Podcasts about die warzau

It's New Tunesday: new releases from the past week! Give the bands a listen. If you like what you hear, support the bands! Today's episode features new release by Stars Crusaders, Matte Blvck & Phil Gonzo, GAARN, Die Warzau, Carnival Of Dreams, Blood Rave, Soft Vein, Dlina Volny, Vera Gloom, RottN, Carnal Machinery, Skren, LA-X, Code 64, Sex Code, and Minuit Machine, with bonus bands The Sea At Midnight, and The Secrecy!

Growing up in New York in an Italian- American home,  Sapphira Vee is a prolific electronic artist who emerged in late 2018 with a steady stream of releases that combine alluring, elegant vocals with her trademark percussive beat approach and emotionally affecting synths. After the success of her debut album in 2022 called "Aerial Human," released on Distortion Productions, Sapphira Vee returns with a brand new album called "Fortune." The album was mixed and mastered by Jules Seifert at Epic Audio Media in London and features talents which includes Jean-Marc Lederman (Fad Gadget, Rohn-Lederman, The Wethermen),  Victoria Tam, Chava Sanberg who performs a beautiful Hebrew chant, also Jim Marcus and Alia Synesthesia who remixed the first single,"What It Was." She also  released her latest music video for her first single "What it was" filmed by Christopher Greene and directed by Jim Marcus (Go Fight, Die Warzau)https://sapphiravee.bandcamp.com/musichttps://www.distortionprod.comQUEEN OF WANDS with DJ Nocturna Every Saturday on ModSnap Radio | KMOD: San Antonio3pm (HST), 5pm (PST), 6pm (MST), 7pm (CST), 8pm (EST)Follow me on my other social media sites :Website: https://djnocturna.comRadio: https://modsnapradio.comFacebook: https://www.facebook.com/nocturna.remixed/Instagram :  https://www.instagram.com/djnocturna/

Potochkine – “Préférer se taire”, 2021. The Bleak Engineers – “The Illusion (B1980 Remix)”, 2021. Black Light Odyssey – “The Beat”, 2021. Aurat – “Shame”, 2021. Karger Traum – “Das Ende”, 2020. Snakes of Russia – “Fictioneers”, 2020. Slighter – “Complicit (Dub Club Mix)”, 2021. Dive – “Inside Your Head”, 2020. Depeche Mode – “Personal Jesus”, 1990. Die Warzau – “Jack Hammer”, 1989. Veil of Light – “You Done Me Wrong”, 2019. Waste – “Personality”, 2020. Downwell – “Designing Resilience”, 2021. Patrick DSP – “Total Control”, 2021. Website link: https://skullandcrossfades.com/someone-to-hear-your-prayers

Our focus this month is on ionic voices in goth and industrial music. We'll be hearing from legends like Chris Connelly, Bill Leeb, Andrew Eldritch, Corpus Delicti's Sebastian, Athan Maroulis, and a few more surprises. Enjoy! Special thanks to Megan for providing our bonus song this month! Send your listener submissions/ suggestions to arcanemachinepodcast@gmail.com! The Arcane Machine is a monthly show with supplemental content on Facebook, Twitter, and Discord throughout each month. If you like what you hear, please visit the artists' pages linked below and buy some music! Social Media: The Belfry: A Home for Dark Culture: The Belfry is the home of excellent podcast Cemetery Confessions, plus interviews, art, and other podcasts rooted deeply in dark/ alternative lifestyles. Join our Facebook group for discussion and bonus content: https://www.facebook.com/groups/TheArcaneMachine/ Follow The Arcane Machine on Twitter: @arcane_machine Follow The Arcane Machine on Instagram: @the_arcane_machine Use the Discord Widget on the side of the page to join our server and chat with us Listen here or find us on iTunes, Google Play Music, or your favorite podcast app! The Tracklist: 1 – “Spoonfed Celeste” by Chris Connelly from the album Shipwreck (1994) (Bandcamp) 2 – “Magnum Bullet” by Night Runner from the Album Thunderbird (2017) (Bandcamp) 3 – “Linoleum” by Die Warzau from the album Convenience (2004) (Bandcamp) 4 – “Ecce Gratum (Club Mix)” by QNTAL from the compilation Asleep by Dawn Magazine Presents: DJ Ferret's Underground Club Mix #1 (2005) (Website) 5 – “Still Alive” by Noise Unit from the album Cheeba City Blues (2022) (Bandcamp) 6 – “Broken” by Corpus Delicti from the album Obsessions (1995) (Bandcamp) 7 – “Colours” by The Sisters of Mercy from the album Floodland (1987) (Website) 8 – “Serpents Seduce Your Angels” by NEIKKA RPM from the album Scorpion in the Hourglass (2022) (Bandcamp) 9 – “The Judas Cradle” by Spahn Ranch from the album The Coiled One (1995) (Bandcamp)

