The Dark Domain

It's not our fault-fest - how and why Alt-Fest failed

2015-04-01T08:26:00.000-07:00

The Alt-Fest saga started in autumn 2012 with a website and social media campaign. Set to take place between 15-17th August 2014 near Kettering, the organisers Dominic and Michelle Alesworth claimed that it would be both the biggest alternative and crowd-led festival in the world with 50 thousand patrons. Alarm bells should have started ringing back then – mainstream festivals are rarely that big, and no festival at all starts off that big never mind an alternative one.

The organisers built up an illusion of the fans being in control. They conducted polls and let people vote for the bands they wanted. They created this vision of a four-day utopia in the English countryside, the dream festival that the UK alternative were desperately seeking. After months and months of being fed their vision they told us that everything was in place an amazing line-up was announced – all they needed to do now was fund it. That's when they turned to Kickstarter.

The seeds of the dream had been firmly implanted in the minds of the alternative community and a target was set to raise £30k. That's right, just £30k to start a festival aiming to attract 50 thousand with over 30 bands already booked, before any ticket sales. You don't have to be an expert to see that it doesn't add up. The already brainwashed scene donated twice as much in return for promised tickets and merchandise for their ultimate festival – one that wouldn’t materialise.

As the months passed they continued to drip-feed us with daily updates on how well the festival was progressing. They continued to book more and more bands until the point when almost every active name in the Goth and industrial scene was playing. Marilyn Manson was announced as a headliner. Even those who believed from the beginning started to think it was getting too big for its own good.

Ticket prices increased as organisers claimed they were close to selling out. They were lying, even after reducing the capacity to 15,000. The creditors report states that just days before the event they had only sold 7,500 tickets. They had known since at least March that the festival wouldn’t be viable, but they continued to play everyone along despite a £1.7 million shortfall.

The creditors report places most of the blame with production company SWG. They withdrew the provision of site facilities at short notice because of low ticket sales, without giving Alt-Fest organisers any other options or time. SWG also acted as a festival consultant for Dominic and Michelle. From the beginning they vastly underestimated production costs and failed to include many others. They calculated the overall cost to be £400 thousand. When organisers realised they brought in Gill Tee, a festival expert who recalculated costs at over £700 thousand.

As early as February 2014, Alt-Fest organisers were looking for alternative sources of capital to rescue the festival. A 30 page business plan was constructed and sent out to potential investors. Nobody would commit because they had either no experience in the festival market or the alternative scene. This was when they decided to go against their ethos of being independent and crowd-led and seek funding from large corporations that dominate the festival industry.. They were unsuccessful. After this they pursued private investors and wealthy individuals, before reaching a verbal agreement for a sum of £400 thousand. However, the investor was unable to raise the capital in time.

According to Chris Dredge, a member of Spawn Of Psychosis – a band booked to play at the festival, communication from Alt-Fest and SWG was poor and inconsistent from the beginning. There were early indications that things weren't going as they should: “We started to wonder if things were going to plan when we were not really hearing much from the organisers.” Dominic told Dredge that band members' plus ones would require full price tickets and would not get VIP access, but the production company had arranged discount tickets for plus ones as well as VIP access on the days that bands played. It seemed to Dredge that Dominic and Michelle were no longer in the loop: “ The impression we got from the production company was that Dom and Missy were no longer involved in the organisation and that their idea of how things would work was very different from the production company's.”

“It failed because they forgot what it was they set out to do,” says Dredge. He thinks they tried it to make it too big too quickly. “It was made up of underground bands and a few headliner acts, but then they just added more and more to it. The truth is that they got over their heads far too quickly, and everyone quickly forgets that it was the underground bands who made the festival, and made up the bulk of the lineup.” He believes that if they kept the original lineup without trying to get too big it would have gone ahead: “Thats what Alt-fest was meant to be, thats why I believed in it, the original line up could have and should have worked.”

It's what happened next that really damaged the alternative community and the reputation of crowd-funding. Word that the festival wouldn't take place was leaked by Simon hall of metal band Beholder. The news quickly went viral with more bands confirming it and ticket-holders becoming increasingly anxious. Any word from Dominic and Michelle? None. This was after almost two years of support from the scene. People had given them their trust, faith and hard-earned money for so long, but the organisers didn't even have the decency to tell people the truth, even after it leaked.

It was 24 hours before any official word, which only said there would be a further announcement, without explaining anything. It was over a week later that they released a “comprehensive statement” which didn't give any answers at all. They took no accountability for what happened. On top of that they lied about refunds and totally failed to mention those that had the most faith in them – the Kickstarters.

Those most devoted to the scene are the ones that have been ripped off the most in this crowd-funded disaster. When a project is funded successfully it becomes the creator's responsibility to deliver the goods. This is where it all becomes a bit of a grey area. Alt-Fest had given the ticketing responsibility to Clubtickets, and Kickstarter backers redeemed their tickets from them. Even though not everyone received their physical tickets and the festival didn't take place, technically Alt-Fest had met Kickstarter's terms.

Dredge was also a Kickstarter backer. He made a pledge of £110 in return for the dismembership package, which included a full weekend ticket with camping, and exclusive back stage access as an extra. As someone who had faith in the festival from the beginning, Dredge is disappointed with the way backers have been treated: “The backers have not be treated very well, no one involved with the festival has. The information that came out was very vague, and most likely held back by legal tape, but to those who are watching, wanting answers, such things were not comforting or helpful.”

I contacted Kickstarter to ask them about Alt-Fest and the loopholes in their terms and conditions that can leave backers vulnerable: “There's risk inherent in creating anything new, but the system overall works remarkably well. Ultimately, backers decide which projects to fund, but the long-term health and integrity of Kickstarter drives everything we do.” It didn't answer any of my questions.

When a crowdfunding service has reached such a scale, providing a platform through which individuals can rake in millions from the public, it's irresponsible for the provider of the platform to rely on the gut feeling of the backer to decide the credibility of projects. Kickstarter and other similar services need to put some kind of safeguarding in place to stop the public putting their money in the wrong hands.

