnke decided to continue issuing his work under Fifth Colvmn Records. In 1996, Gravity's Rim was released and marked a return to the more aggressive and sardonic nature of past work while emphasizing dense string and horn arrangements backed by drum machine rhythms. Returning collaborators included Maria Azevedo, Dave Creadeau, Mark Edwards, Jared Hendrickson and Boom chr Paige. The album also predominantly featured Spahn Ranch and future Black Tape for a Blue Girl vocalist Athan Maroulis, who contributed to four tracks.
Vahnke was especially prolific at this point and was interested in touring the band and launching several musical projects across several genres. This included a new Vampire Rodents album, slated for release in 1997. It was intended to be an entirely instrumental double disc album titled Noises in the Wall and would have comprised music recorded between 1993 and 1996. A re-imagining of Franz Schubert's Piano Trio No. 2, op. 100, D. 929 that was recorded for the album appeared on a Cleopatra Records compilation and five tracks that would have been part of the first disc were made available through the band's official Myspace page in January 2008. Plans to remaster and re-issue the entire Rodent catalog were also made.
Vahnke was unable to find a record label to issue his work and was lacked the means necessary to release compositions himself. In 2002, he had expressed his desire to establish an mpg. site to make his work accessible to the public. Vahnke and officially announced his retirement from music in 2009. He mentioned in an interview that he had in his possession three hours of completed Vampire Rodents tracks as well as another three hours of other compositions that he has been unable to find an outlet for.

Hiatus and Project Revival (2016–present)

In 2016, Vahnke established official YouTube and Facebook pages that serve as outlets for unreleased compositions, including Vampire Rodents compositions. An abridged version of Noises in the Wall as well as "Smartass", the intended final track of Gravity's Rim, have been made available to the public for the first time since they were recorded. In 2017, the band started its official bandcamp page and began digitally issuing their back catalog along with unreleased material.
Vampire Rodents' sixth album Noises in the Wall was officially released for the first time on November 11, 2017. Ostensibly a double album, Noises in the Wall is the band's longest release to date and, in the spirit of Vahnke's Ether Bunny project, is Vampire Rodents' only entirely instrumental album. The album well received critically, with reviewer's praising the wide scope of musical genres and styles. The ten part suite "Zombie Dolls", the frantic industrial collage of "Good Humour", the eight-minute composition "Cyborghostsex", the electroacoustic "Itume" and Vahnke's interpretation of Schubert's "Piano Trio No. 2" were referenced as being among the album's high points.

Musical style

Vocals and lyrics

Maria Azevedo of Battery provided vocals for several songs on Clockseed and Gravity's Rim.
Based on A Modest Proposal, "Abortion Clinic Deli" is one of their more raunchy songs, with lyrics championing the consuming of aborted fetuses for both protein and pleasure. Songs like "Dumme Weisse Menschen", which translates to "stupid white people", critique of Western culture while "Tatoo" is critical of hollow vogues. The collaborating artists who contributed the vocals to songs on Lullaby Land, Clockseed and Gravity's Rim also penned their own lyrics. For example, Jared Hendrickson's "Low Orbit" is about two of his deceased friends appearing to him in his sleep and "Revisioned" by Sounds of Mass Production concerns systemic oppression at the hands of the government and establishment.

Composition technique

The music of Vampire Rodents is entirely created by sampled music. Vahnke takes sections of previously recorded improvised or composed music and edits, notates and catalogues it in his sample database for later use. Shying away from using modern or high-end equipment, Vahnke prefers utilizing two Roland S-50s and a Commodore 64 for sequencing the samples. He usually begins composing by structuring the piece with drum beats, the percussion is mostly structured around several interlocking loops. The melodic content enters the picture secondly, with the sampled sections sequenced in order of instrumental dominance.
Vahnke previously worked in modern classical music but became frustrated because, "Most music in your head cannot be realized by instruments because of the octave's twelve-interval restrictions." More in keeping with real sounds, quarter tones expand the piano's octave from 12 to 28 keys. Vahnke felt sampling allowed more freedom when composing his pieces. Not intended for replication in a live setting, Vahnke constructed sample-based pieces on linear time graphs in a manner similar to Conlon Nancarrow's player-piano roll compositions.

Other projects

Besides Vampire Rodents, both Daniel Vahnke and Victor Wulf have been involved in separate musical projects. After Victor left the band in 1993, he began his recording solo work under the name Dilate. Influenced by ambient and new-age music, Dilate released two albums, Cyclos in 1996 and Octagon the following year. Both were issued by Cleopatra records and were well received by critics.
Vahnke began writing and recording music for his big band-influenced project Ether Bunny in 1993. In 1996, Papa Woody was released on Fifth Colvmn Records. Vahnke has pointed to the album as contained the music he is most proud of and he intended to released another album by Ether bunny in 1997 titled Toy Box. In the years between the release of Gravity's Rim and his retirement from music, Vahnke was also involved in numerous projects with artists he had previously collaborated with. This included, an ambient music album called Obsidian, an adult contemporary pop music oriented project called Alchemia and a collaboration with vocalist Eric Powell of 16Volt called Pillow. An album titled Axon Tremolo, collecting music that was originally recorded for Alchemia, made its debut on the band's official YouTube channel.

Band members

Former members
Timeline

Discography

Studio albums