“The Last Mile” The Scottish-born Chris Connelly got his start with the electronic outfit Finitribe. Championed by John Peel, the inventive band did a long and harrowing UK in '88 and so arduous that tour was, it led to the shedding of three members, including Connelly, who left for the U.S. and landed in Chicago, where he fell in with the Revolting Cocks and Ministry. Connelly had hung out with the latter's Al Jourgensen in London so he knew him a bit, but once Connelly hit the states, he really immersed himself in the Wax Trax-powered industrial scene. Over the course of his career, Connelly has been affiliated with Pigface, Ministry, The Revolting Cocks, Die Warzau, Acid Horse, KMFDM, The Joy Thieves, PTP and The Damage Manual. And my friends, that's a partial list. His almost thirty album-long solo discography is a knockout, containing classic albums like Whiplash Boychild Shipwreck and Graveyard Sex. His newest effort Eulogy To Christa is a moving, stirring and deeply satisfying homage to Nico. Comprised of covers and original compositions, Eulogy To Christa is a heartfelt tribute to a fascinating artist. www.chrisconnelly.com www.bombshellradio.com Stereo Embers The Podcast www.stereoembersmagazine.com www.alexgreenonline.com IG: @emberspodcast

Lots of variety in this week's Dark Nation Radio, with some classic tracks from The Cure, Die Warzau, and Skinny Puppy mixed in with a lot of new material from bands including Encephalon, Menschdefekt, Silver Walks, Esoterik, Stereoskop, Dear Deer, ImJudas, and Noromakina. I enjoy introducing you to new dark bands, so I hope you'll give this week's show a spin! DJ cypher's Dark Nation Radio Playlist 10April 2022 Encephalon, “Someone Else's Dream” Stereoskop, “Under” Tiger Army, “Valentina” Dear Deer, “Joan” Human Vault, “This Hate (PTR Dark Dancer remix)” Nairod Yarg, “The Beast in Me” Silver Walks, “Tear Me Down (Russian White remix)” Black Light District, “Painless” Clicks, “First World Problem” You! Vicious, “Dance With the Shaman” Edgecase Development Corporation, “Echoes” Skinny Puppy, “Politikil (THB remix)” Tzolk'n with Flint Glass, “Zotz” ImJudas, “Tulpa” Menschdefekt, “Secular Days (Rob Dust remix)” Esoterik, “Mercury” Die Warzau, “Funkopolis” Santigold, “The Riot's Gone” Portwave, “Wavelength (Untitled Burial remix)” Noromakina, “Vortex” Zombie Ghost Train, “Long Dark Sea” Ships in the Night, “Lost Times” Secret Shame, “Calm” Soft Kill, “Savior” Poptone, “Love me” Chelsea Wolfe, “Destruction Makes the World Burn Bright” The Cure, “Hot Hot Hot!” DJ CYPHER'S DARK NATION RADIO—22 years strong! **Live Broadcasts Sundays @ 9 PM Eastern US on Spirit of Resistance Radio sorradio.org **Recorded broadcasts @ http://www.mixcloud.com/cypheractive **Downloadable broadcasts @ http://www.hearthis.at/cypheractive **Questions and material for airplay consideration to darknationradio@gmail.com **Facebook @ http://www.facebook.com/groups/darknationradio

Zig At The Gig With Marky Ray A native of Cleveland, Marky emerged from its fertile punk seen in the early Eighties, back when the Cleveland Heights/Coventry neighborhood served as ground zero for local rocker misfits. As Marky knows better than anyone, the business of rock isn't for sissies. He's seen it from every conceivable angle – guitarist, bassist, keyboard player, singer, roadie, show producer/coordinator, tour manager, emcee, stuntman, publicist, consultant… I won't share his entire resume, but following are just a few highlights: As a performer: Johnny Action and the Treadmills, Johnny Clampett and the Walkers, the terrible parade, Death on a Stick, The Lyres, The New Salem Witch Hunters, Death of Samantha, The Jim Rose Circus, 3D, solo artist. As a road crew member and auxiliary performer (guitar/bass/vocals): Nine Inch Nails, Ministry, Butthole Surfers, Toadies, Die Warzau, Lollapalooza Tour ('91-92 – backing vocals), Pearl Jam, Soundgarden, emcee for Jesus and Mary Chain and Lush. Marky's Info https://www.youtube.com/user/crazymanthirteen https://www.linkedin.com/in/markyray Return of Death On A Stick OCT 24th https://www.facebook.com/events/928853291047195/?ref=newsfeed  