Debra Penny was a ticket-holder and she visited Boughton House, the place Alt-Fest was supposed to take place on the weekend it was supposed to be happening. She arrived to find a half set up festival, and assumed it was for Alt-Fest. After speaking to estate staff it was revealed that they were setting up for another festival that was due to start before Alt-Fest was due to finish. It was also revealed that organisers hadn't properly booked the estate and hadn't been granted a licence by the council. She received messages after making her findings public. “Dominic void started privately messaging me in a threatening fashion,” she said, but claims to have now deleted them.

Thousands of people are still owed money. Some people have been able to claim charge-back from their banks, but not everyone has been so lucky. Christy Robertson paid through the deposit scheme and hasn't been able to get any of her instalments back. “I have still only received half of my money because I paid through the deposit scheme and none of my monthly instalments have been given back.”

Everybody involved is responsible for Alt-Fest's failure. The organisers were inexperienced, and SWG took advantage of this. It may have been SWG that provided incorrect costs and pulled out at the end, but it was irresponsible of the Alesworths to play with so much money with no experience in the industry. They should have sought estimates from more than one company. They should have been honest as soon as they ran into financial difficulty, instead of leading people on for many more months and continuing to sell tickets for something they knew probably wouldn't happen.

13 Gothic Lovesongs For Valentine's Day

2015-02-13T10:44:00.000-08:00

Goth is characterised by its dark romantic sensuality, so it's not surprising that in its musical form it offers no shortage of lovesongs - however tragic some of them may be. It's not all lost love, bleeding hearts and lovers torn apart, though. Here are 13 of the best tracks for a deep, dark and passionate Valentine's Day.

13. The Cure - Lovesong

"However far away

I will always love you"

12. Clan of Xymox - A Day

"I think you're the most important

To me, to me"

11. Emilie Autumn - Juliet

"No one but you could ever fill my night

Be the sunlight in my every day"

10. Type O Negative - Love You To Death

"I beg to serve, your wish is my law,

Now close those eyes and let me love you to death."

9. For My Pain... - Dancer In The Dark

"This loneliness is killing me

Is there a place we both can live?"

8. My Dying Bride - For You

"Cover me with you, over me, under you

Pull me in to you as one we lay entwined"

7. Ikon - Black Roses

"And in my dying hour

She gives me black roses"

6. London After Midnight - Sacrifice

"I could never put in to words,

What it is you mean to me..."

5. Fields of the Nephilim - Love Under Will

"Lay down lay down lay down for me
Lay down lay down lay down with me"

4. The Sisters of Mercy - Some Kind of Stranger

"I think you're beautiful beautiful

Some kind of angel come inside"

3. Tristania - Angellore

"Rise for me, soothe my heart

So wide a sea, may I overcome"

2. Theatres Des Vampires - Moonlight Waltz

"Take my life, til' the end of our time

Take my hands, 'til the sun begins to shine"

1. Nightwish - Ever Dream

"Give in, give in for my touch
For my taste for my lust"

Review: Liv Kristine - Vervain

2014-11-06T07:07:00.000-08:00

As well as being one of the finest, Liv Kristine is certainly one of the busiest women in metal too. On top of her work with Leaves' Eyes and supergroup The Sirens, she's somehow managed to find the time to finish her latest solo album Vervain. As one of the first soprano voices in metal, with Theatre of Tragedy she pioneered the beauty and the beast technique which has since influenced countless Gothic metal bands.

The album sees a return in the direction of her early days of Gothic doom, though it's much more pop orientated. Her vocal style has changed considerably over the years from the softer-than-velvet voice heard on the first Theatre of Tragedy albums to something much more refined.

The opening track 'My Wilderness' sounds like Kate Bush meets Gothic metal at times, owing to the Bush-esque vocal motifs here and there. Second track 'Love Decay' is a classic heavy goth-pop ballad, with chugging guitars and dark atmospheric keyboards in the background. Deep vocals from Michelle Darkness (End of Green) provide the perfect backing for Liv's soaring soprano voice. Title track 'Vervain' continues in the same vein, and really shows off the dynamics of her voice.

'Stronghold Of Angels' features Doro and opens with some powerful doom chords. As the track continues it gets deeper, with clean guitars echoing sorrow in the style of the first two Theatre of Tragedy albums. The contrast between the two voices works really well, Doro adds a hard edge to the darkness while Liv glides over it creating something really powerful. 'Hunters' is one of the highlights of the album, with clean autumnal guitar melodies that resonate like echoes of the dead calling from the other side. 'Lotus' takes the form of a slower piano ballad, dark and beautiful with emotive violins. As it progresses it gradually gets more powerful, building up before dropping into wailing guitars.

As a whole the album works extremely well, combining the best elements from throughout Liv Kristine's career. The music is deep, doom-laden and atmospheric yet it retains pop sensibilities. With Vervain, Liv Kristine has created a classic Gothic metal album. It's dark, emotional and haunting – everything that the genre should be, but hasn't been in recent years. It's certainly one of the best Gothic metal albums to be released this decade. 9/10

Seven bands perfect for Halloween

2014-10-30T05:40:00.001-07:00

The clocks have gone back, the trees are shedding their reddening leaves and the air has a chill once more. It's that time of year again when the masses carve out a pumpkin, dress up and partake in a weekend of getting shitfaced in the name of horror. Here are seven bands with a sound perfect for Halloween.

7. Cinema Strange - Strange indeed, this deathrock band have an edgy sound that creeps up behind you, perfect for adding that extra atmosphere to your Halloween.

6. Blutengel - The English translation of their name is blood angel. With beats as fast as heart of someone as teeth pierce their neck, they have plenty of tracks perfect for anyone wanting to rave to the grave this weekend.

5. Nox Arcana - Their music is inspired by Gothic literature and they have a deeply atmospheric and haunting sound - it's even used in theme parks, plays and films.

4. Inkubus Sukkubus - This pagan band has a back-catalogue devoted to all things supernatural and creatures of the night, their music will add a mystical touch of magic to your Halloween.

3. Cradle Of Filth - Richmond's (IT Crowd) favourite band. They're not literally a cradle of filth, though: "Oh, no! That would be horrible," he says. They're still horrible enough for Halloween though.

2. Type O Negative - These Gothic doom masters make the list at number two. With a morbid sense of humour at the heart of their sound, all of their songs are apt for Halloween but here's their no.1 - Black No.1.