U2 – “Alex Descends Into Hell for a Bottle of Milk / Korova 1”, 1991. Happy Mondays – “Loose Fit”, 1990. Soma – “The Day the Sun Stood Still”, 2001. Leaether Strip – “Battleground (KGB Slam Edit)”, 1990. yelworC – “Recall”, 1994. Cyber Axis – “A.I.Y.M.”, 1994. Biopsy – “Indifference”, 1997. Die Warzau – “Strike to the Body”, 1989. Notausgang – “Kim Future”, 2019. Intermix – “Cum and Get It”, 1992. She Past Away – “Ritüel (The Soft Moon Remix)”, 2020. 16volt – “The Enemy”, 2012. Mortiis – “Doppelganger”, 2016. Still Corners – “Midnight Drive”, 2013.

Oomph! – “Under Pressure”, 1992. klack – “Discipline”, 2019. Conformco – “Believe It (Mega-Oontz Mix)”, 2020. Interactive – “The Bass is on Fire”, 1990. D.A.F. – “Brothers (Mix Gabi)”, 1985. Cabaret Voltaire – “Sex, Money, Freaks”, 1987. M/A/R/R/S – “Pump Up the Volume (UK 12” Mix)”, 1993. A Split Second – “On Command”, 1988. Die Warzau – “Bodybag”, 1989. Channel 5 – “This is a Test”, 1988. Information Society – “Walking Away”, 1988. Nitzer Ebb – “Shame”, 1988. Lassigue Bendthaus – “Automotive”, 1991. Orange Sector – “Endzeit”, 2010. State Orchestra – “Crossed Lines”, 1990. Depeche Mode – “People Are People (Different Mix)”, 1984. Notausgang – “Kim Future”, 2019. Rein – “Off the Grid”, 2020. Kreign – “In That Frame of Mind”, 2020. Kontravoid – “Too Deep”, 2019. Fee Lion – “Blood Sisters (Kontravoid Mix)”, 2019. Beta Evers – “Move in My Body Rhythm”, 2016. Twice of Love – “The Birth”, 1989. Tribantura – “Lack of Sense”, 1993. L&O – “Even Now”, 1988. Portion Control – “The Great Divide”, 1985. The Force Dimension – “Dance the Algorythm (Special Club Mix)”, 1990. Whats – “Kill the Revolution”, 1990. Dave Inox (feat HIV+) – “Miss Conceptual (The Horrorist Mix)”, 2020. Dive – “Where Were You?”, 1997. Fatal Morgana – “Attention (Remix)”, 2020. Blind Vision – “Don’t Look at Me (G-Mix)”, 1990. Front 242 – “No Shuffle”, 1985. Empirion – “ADSR (Electron Mix)”, 2020. Nitzer Ebb – “Join in the Chant”, 1987. Black Dahlia – “Ricoche Holly”, 2020. Randolph & Mortimer – “Citizens (Schwefelgelb Mix)”, 2017. Kraftwerk – “Heimcomputer”, 1991. Meat Beat Manifesto – “Helter Skelter”, 1990. And One – “Metalhammer”, 1990. And One – “Techno Man (Club Mix)”, 1991. Unconscious – “Slaves of System”, 2020. Silent EM – “Return of Yesterday”, 2019. Chrome Corpse – “Firing Rate (Kinematic Trajectory)”, 2019. Aircrash Bureau – “Machine”, 1993. Dead Zone Margin – “Torn Between Beliefs”, 2020. Front 242 – “Never Stop!”, 1988. Boy Harsher – “Electric”, 2019. Evil Dust – “Desolation”, 2020. Kreign – “Disco King”, 2019. Doubting Thomas – “Come in Piece”, 1991. Website link: https://skullandcrossfades.com/body-body-muscle-hate-ebm-new-beat-dj-mix

We've got some great music from classic artists this time around, as Justin and Ed share tunes from Die Warzau, Christian Death, Imperative Reaction, Ministry, and more. Get ready for some dance hall staples and a few that may surprise you! Bit thanks to Joe Moore for this chapter's listener submission. Send your listener submissions/ suggestions to arcanemachinepodcast@gmail.com! The Arcane Machine is a monthly show with supplemental content on Facebook, Twitter, and Discord throughout each month. If you like what you hear, please visit the artists' pages linked below and buy some music! Social Media: The Belfry: A Home for Dark Culture: The Belfry is the home of excellent podcast Cemetery Confessions, plus interviews, art, and other podcasts rooted deeply in dark/ alternative lifestyles. Join our Facebook group for discussion and bonus content: https://www.facebook.com/groups/TheArcaneMachine/ Follow The Arcane Machine on Twitter: @arcane_machine Follow The Arcane Machine on Instagram: @the_arcane_machine Use the Discord Widget on the side of the page to join our server and chat with us Listen here or find us on iTunes, Google Play Music, or your favorite podcast app! The Tracklist:   1 – “Cyberdelia Non Corborundum” by Die Warzau from the album Engine (1995) (Bandcamp) 2 – “Take Me to Your Lover” by Goteki from the album Santa Muerte (2010) (Bandcamp) 3 – “Revenge” by Ministry from the album With Sympathy (1983) (Website) 4 – “Spiritual Cramp (The Mission UK mix)” by Christian Death from the album The Best Of Christian Death Featuring Rozz Williams (1999) (Website) 5 – “Scratch” by Contagion from the album Contaminant PCB (1992) (Website) 6 – “Soylent Green” by :wumpscut: from the album Music for a Slaughtering Tribe (1993) (Bandcamp) 7 – “CREEP-U” by Black Dresses from the album Peaceful as Hell (2020) (Bandcamp) 8 – “Giving in to the Change” by Imperative Reaction from the album Redemption (2004) (Bandcamp) 9 – “Red in Tooth and Claw” by Stoneburner from the Album Red in Tooth and Claw (2020) suggested by Joe Moore (Bandcamp)

  We've got some great music from classic artists this time around, as Justin and Ed share tunes from Die Warzau, Christian Death, Imperative Reaction, Ministry, and more. Get ready […] The post Chapter Nine: The Ideology of Nothing appeared first on The Arcane Machine.

Become a member of the Say You Love Satan Army today! Join us! www.patreon.com/sayyoulovesatanpodcast This episode: - Sleazy Speakeasy - Pathology Perversions - Trailer Trash - Feature Presentation: The Fly II (1989) - Intermission *intermission track "Insect" by Die Warzau from the 2008 album "Vinyl88". *outro track "Flyentology" by El-P from the 2007 album "I'll Sleep When I'm Dead". *This episode also contains music by Diplodocus: https://diplodocus.bandcamp.com/album/slow-and-heavy The podcast you are about to listen to is an account of the tragedy that befell four lower level low-lives sometime in the 1980s. Join us every week for an 80s horror overdose!!!!! website: www.sayyoulovesatanpodcast.com email: sayyoulovesatanpodcast@gmail.com Please rate, review, and subscribe on iTunes! instagram: sayyoulovesatanpodcast T-shirts, stickers, and a collection of ghoulish garb is available now at our Redbubble store! www.redbubble.com/people/sayyoulovesatan artwork: Sam Heimer

Screamin’ Rachael has been named the “Queen of House Music” by Billboard Magazine. She was the first house artist to sign a major label deal and also launched the Hip House sound when she recorded Fun with Bad Boys with her mentor and friend, Afrika Bambaataa. Born Rachael Cain – Rachael’s collaborations with notable artists including Bambaataa, Marshall Jefferson, Colonel Abrams, Grandmaster Melle Mel and others has resulted in a string of hits such as Real Thing and Rock Me which have made her club royalty. She has been the subject in a number of books, documentaries, and films including The History of House Music, Nightclubbing, The Last Party, Techno Style and the recent Hollywood release Party Monster. On Don’t Make Me Lonely, Rachael returns to her strong Chicago alternative roots by working on the production with Van Christie of Die Warzau, who’s sound stretches the limits of house with its electronic textures and homage to acid. The house mix is brilliantly executed by Jere McAllister / Mr. Ali. Also be sure to check of DJ Crash & Collino’s banging extended mix. Radio One Chicago airs live every Thursday night on WLUW-FM from 6p to 8p cst.