1. Theatres Des Vampires - Haunting choirs and pulsating pipe organs combined with a passion for all things bloody make a horror orientated sound rivalled by no other. Their live shows are always a bloody affair, and in the past lead singer Sonya Scarlet was almost banned from performing in England for using the real thing.

Review: Kissin' Black - Heart Over Head

2014-10-29T15:31:00.000-07:00

With their debut Heart Over Head, Swiss rockers Kissin' Black combine elements of Goth, blues and alternative rock. Electric and acoustic guitars are dynamically layered to create complex southern grooves, resulting in something that sounds like a Gothic Nirvana from the deep south.

The second track 'Borderline' has a slightly melancholic feel about it, which is aided by the emotive vocals and descending bass-line. This is echoed by the highly melodic heart-pulling guitars. The next track 'Ella-Marline' follows through on the same dusty path, and like the soundtrack to a film paints the picture of tragedy in the American west.

Everything flows extremely well. Each track represents a scene, while altogether the album makes a film. Each note is like a grain of sand in the vast desert that surrounds, and with each chord another pixel in the picture is painted. Before you know it you're beneath the baking sun with nobody for miles but the ghostly shadows of the desert.

Repetitive hypnotic melodies give the music a psychedelic feel at times inducing a trance-like state, while the dual layered vocals intertwine enhancing that effect. 'How It Ends' and 'Fiore' mirror the atmosphere of the southern Gothic genre, immersing you in the swamps of New Orleans surrounded by mystery, folklore and the supernatural.

Highly melodic and executed with confidence, with Heart Over Head the band have created a sound that tells a story on its own, one that totally immerses the listener. This is one of the best albums I've reviewed this year, and it probably still will be by the end of it. Kissin' Black are certainly going places. 9/10

Interview: The Sirens - Metal's Maidens Unite

2014-10-25T11:50:00.000-07:00

Liv Kristine (Theatre of Tragedy, Leaves' Eyes), Anneke Van Giersbergen (The Gathering) and Kari Rueslåtten (The 3rd and the Mortal) are undoubtedly three of the most influential women in metal. During the 90s they paved the way for a whole new generation of female-fronted metal bands, and have since then had highly successful solo careers of their own. Now they've come together to form The Sirens, celebrating their legacy and like the mythological creature, luring crowds once more with their enchanting voices.

“It's great to be here,” says Kari, as we sit in the tour-bus ahead of their show at The Garage. Liv follows saying: “Wonderful, just wonderful.”
“The audience in London is always so kick-ass,” Anneke adds with enthusiasm.

With a long career behind them, they've done a lot of touring and experienced the city many times. Kari spent three years living in London and Liv performed at The Garage last year with Leaves Eyes'. “It's a very good place to play,” she says reminiscing. The only downside to London is that they never have enough time to look around. Anneke explains: “That's always the case in London, you go in and out because you have to catch ferries and everything so there's almost never the time.”

It all started for The Sirens about a year and a half ago when their paths crossed at a festival. Liv recalls when they began to talk and came up with the idea: “What about sharing a stage, getting together the originals; the first soprano voices in Goth metal.” Liv and Kari are from the same country but had never met before then. “We come from different parts of Norway,” Kari explains. Fortunately they had exchanged contact so “it was just a matter of a few mails and phone calls and the whole thing started rolling,” Liv adds, going on to say: “I think it's amazing to have all three of us together on one set and one stage. For the audience I think, well I hope it's something very special.”

Most of us are familiar with the myth of the siren, a beautiful but deadly creature, that lures men to death with an enchanting voice. Owing to their soprano voices, many female singers including Liv, Anneke and Kari had already been termed the sirens of metal, and as soon as the idea for the group was born they knew what the name had to be. “We thought immediately about The Sirens, something with sirens because you know the sirens for like the female singers and so on. It has kind of mythical thing behind it,” says Anneke.
Liv adds: “They're enchanting, huh?”

There may have been women like Doro and Lita Ford in metal before, but The Sirens were three of the first to use soprano voices and the ones to begin the female metal movement. When Kari did her first gig with The 3rd and the Mortal, she recalls a lot of hype surrounding it, but people weren't expecting her to be the only vocalist: “There were loads of people and I walked on stage, started to sing and continued singing and people were like 'so where is the male singer, when is he coming?' I was like, well it's just me.” Before that it hadn't dawned on her that female metal vocalists were so uncommon. “For us it was very natural and I played in different bands in the metal genre,” she said. As they were jamming, their sound came naturally too and they knew they were going somewhere with it. “We kind of got together and then we figured that this is something, we really like this. So that was like the start.”

Between them they've had such an impact on metal, opening the gateway for countless other bands. I ask if they had any idea of what was to come, they all simultaneously respond with a resounding: “No we did not.” In Kari's view they were all just doing something they enjoyed, and the others agree. The record companies picked up on it before they did: “They thought this is really something, that's why we were signed and released worldwide because they thought there's something in there,” explains Anneke. “And we were just singers, right? We fit the best with that band, apparently we were girls but then after that...” she adds before taking a moment to apologise for speaking for the others. They agree and she continues: “Then after that we realised this is kinda special, then this whole movement comes along, it's great.”

When each of The Sirens started out, things were very different for women involved in metal. Liv didn't encounter any problems back then, but she agrees that women are more accepted now: “Speaking for me personally I've always been treated really well. There are more girls around now than there used to be, I'd say.” However, when Kari started several years before, one of her first bands wasn't so accepting. They just saw her as an addition, rather than part of the band. They also tried to change her vocal style: “It was a rock and metal band and they were like yeah yeah, you seem fine but now you have to start really singing.” She asked them what they meant by that, and they said they wanted her to do a rougher metal voice. She refused and left the band: “No, I'm not doing that. So that's when they let their drummer do the singing instead, so I thought OK fine I'm out of here because I need to sing with my own voice otherwise I'll just lose it.”

Kari believes that they opened the doors for many other bands, and made it acceptable for operatic voices in metal. Tuomas from Nightwish cites The 3rd and the Mortal as one of his influences and favourite bands, and they took the style to another level. “Nightwish and Tarja started it also, but even more-so operatic.” Kari says her voice is only slightly operatic, but she was one of the first to sing in a feminine voice, and now it's easier for others to do so. “I think it's also easier to just sing with a female like, nice voice, because both Lita Ford and Doro had this raw voice.”
“But they definitely opened a lot of doors for us,” adds Liv. Doro and Lita Ford were role models for all of them: “Doro was really important for me to see it's possible for a woman to be a front person in a metal band, she was really good at it,” says Kari.