Southern California singer/songwriter Alice Wallace’s new album, Into the Blue, to be released this week on Rebelle Road Records, is pure California country. Her fourth album, it harks back to the 70’s artists like Joni and Jackson Brown who did not have all the answers but knew how to sing the questions.  Folky, romantic, soulful, and always melodic, Alice is eclectic Americana, organic, probing but understanding and often topical. Winner of an LA MUSIC CRITIC Award, Alice has performed at LA’s legendary country venue the Palomino Club,  as well as many others in her average 200-gigs year. The album marks her debut on the brand-new Rebelle Road label, an imprint founded by a trio of women dedicated to strengthening the California Country music community and expanding visibility for female artists in the Americana/roots genre. Screamin’ Rachael – Rachael Cain --  named the “Queen of House Music” by Billboard Magazine,  was the first house artist to sign a major label deal. She launched the Hip House sound when she recorded Fun with Bad Boys with Afrika Bambaataa and has collaborated with  artists including Bambaataa, Marshall Jefferson, Colonel Abrams, Grandmaster Melle Mel.  An early signer to and now President of Trax Records, Rachael returns to her strong Chicago alternative roots with Don’t Make Me Lonely  while working on the production with Van Christie of Die Warzau.  She released a new single I Am House,  and celebrated the release of the soundtrack to new film series, The Vamp Bikers Trilogy, which Cain coordinated and appears on and which includes the original “Boom Boom” from TRAX, source of friction with Kayne West for his sampling.   

Christopher Hall and Walter Flakus of Stabbing Westward jump in the Mazda 3 for conversation before taking the stage at Metro to headline Cold Waves 2017 at Metro. This episode is lovingly powered by Boost Mobile. While I'm on the topic, pick up a phone at Boost and call a friend to let 'em know about this interview. It's awesome. Here's what we talked about: "We were not considered (the cool band in Chicago in the 90s)" Die Warzau's role in helping Stabbing Westward in the early days Christopher's lingering issues that need to be worked out on stage Cold Waves and the issue of depression as it relates to artists The importance of Wax Trax Records! What Ed Sheeran accomplished that Christopher Hall should have done instead Relationship advice: Stay broken up forever. The initial split: "The music industry was collapsing around us... and we did not like each other any more." The schism between Walter and Christopher toward the end of the band's first run The simple pleasures of blow jobs and IPA beer The tragedy that brought Christopher and Walter back together Is the Dreaming still a band? And why are they like Tones on Tail? Starting a new band is like selling blenders at Costco Christopher is a fan of the Mazda 3's interior Stabbing Westward's delayed gratification White Castle experience

I had the opportunity to sit down with Jim Cookas and Brittany Bindrim of I:Scintilla and Jim Marcus and Vince McAley of Go Fight when I was in Chicago a few weeks ago and this episode is the product of our conversation. It was less of an interview and more of a discussion. We talked about what the bands are up to, their March Midwest tour dates together, a lot about the music industry, new technologies, science fiction's predictions for the future, the Garbage fandom, making magic and more. Plus, I let my guests take over most of the music on this episode and they picked some great songs that you may not have heard (yet). Full show notes and contact info at http://www.aztalanturf.com