Although all three of them had similar ideas, they all arose independently. Liv wasn't aware of her peers when she started in metal: “I think all three of us were going individual ways, The 3rd and the Mortal, Theatre of Tragedy and The Gathering all kind of sprung out of nothing and then we realised that yeah, cool there's another one, she gets it, let's have a listen to that,” says Liv. Anneke's band was aware of The 3rd and the Mortal, although she was not: “The guys of The Gathering, they listened to The 3rd and the Mortal before I did.”

Between them, they've almost covered the entire metal spectrum. There are so many metal sub-genres and The Sirens bring that altogether in one show. Anneke said: “that's why it's so cool that we are now together, because it's really special to combine all these things.”

Ozzy Osbourne is Liv's biggest influence, but Anneke takes a lot of inspiration from singers outside of metal. In her early days she loved Diana Ross and Barbara Streisand: “I like singer singers, that's why I just sing sing, not growling or doing anything else. I like this way of singing, it's lyrical with long notes.” One of her favourite bands is Faith No More, and she loves melodic metal but can't remember the name of her favourite band: “For some reason I always forget the name of one of my favourite bands in the world.” Liv suggests Radiohead, and Anneke responds: “No, this is stupid. Yeah, my brain just melted,” before continuing to talk about another of her biggest influences. “Also, Queen, Freddy Mercury, phenomenal singer. I'm very much inspired by those kinds of singers.”

Going back to the subject of combining three long and diverse careers into one show, you'd expect it to be a difficult task, but that wasn't the case. “It was relatively easy, wasn't it,” says Anneke. Each of them just chose what they thought would be suitable and what they wanted. She added: “We didn't have to change anything at all, all the songs just fit.” Each of them got to choose six tracks, and the only thing they had to think about was how to arrange the show. “We had to figure out where should we do it. In trios? We worked a bit on that, but there was no kind of a problem,” explains Liv.
One of the biggest experiences for Kari was how well everything went together at the show in Bonn, Germany. After that there was no doubt about everything coming together.

It didn't occur to them how many bands they were covering until someone mentioned it to them in Germany, Anneke recalls: “We just realised we are doing songs from seven bands, our three old bands, our three new bands and The Sirens songs and we were like holy shit! But it's such a homogenic show.” Having one band performing all of their songs helps to bring it all together says Kari: “It's one band playing all the songs so they're putting their signature onto the songs.” Liv is amazed by how they can transform into each Siren's world: “They're amazing, we just call them THE band.”

So far The Sirens have recorded two tracks in the studio, but because they're so busy with their individual careers, that might be all we get for a while. Liv said: “We'll do the live shows, of course but as time is passing, when we have time we also have our solo bands.” Writing songs for The Sirens is something they don't want to rush. It has to be inbetween the rest of their work, when they all have the time to sit and think about it carefully. “It's not like OK, so yeah, we're going on tour but ladies I've got another ballad for you, please sing. That's not the way it is, that's not the way we do it. When the time is ready, we'll have bits and pieces coming together,” says Liv.

As we're discussing time constraints, I'm told that mine is up and this is my last question. So, I ask: If you could pick a fourth member of The Sirens, who would it be? Excitedly, Anneke says: “What a good question, I haven't thought about that!” But, it turns out they already have one. “We have Viki,” says Liv before telling me that she's a backing singer and keyboardist for The Sirens. Anneke says: “She's a solo artist, you must know her, she's fantastic,” before adding: “She has brown hair.”
“Brown hair, so The Spice Girls,” says Liv followed by Kari's suggestion of the name Spice Sirens.

“We say thank you, thank you for doing this. And thank you to our fans and friends here in the UK for supporting us throughout the years, we have a nice number of pre sales tonight so we'll lift the roof. It will be a special night, and were very honoured to be able play here at The Garage in London, for the first time as The Sirens,” says Liv to finish up.

Live Review: The Sirens at The Garage, London - 16.10.2014

2014-10-17T14:27:00.001-07:00

It is undeniable that Liv Kristine (Theatre of Tragedy, Leaves' Eyes), Anneke van Giersbergen (The Gathering) and Kari Rueslåtten (The 3rd And The Mortal) are three of the most influential women in metal. During the 90s they paved the way for a whole new generation of female-fronted bands, and without them we wouldn't have the likes of Nightwish and Tristania. Now they've come together as The Sirens, sending fans on trips of nostalgia and celebrating their legacy; the birth of a whole new world of female fronted metal.

The show opened with the trio performing 'Treat Me Like A Lady' by Anneke. From the moment they walked on stage the chemistry between them was clear, as was the harmony of their voices. They're all so different, but work so well together. Throughout the set they performed solo and as duets, giving us the chance to hear a unique take on classics from each of their careers. The band did an excellent job of performing the wide range of musical styles from each lady's back catalogue, it was almost as good as seeing the original bands themselves.

One of the highlights of the set was Liv Kristine's performance of 'Venus' from Theatre of Tragedy's Aegis, the album regarded by many as defining Gothic metal. This was complimented by Kari's performance of 'Death Hymn' by The 3rd and the Mortal, another influential song from the early years of Gothic metal. Anneke performed 'Strange Machines' from The Gathering's highly regarded Mandylion. Time travel might not be possible but hearing these songs was like being transported back to the golden era when the genre was being born. The atmosphere was perfect. The magic I thought had gone forever was once more.

There is something quite potent about these three pioneering women coming together as The Sirens. Female fronted metal isn't just about having a woman in front of a microphone. Because of them, metal was no longer just about rage and masculinity. They opened the doors for a world of metal that was a thing of beauty; a world of romance, symphonies and pure melody. Seeing them come together was like things coming full circle, a definitive moment in the history of metal that I'm glad I got to be part of.

The night was tied up nicely by a performance of 'Sisters of the Earth' that The Sirens recorded together, showcasing the harmony of their voices. Overall it was an excellent evening, one full of nostalgia. The three sirens managed to consolidate their long and diverse careers into one cohesive, atmospheric night that celebrated the beauty of the female voice and their legacy; the creation of female fronted metal.

Single Review: K-Bereit - A Forest

2014-10-15T11:54:00.002-07:00

Here we have yet another cover of The Cure's classic - A Forest. Opening slowly with retro lo-fi synth sounds that emulate those of the early 80s, it slowly builds up before unexpectedly dropping into a fast beat. Featuring a groaned, not quite singing vocal style that has become common in EBM, it follows the basic structure of the original in a club-friendly form before tapering off into something that doesn't resemble it at all. By this point the synth sounds have lost that retro feel and simply feel cheap. It's not a particularly strong cover of A Forest and is probably destined to join the rest of the floor-clearing covers that only make people long for the real thing more.

Side-B starts off much stronger with a driving psychedelic synth sound, however as the track goes on it gets weaker. The vocals are the best feature on the release, they're strong and very distinctive throughout. Structurally it's sound, but the production and quality of the synth sounds leaves a lot to be desired. You're either going for an old-school sound or you're not, leaving it somewhere in the middle just makes it sound rushed and unfinished.

Richard Dawkins to feature on upcoming Nightwish album

2014-10-15T09:24:00.001-07:00

Thought Nightwish couldn't get any more bizarre? Today it was revealed that Richard Dawkins was recording for their upcoming album at a studio in Oxford.

Dawkins is well known for his often controversial statements. His inclusion on the album has been met with mixed views by Nightwish fans on facebook.

It is not yet known what role Dawkins will be performing on the album.

Post by Nightwish.

Review: Fen - Carrion Skies

2014-10-14T08:33:00.000-07:00

When asked to name a British black metal band, one might give the answer Cradle of Filth or maybe Venom - the band that gave the genre its name. Most people would struggle to name anyone else, though, as over the years there's been a lack of quality black metal from the UK, and when a good band does come along they never reach the level of recognition and fame that their European peers do.

Where British black metal has lacked Fen have certainly made up for. They formed in 2006 and have over the years developed a bleak atmospheric sound inspired by the desolation of the English Fens. Their fourth album Carrion is set for release November 24th.

The album has only six tracks, but as often with atmospheric metal they're long ones and with that length comes a lot of diversity within each of them. Each song is full of strange and contrasting moods, it's so cold and bleak, yet it embraces you with such warmth. It's so close, yet so distant.

Musically the style has progressed beyond traditional black metal creating something more intelligent, thoughtful and diverse, though the genres roots shine clearly through. At times it's like there's an undercurrent of rage while a stream of contentment soars blissfully above it, like a stormy sea beneath a blue, cloudless sky. Throughout it's like being saved from the abyss, before the music turns around and drops you right back in it.

The music transitions seamlessly between the light ethereal and heavier passages, utilising a wide range of black and post-black styles. These are intertwined with cleaner guitar melodies. Vocally there's a mix of clean and harsh styles which are sometimes combined, aiding the music's multi-textured quality. The smooth vocals echo a deep sense of melancholy and at times apocalyptic despair. Everything combined sends shivers down the spine.

With Carrion Skies, Fen have succeeded in creating a diverse record that seamlessly brings together many seemingly juxtaposing styles, resulting in an emotionally captivating end product that will satisfy listeners looking for something more than empty shredding and cold rage. 9.5/10

BBC announces season of programming celebrating all things Gothic

2014-10-13T05:49:00.002-07:00

This autumn BBC will air a series of programmes exploring the history of Gothic literature, architecture, music and artwork and their place in British culture. This is in collaboration with The British Library who are running the UK's biggest ever Gothic exhibition "Terror and Wonder: The Gothic Imagination" alongside it.

"A host of famous literary faces will look back on Frankenstein’s creation in A Dark And Stormy Night: When Horror Was Born, while in The Art Of Gothic, Andrew Graham-Dixon looks back at how Victorian Britain turned to the past for inspiration to create some of Britain’s most famous artwork and buildings.

In The Genius Of The Gothic, Dr Janina Ramirez looks at Perpendicular Gothic, Britain’s first cultural style and Dan Cruickshank looks back at Gothic architecture’s most influential family in The Family that Built Gothic Britain.

BBC Four delves into the archives uncovering classic performances from Siouxsie and the Banshees, Bauhaus, The Cure, Sisters of Mercy, The Mission and more in Goths At The BBC."

The season will start with: The Art Of Gothic: Britain's Midnight Hour, BBC Four - Mon 20th October, 9pm. See the full schedule here.

The British Library exhibition has already started and will run until 20th January. For more information and booking visit the BL website.

Single Review: Stoneman - Liebe Liebe

2014-10-07T14:11:00.001-07:00

Set for release on 9th October, Liebe Liebe is the latest single from Swiss dark rock band Stoneman.

With Liebe Liebe the band gives us German style industrial/gothic metal at its best. The song has a very accessible feel with lots of catchy hooks. Harsh industrial style vocals are presented alongside clean singing. The guitars are solid, and the synth sounds are great. The production is very clean and everything can be heard crisply at it's optimum level.

I much prefer the other track on the release, "Kaltes Klares Wasser." It has a much more distinctive sound, one of anthemic horror. Organs and bells combined with pounding guitars and beats create an intense sound like Theatres des Vampires crossed with The 69 Eyes and Blutengel.

Review: Siren's Legacy - The Kraken

2014-10-01T13:40:00.001-07:00

How would you expect a band with a name like Siren's Legacy to sound? Somewhere along the lines of Nightwish or maybe Sirenia? If so, then you'd be right - their sound is almost exactly between the two.

Their logo might look a bit like something you'd see on the sign of a fish and chip shop, but musically they're actually quite good. The intro attempts to be epic and would succeed with a real orchestra, but to be honest it's beyond the means of most bands to get hold of one. Maybe better production would do the album some favours too, the guitars seem a bit muffled and the mixing and levels certainly aren't at their optimum.

Symphonic metal is a genre that has been done and overdone again. One of the downfalls of the album is that it's full of clichés, but if you're setting out to make symphonic metal that's basically what you set out to do - the likes of Nightwish and Therion set the template over a decade ago and ever since it's been followed. A strong-point of the album is that it does it well, it's packed with distinctive and memorable melodies that make it stand out from the orchestral crowd. There's a variety of different guitar riffing, as well as plenty of solos. The sweet melodic piano also stands out throughout.