Edited to add 1/19/10: The follow up to Lightbreaker, called Heartland is coming out soon and true to form, Mark has posted a soundtrack. Check it out!Listen to the interview here!Tell me a little about yourself and your writing.I'm more of a long form writer than a short fiction guy. Farrago's Wainscot serialized my hypertext novel, The Oneiromantic Mosaic of Harry Potemkin, in 2007 (and the expanded edition of it can be found here), and the print arm, Farrago Press, will be putting out the sequel/resolution, Psychobabel, in 2009. In September, my first print novel will be out from Night Shade Books. Entitled Lightbreaker, it is the first part of Codex of Souls, a multi-book romp through Western esoteric thought and occult history in an urban fantasy setting. Both are ambitious projects for the early part of a writer's career, but they seem to be the way my brain wants to tell stories, and I'm going along with it. I'm just a delivery vehicle for the Muse, really. Yes, that's my excuse. Though, honestly, I am at that point in my career when I still have a full-time job, and so I have the luxury of producing material that excites me foremost without necessarily being beholden to market forces. This is the way new writers find their way in, I think, by creating material that is filled with the passionate excess of their naiveté. Or, at least, that's the other excuse I keep using. Tell me about the story that you've created a soundtrack/playlist for.Lightbreaker is divergent from the nominal definition of "urban fantasy." There are no werewolves or vampires, and the magick is based more in actual occult history and practices than Dungeons & Dragons rules. I've never been comfortable with the reliance upon vampires and werewolves as fantasy tropes because their historical definitions don't hold up well in a modern setting. They are predators, really, and we are cattle, and I could never quite world-build them well enough that humanity wouldn't have gotten their shit together and wiped them out. It's a blind spot for me, and I didn't try to make it work. Besides, I'm fascinated with mythology, magico-religious belief structures, and whatever it was that Aleister Crowley was really trying to accomplish with all of his writings. He was either a complete nut or he knew something special, and I think his efforts--like a lot of metaphysical and religious thought--are worth examining. If I can do that while providing an entertaining story with lots of sex and death, then everybody wins. The book itself, in a few words, is the story of a guy, Markham, who has returned to Seattle, searching for a girl, Katarina, who, a decade ago, touched his soul and left it . . . damaged. What he stumbles upon when he gets to town is the girl's new friends, who are playing with very dark magick. These guys are a secretive cabal who are attempting to punch a hole through heaven, and make mischief with what they find. Markham must (to quote the marketing copy) "delve deep into his past, calling on every aspect of his occult training for there to be any hope of a future. But delve he must, for Markham is a veneficus, a spirit thief, the Lightbreaker . . ."Just so everyone has some reference points. I am, after all, about to geek out on a bunch of songs no one has heard in reference to a book no one has read, and I'm going to try to do so without offering spoilers. Yeah, good luck with that, I know. What is your playlist? (Why did you choose these songs?01. "Our Solemn Hour" - Within Temptation02. "Collide" - Detritus03. "Missing Link (Screaming Bird mix)" - Curve04. "Voiceover" - Darrin Verhagen 05. "Acidburn Aesthetic" - Stone Glass Steel06. "." - Darrin Verhagen 07. "Black Star" - Peccatum08. "Lethe" - Detritus09. "Agnus Dei" - Shinjuku Thief10. "Quest" - 302 Acid11. "Greater Than The Sun" - Covenant12. "Shadow Path" - Shinjuku Thief13. "The Great Destroyer" - Nine Inch Nails14. "With Small Shards of Glass" - E.P.A.15. "Uthul Khulture" - Sephiroth16. "Colorless" - Venetian Snares17. "Heaven's Blade" - Coil18. "Procession of Souls" - Shinjuku Thief19. "Shroud (Exordium") - Fields of the Nephilim20. "Straight To The Light" - Fields of the NephilimPlaylist Discussion1. "Our Solemn Hour" Within Temptation (The Heart of Everything)I used to write trailers for my books--big splashy write-ups done in screenplay style where I threw together enough of the high points of the book that I could remember what it was all about six months later, and to give myself a thematic overview of what I was trying to accomplish. For a long time, Carl Orff's "Carmina Burana" and Peter Gabriel's "The Rhythm of the Heat" were my go-to songs for trailers, but "Our Solemn Hour" is much more fitting for Lightbreaker. Especially the first big explosion of sound that kicks everything off. Yes, this is the way the world sounds. 2. "Collide" Detritus (Fractured)The book starts with a bang, and it's chapter four before we even slow down enough to really introduce our characters, which is either going make readers love me for not boring them from the start or piss them off mightily. Detritus' "Collide" is a drum 'n' bass symphonic overture, and meshes nicely with a chase that starts in the woods, runs through a small town, and climaxes on the lower deck of a vehicle ferry.3. "Missing Link (Screaming Bird Mix)" Curve (Blackerthreetrackertwo EP)Toni Halliday's voice has always been something of an obsession for me--both in its husky weariness and its seductive allure. It's the voice of a siren who has grown tired of summoning men to their doom, but she knows no other way to find love. The "Screaming Bird Mix" was done by Trent Reznor (of Nine Inch Nails fame), and he adds a layer of noisy guitars to an already caustic bombast. Markham's search for Katarina is a search for his missing link, and the combination of the relentless claustrophobia of the instrumentation and Toni's voice sums up the psychological history of his quest. 