Vocally the female lead is rather like Anette Olzon but with a more operatic quality at times. In fact she is very diverse, at times her voice is soft, at times it is cutting and at others it is sweeping and powerful. Harsh male vocals are featured at times, but I'd like to hear more. There are also some nu-metal style male vocals which I don't think work so well.

As I said earlier, symphonic metal is a genre that has been overdone to death so much so that is has become merely a parody of itself. However, musically this band is strong enough and has enough distinctive melodies to stand out from the crowd. 7/10

Review: Lisa Morgenstern - Metamorphoses [EP]

2014-10-01T09:03:00.001-07:00

Following her debut album 'Amphibian', Metamorphoses is the second release by German piano artist Lisa Morgenstern.

The EP opens with the darkly intricate piano piece 'Hairy Moon'. Reminiscent of 'Moonlight Sonata' this emotive piece delicately combines piano and cello with otherworldly vocals creating something eerily atmospheric and melancholic. The second track is an unexpected cover of 'Sweet Dreams [Are Made Of This]' by Eurythmics. The piece is given the dark piano treatment, and combined with the ethereal vocals it shows an entirely different side to the original. It is transformed into something so dark and haunting. This is followed by another version of 'Hairy Moon' which sounds positively familiar after the first.

The fourth track 'Eskalation' is equally as beautiful as the rest of the album. There is a third version of 'Hairy Moon' and even at this point I'm pleased to hear the melody again. The final tack 'Metamorphoses' begins with some sweeping Dead Can Dance style vocals, and continues to unfold in a cinematic style. Everything is going so smoothly, but is then effectively interrupted by jagged distortion like a paradise shattering before your eyes.

In summary: A beautiful journey through a darkly ethereal moonlit world.

Single Review: Kissin' Black - Wild Child

2014-09-25T16:18:00.001-07:00

Ahead of their début full-length album, Swiss goth-rockers Kissin' Black have released their first single 'Wild Child.' Originally by W.A.S.P, they've transformed it into a goth classic.

Dynamic jangly guitars intertwine with moody bass-lines creating a dark atmosphere. The structure adds to this as the song builds up, breaks down and flows taking the listener along on its journey. It's packed with emotive melodies, while vocally the song is dynamic with layered vocals and plenty of memorable hooks.

Kissin' Black have proven that it's possible to make a great cover and a goth anthem in the 21st century.

Alt-Fest cancellation: statement released after 24 hours of silence

2014-07-30T13:40:00.002-07:00

News of Alt-Fest's cancellation started spreading through social media sites yesterday afternoon, later being confirmed by acts such as Marilyn Manson and Cradle of Filth cancelling their official events. Many other bands also posted what they had heard from the festival's management, but ticket-holders were kept in the dark leading to anger, frustration and speculation, essentially fanning the flames and making the situation worse. Finally after 24 hours Alt-Fest has broken the silence, though not much is revealed.

Alt-Fest cancelled?

2014-07-29T08:42:00.003-07:00

UPDATE: The official Marilyn Manson Alt-Fest event has been updated to cancelled.

Bands booked to play at Alt-fest have sparked rumours that the festival may be cancelled, though it has not officially been confirmed by the festival's organisers.

According to virtualfestivals.com Simon Hall of Beholder, a heavy metal band booked to play at the event, was notified by organisers that it will no longer take place. There have also been doubts about the event's finances, with some suggesting the money they've made isn't enough to cover all of the expenses involved in setting up such a large festival. Others involved with the festival have suggested that it will go ahead, with only some stages being axed.

Alt-fest started with a kickstarter campaign which raised over £60k. Organisers claimed that it would be the biggest crowd-led and alternative festival in the world, but now those who donated money fear that they've lost out and that it won't take place at all.

Acts as big as Marilyn Manson and Arch Enemy are featured on the line-up. The festival should be taking place between 15-17 August at the Boughton estate, Kettering. Will it take place afterall? We await an answer.

Featured Band: Fading Colours

2014-07-01T07:01:00.000-07:00

Formed in 1986, this overlooked Polish band blends a traditional goth sound with dark electronic elements. As their career progressed, their music which became increasingly synth orientated, devoloped a sound somewhere between the territories of Switchblade Symphony and Kirlian Camera.

Albums:

Black Horse (1994)

I'm Scared Of (1998)

Come (2009)

Interview: Pretty Addicted

2014-01-31T10:12:00.000-08:00

The Dark Domain caught up with Vicious from "goth rave" band Pretty Addicted. Since forming in 2011 they've taken the alternative scene by storm. Album number two is in progress and set for release in July, promising to be even bigger and better than the first.

1. How did you first get into music and how did Pretty Addicted start?

I've been a music fan since I can remember so I've always been "into" music but Pretty Addicted was born in November 2011. It started when I met former member Ben online, we were both in other bands and decided to start something up together. Was originally not meant to be anything huge but once we started creating and writing I just knew that was it- I wanted to do this forever, this was the outlet my life was meant to utilise.

2. Why the name “Pretty Addicted”?

You know, I'm pretty sure it was a drug reference but I don't fully remember how the name came about. I know one of us came up with it randomly while getting fucked up making a track, haha.

3. Why the label “goth rave”?

Because to be honest we don't fit into any one genre and since we're goths making dance music to rave to the name sort of makes sense for what we're about. Doesn't neccessarily mean much because like I say we don't really fit into one category of music
4. Musically, who are your main influences?

Marilyn Manson and The Prodigy, definitely.

5. If you could be in any band or collaborate with any artist, which would it be and why?

I would be in my own band obviously! Haha that's a mad question. To collab with, the same as above; Manson or The Prodigy. It would be an absolute honour to collab with Manson!

6. What has been the highlight of your musical career so far and what are your goals for the future?

The highlight is yet to come; we had a shaky start, arguments in the band, lack of passion on Ben's side which eventually led to his departing of the band. I then have spent the last 6 months transitioning from a duo to a solo project. Now, after all that craziness, I have all my ducks in a row and the band is in SUCH a good place. I'm currently making the second album and it's going so well so I feel the highlight will come with this upcoming album! I'm so optimistic for the future of Pretty Addicted; I'm going after success like you wouldn't believe. Doing this on my own now has given me the freedom and power to make this band what I always meant it to be and I have drive that can't be stopped!