4. "Voiceover" Darrin Verhagen (D/Classified)6. "-" - Darrin Verhagen (Zero-Stung)9. "Agnes Dei" Shinjuku Thief (Medea)12. "Shadow Path" - Shinjuku Thief (The Witch Hunter)18. "Procession of Souls - Shinjuku Thief (The Witch Haven)Darrin Verhagen has a number of pseudonyms, and so his presence on the soundtrack is heavier than it appears at first glance. His choral and orchestral work is superb, and his ability to blend ethnic instrumentation and pure noise anarchy are just the sort of sonic impact I'd love to have in a film. The tracks picked out for the soundtrack are more subdued, but no less powerful. Well, other than the E.P.A. track, but there's no way to soften that blow, really. 5. "Acidburn Aesthetic" Stone Glass Steel (Dismembering Artists) Markham suffers from a bit of schizophrenia via a noise of voices that keep him company, and the "recontextualized" sound of Stone Glass Steel is fitting accompaniment. Phil Easter (SGS) builds his music by sampling and cutting from other works, building something new with elements that trigger other memories and associations in your mind. The mix of industrial noises, dark ambient drones, churning metal guitar, and atmospheric disturbances is schizophrenic enough, and the hints of nearly recognizable riffs from other artists is an added layer of identity confusion 7. "Black Star" Peccatum (Lost in Reverie)This one will be more obvious in retrospect after reading Lightbreaker, but if you read Irhiel (the female voice) as Katarina and Ihsahn (the male voice) as Markham's shadow and the whole song as being told from Markham's view, then it all makes sense. Really. "I am the black star, hostess of your dead heart sun." Some relationships are just doomed, you know, just flat out doomed. 8. "Lethe" Detritus (Fractured) 10. "Quest" 302 Acid (005)These two are mood music, downtempo tracks that try to capture some of the ghostly ambience of the book. The sort of thing you hear as backdrop during one of those rapid-time sequences in CSI where the team makes with the science and solves the crime. You don't want to cut this stuff because it's important to let the audience know that Things Are Being Done, but you certainly don't want it to drag by. A good bassline makes grunt work seem sexier than it really is. 11. "Greater Than The Sun" Covenant (Skyshaper)It's the rolling rhythmic line that really gets me. There are several introspective moments through the book, and the persistent rotation of the world around Markham is mirrored by the looping motion of "Greater Than The Sun." The more I listen to this song, the more I realize it encapsulates Markham's journey through Lightbreaker, right down to the way the bass drops away as Eskil Simonsson sings the chorus, each recitation more fragile and naked than the last. And the title. Yeah, the title is perfect. So, in a nutshell, this is the book. 13. "The Great Destroyer" Nine Inch Nails (Year Zero)Every villain needs a theme song, and this one is probably overly dramatic and heavy-handed, but the sonic breakdown into Autechre beat-fuckery about two minutes into the song is a great aural representation of what happens when you let a guy try to reshape the world in his image. 14. "With Small Shards of Glass" E.P.A. (Black Ice)There is a scene in the book where the phrase "a chattering echo of a thousand knives being sharpened" is used. E.P.A.'s Black Ice is the power electronics CD of Darrin Verhagen's three-part Black | Mass. Yeah, it's an hour of howling, wailing feedback and noise. With subtle variations, of course. And the one "With Small Shards of Glass" seemed about right. 15. "Uthul Khulture" Sephiroth (Draconian Poetry)And, when the world is burning down around you, what do you need? Apocalyptic drums and dark ambient monster noises. The fact that the band is called "Sephiroth" is just a bonus. 16. "Colorless" Venetian Snares (My Downfall) This record is a departure from the drill ‘n' bass that Venetian Snares has been putting out over the last few years, and I think it's a fantastic new facet to his sound. "Colorless" is suffused with melancholy, but it's not quite despair. Not yet. It's mood music for the bleak part of the early morning when your protagonist has to face what he has done, and what he is about to do. "Our hands betray what we have done." 17. "Heaven's Blade" Coil (The Ape of Naples)You can't write a book about magick (with a ‘k') and not have Coil on the soundtrack. That's like showing up to a secret furry convention without a costume. Everyone knows you don't belong. The trick wasn't a Coil song, but WHICH Coil song. The ephemeral fragility of "Heaven's Blade" is well suited for the penultimate scenes of the book. 19. "Shroud (Exordium)" & 20. Straight To The Light" - Fields Of The Nephilim (Mourning Sun) Mourning Sun was on the master playlist for writing the book, and it was always welcome when it showed up on the rotation. "Shroud (Exordium)" and "Straight To The Light," especially (and, really, the first is a long intro to the second). The way the sound builds across the breadth of "Shroud (Exordium)" to that final angelic chorus is just incredible, and I wish--every day--that I had the money to buy an obscenely huge sound system just so I could