7. How is the recording of the second album going? What can we expect?

It's going GREAT! Inm working with A.B (a brilliant music engineer) and we already have 2 songs down. You can expect Pretty Addicted to be more structured as a sound; the last album - being our first and with varying musical opinions in the band- was a little messy and lacking a certain structure so you can expect these tracks on this upcoming album to merge better together as a whole product. Music wise, like I said before, there is no genre so it's just all about mixing all the genres together. You can basically expect a much better product; better produced, better vocally; a little more grown up perhaps too.

8. Where do you get your ideas/inspiration?

All the chaos in my crazy head. Haha no really that's completely true; I have an incredibly overative brain, I'm always 'thinking' so I'm never short of ideas.

9. Looking forward to your show at Electrowerkz?

Any other upcoming live plans? Yes, I'm currently trying to put a UK tour together for right after I release the album (aiming for a July release) so watch this space!
10. What would be your dream venue to play at?

Oh man. Somewhere utterly insane like Creamfields festival. Could you imagine?!!

11. If you could be an animal which would you be and why?

I'd be my cat. She has the best life; she gets cuddled and petted constantly, she sleeps round the clock, sits around licking her own asshole and eats off my plate. What a life man, haha.

12. If you were a drug which would it be?

I think I'm definitely like MDMA already, haha.

13. If you were a household item which would you be and why?

My bed. I love that bastard, haha.

14. Do you think there is other life in the universe?

Erm, I rarely give this thought. There might be, but I don't care enough to find out. I'm not really into sciency things; not because I don't want to be, I'm just not good at it so it just baffles me. I leave it to people who are good at it.

15. What about life after death?

Absolutely. I know it exists.

16. Thanks for taking the time to look at these questions. Is there anything else you'd like to say?

No worries man! Happy to do it! Anything to add? Always be yourself, never give a fuck what anyone else thinks, look after yourself, remember that what doesn't kill you makes you stronger and also that the things you think won't kill you CAN so be careful. Oh and buy our next album when it comes out, that shit's gonna be brutal.

Single Review: The 69 Eyes - Lost Without Love

2013-11-28T17:34:00.001-08:00

With a career spanning over two decades, Finnish rockers, The 69 Eyes have had multiple hits around the world - even achieving platinum status in some countries. Accompanying their long awaited compilation album is the new single, “Lost Without Love”.

Alternatively known as the “Helsinki Vampires”, they've always had a tongue in cheek attitude which has reflected on their over-the-top style. Things have changed a lot, it's quite watered down compared to older material. Gone are the driving rock sounds, gothic undertones and glam motifs. What we have here is a sensible pop ballad that merely flirts with rock. Lead singer, Jyrki leaves behind his signature baritone voice in favour of a more dynamic tone. Despite their success, it seems that these “vampires” have ditched their trademark sound in an attempt to tweak themselves for today's mainstream audience.

Live Review: The Cult at Roundhouse, London - 01.11.2013

2013-11-28T16:07:00.000-08:00

This would be the second London show in a row for goth tinged hard-rock legends The Cult. After a sell out out show the night before it was quite impressive to see the venue pretty much full up again. The show formed part of the "Electric 13" tour - in which the band performed the album "Electric" in its entirety, followed by another set of classics.

Quite often older bands continue to tour and release albums, but to be quite honest most people don't really care after a certain point. People want to hear the songs they know and love, not a load of new stuff they don't know or care about. It can be very disappointing to go and see an artist and barely hear any older material, which is why I think The Cult made a very good decision with the setlist of this tour.

Entering the building I received a stream of compliments on my classic Sisters of Mercy t-shirt, and people asked me questions about what Eldritch is doing now like I'm some kind of walking goth encyclopedia - which of course I am. Last time I wore that t-shirt out I was approached by an old man who informed me that Ian Astbury from The Ministry of Sound was in The Doors for a while. He had confused The Ministry of Sound with The Sisters of Mercy which he had then confused with The Cult, like you do.

The Audience was predominantly grey, balding and leather clad. Besides the sea of silver there were a significant number of fresher faces, an army of goths and standing out like sore thumbs, some hipsters dotted around sporadically. Despite the prevailing arthritis and gloom, the crowd was full of energy and went absolutely crazy. Despite his concern for people's safety, Astbury was impressed.

Ian Astbury's voice seems to have changed over years, becoming slightly deeper and less brightly toned. Defying age, he performed with ease. Each note glided pitch perfectly through the music and resonated across the venue. His stage presence was engaging, and the audience had him just as engaged. What a great atmosphere.

The band still retains original guitarist Billy Duffy who is still on top form. He was backed up by guest rhythm guitarist James Stevenson, and together they masterfully combined The Cult's classic crunching and lead hooks to create that driving yet mystical sound that's unique to the band. The bass and the drums were also played very well. My only complaint on the music side of things would be with the sound engineer, because the guitars were far too low in the mix which took away a great deal of power from the performance.

After the first set I thought things couldn't get any more crazy. I was wrong. Things got totally out of control. Normally I'm able to hold my place in a crowd no matter what's going on around me, but suddenly I was getting pushed, pulled and dragged right across the venue, as was everyone else.

Overall it was an excellent concert. The full performance of "Electric" as well as the band's best classics made for a totally epic set that will be in people's memories for a very long time.

Live Review: The Agonist at The Garage, London - 22.10.2013

2013-10-24T09:55:00.001-07:00

The Agonist is one of those bands that people tend to argue about. Quite frankly I don't care if they're more metalcore than melodeath or vice versa, or whatever silly arguments people like to come up with. Personally I find that they have a broad range of influences from across the metal spectrum - whatever they are they fucking rock.

I've followed the band for several years now. Above all, what struck me was their passion and conviction. Unlike many other groups who could be lumped under the same label, they're not just some scene band. Behind the music and lyrics are deep, meaningful and powerful messages about the world that anyone would be wise to take notice of. Sitting down, listening and reading along it's just like fuck, this woman gets it - that's exactly how things are, that's exactly what's wrong with the world and genius could scarcely put it in better words.

After excellent support from Threat Signal, Arsis and Dawn Heist it was finally time to see The Agonist. Opening with "You're Coming With Me" from their latest album, Prisoners - they cast their raw energy upon the audience immediately evoking an enthusiastic response.