experience that progression in the bone-shaking way it was meant to be heard. The transition to "Straight To The Light," that opening guitar riff, is the end of the book, that instantaneous cut to black, and if it was up to me, the screen would stay black until the song was over before the credits ran. What does music mean to you? To your writing?It's critical. Both as a means of fueling the muse, and a means of adding texture. We are ultimately responsible for how the words make the scene work, and being able to find music that suits the intent and the impression of a scene enables me to better articulate what I'm trying to do and to find an emotional kicker to the text. Some film directors are more aware of the music than others, and they understand that it's another layer of meaning--much like the lighting and the framing of individual shots--and to poorly execute this layer is to dress the film shabbily. Ridley Scott, with Bladerunner; Michael Mann, with Miami Vice and Heat (really, the whole Miami Vice phenomena came out of marrying sound to visuals); David Lynch, with nearly everything he's done, but especially Twin Peaks; early Eric Serra, with some of Luc Besson's early films (The Big Blue, La Femme Nikita); Peter Gabriel's work for Birdy and The Last Temptation of Christ: these guys have all done great work marrying soundtracks to the visual presentations. When I used to story-storm late at night, I would put on some film filled with eye-candy, turn down the sound, and put the headphones on. Total sensory overload, and every time I'd stop writing in my notebook and look up, my brain would have to parse the music and the visuals. It would always keep me off-balance, always seeing and hearing something not-quite-right but always exciting. Occasionally, I'd find marginalia in my notes that would record songs for scenes, pairings that worked well and left me with the germ of an idea. Music, like film, is communicating via a different sensory avenue than the word, and frankly, we don't steal from it enough. We're happy to heist stylistic tics from other writers, but I don't think we pay enough attention to rhythm (or lack thereof) or visual cues in other media. 5. What kind of music do you like to write to?Writing music is very different from soundtrack music. My primary writing space is the commuter train, and the music serves two functions: propelling me forward and drowning out the constant chatter of the other three people at the small table I'm sitting at. The playlist is noisy, metallic, and operatic: filled with things that are labeled Teutonic Industrial (Rammstein, mostly), Big Broken Beat (Clark, Detritus, Enduser), Rhythmic Noise (Tarmvred, Iszoloscope, Empusae, and Ah Cama-Sotz), Symphonic Metal (Within Temptation, Nightwish, After Forever, Sirena), Tribal Illbient (Monolith, Sephiroth, and This Morn' Omina), Black Metal (Fields of the Nephilim, mostly), and Industrial Angst (Nine Inch Nails, Ministry, Otep, Die Warzau). The current playlist has about 700 songs, and I just let it spin on random. If this story was made into a movie, who would you want to do the soundtrack?Either Darrin Verhagen or David Dando-Moore. Verhagen writes these evocative film scores and dance company soundtracks that are a combination of ambient soundscapes, tribal raves, cataclysmic waves of emotional angst rendered as chaotic noise, and cinematic downtempo stuff. A lot of the first draft of the Lightbreaker soundtrack was huge chunks of his records, under his own name and his various aliases (Shinjuku Thief, Shinjuku Filth, E.P.A.). His work always evokes a lot of imagery and wild scenarios. Dando-Moore records as Detritus, and his latest record, Fractured, is an smashing collection of Big Beat downtempo instrumentals that make Massive Attack look like a bunch of octogenarians noodling around with primitive tape loops. I wish Hollywood would discover him for the next Bond film, as his tracks would add an extra level of aural eroticism and bang 'n' snap to every scene. I just watched Michael Mann's Miami Vice again the other night and was quite taken with how Mann used his soundtrack in place of actual scene sound. Having the right guy providing "mood music" can create an emotional impact of a scene that doesn't require words.Anything else you'd like to say about music and writing/creating?One of the ideas that I've never been able to figure out how to accomplish effectively is a series of novellas and EPs. Writer and musician produce an object that is a story with a soundtrack. You listen to one while you read the other. Brian Evenson did a spoken word disc for Ant-Zen a couple of years ago called Altmann's Tongue. He read from his stories and Xingu Hill and Tamarin made creepy dark ambient noises underneath. It's a very cool disc. But I'd like to separate the two a little more, and have the music be a pure soundtrack to the reading experience, and not marry it quite so closely to the text. Package it all up in an overly thick DVD case (CD on one side, short book on the other, much like the current PC game cases). I think both writer and musician, provided the pairing is good, could find fuel in the creative efforts of the other. That's what it's really about anyway: fuel for the creative engine. Nicolas Chevreux at Ad Noiseam has just made available a PDF magazine to accompany Raoul Sinier's latest record, Brain Kitchen. Formatting aside, it's exactly the marriage of art, word, and sound that I was thinking about. Visit the Brain Kitchen.To learn more about Mark, visit his website.Next week, I interview author Mandy Roth.