Up second was what is probably the band's best known song, "Thank You, Pain". It was one that everybody knew and sang along to. Here we got to witness in person just how Alissa can switch flawlessly between growled and clean vocals in just a split second.

Not only was Alissa on top form, but so were the rest of the band with every track living up to its studio counterpart. The music was simply enhanced by experiencing the pure energy and feeling from the band themselves in person. It's clear that each member of The Agonist is in the band because they absolutely love what they do, and believe in what their music is about.

The setlist was just right, containing a good balance of songs from all three albums. Their debut being my favourite, "Born Dead, Buried Alive" and "Business Suits and Combat Boots" were personal highlights for me.

Though the audience was small, I'm pretty sure that almost everyone there loved the band. I'd rather have a small but passionate audience than a larger one full of people who aren't really into the music. Another good thing was that the venue wasn't full of people just there to gawp at Alissa, as I feared might happen as I've experienced at other female fronted metal gigs.

Overall The Agonist delivered with brute force, combining an aggressive attitude with skillfully crafted music and an intelligent message. If only there were more bands with this combination of assets...

Nightwish confirm Floor Jansen and Troy Donockley in new lineup

2013-10-09T09:05:00.000-07:00

Finnish symphonic metallers NIGHTWISH have confirmed that vocalist FLOOR JANSEN is now a permanent fixture of the band. In addition to this, pipist TROY DONOCKLEY who has worked on the last two albums is also now an official member of the group.

The current official lineup, including Floor and Troy.

Floor Jansen was thrilled with the news that the other members want to keep her for good, saying: ""Words cannot describe what I feel! This union is beyond everything and I cannot tell you how wonderful it is to continue this amazing journey with my new brothers! Once I had a dream…and this is it!!!"

Troy Donockley said: "'Imaginaerum World Tour´was a revelation to me and in that time, I became aware of a growing unity and then, finally, a transcendence of all the usual nonsense that affects bands. A beautiful process. And since the idea, the musical dream that is NIGHTWISH has been a part of me since before I was born, I am delighted to officially sail into uncharted waters with my brothers and sister. Wondrous scenes Ahoy!"

"This is who we are now." An early hint to the coming announcement, posted 5.10.12

An official photo of the group including the new members was posted in October last year. The caption read: "This is who we are now." This sparked speculation from fans that Floor and Troy would become full members of Nightwish. It seems as though the band has had this in the pipeline since then, and have only decided to make it official now.

A new DVD entitled "Showtime, Storytime" featuring the full new lineup performing at Wacken 2013 and an accompanying documentary is set for release on 29th November.

Despite former vocalist Anette Olzon taking part in the first part of the tour, these scenes have had to be cut as she refuses to appear on the release.

HECATE ENTHRONED to release new album on Crank Music

2013-09-19T08:25:00.003-07:00

British black metal pioneers Hecate Enthroned are to release their first album in nine years, after signing a deal with Crank Music.

Crank Music issued the following statement: "The British forefathers of Black Metal HECATE ENTHRONED and Crank Music Group proudly announce a recording deal for the release of their upcoming Album! After nine years since the last release the band have returned with a new violent and chillingly evil full length! The album has a tentative release time for the end of November and the band has already announced a short UK tour at the beginning of December to promote the upcoming opus. The title and the exact release date along with some further details and studio clips will be announced soon, so STAY TUNED!"

Interview: Lord Vampyr

2013-09-03T12:30:00.000-07:00

Interview with Lord Vampyr (Alessandro Nunziati - Lord Vampyr, ex Theatres des Vampires)

With a career spanning over two decades, Lord Vampyr has become well known for his passion for all things vampiric and his music through which he expresses it, but what is it about vampires and vampirism that fuels his passion? "I think about that now... it's really strange, for me it's all natural. Everything is born from my passion for books and movies about vampires and then on the historical figure of Dracula." Though his fascination is strong, he can't be totally certain that these creatures of the night are real, saying: "For a long time there have been popular beliefs about vampires. And some Eastern European people still believe in their existence." He added, "And as with all things, maybe the truth is somewhere in the middle."

With a cult following across the world, Lord Vampyr has become somewhat of a legend himself, but if he could be any other legendary vampire who would it be? "If you talk about characters, maybe Dracula for all his story and legend. And about a mythical figure I think "Lamia" as you know, ahaha." And far apart from these legends and old tales, neglecting the true meaning and depth behind the myth, vampires have recently become a big part of popular culture, but Lord Vampyr is not a fan of this. He said, "I hate all of those movies and teen books. I cannot stand to see that all this has become a fashion, in the most negative sense of the term."

Under his self titled band, Lord Vampyr has produced some excellent albums, though none of them match the level of inspiration, composition and production of his latest offering, possibly due to a number of setbacks which he explained: "Maybe because we went through many difficulties changes of line-up, and I had paralysis of the vocal chord." This time things were done differently, "Many songs were created and destroyed up to achieve the right balance as a band, and in the composition." When asked which his favourite song from the album is, he responded saying "Mmm, maybe Gothika Vampyrika Heretika, 'cause there are more components that I like. Gothic, black and vampiric... the real new Lord Vampyr sound." Will there be a new video to accompany the new sound? "We are thinking about it... but I don't know for the moment." Fortunately, plans for a tour are much more certain: "We are working on an Italian tour and maybe a Latin America tour, but we hope to play in more countries 'cause I think our CD is really great!!"

So, we've heard about where Lord Vampyr is today, but where did it all start? "Like all children, I met a guitar player in high school, we looked for a drummer and a bassist and we started to play death metal." On his musical journey his biggest inspiration has been King Diamond, he said: "Oh, after all these years I hope to be an inspiration for myself. But as always King Diamond over all, then Moonspell, Paradise Lost and some black metal bands."

Looking back into the past again, a big part of Lord Vampyr's career was his time in the band Theatres des Vampires. Since his departure, the band has undergone many changes, which he finds difficult to listen to: "I've heard a few things, it's not easy to listen to a creature that changes your skin. What I felt, I did not like."

Any musical career can be an enduring journey, and like most musicians Lord Vampyr has had many ups and downs too. "There were large spikes, especially after "Suicide Vampire" and as for Lord Vampyr, even when we were reborn with "Carpathian Tragedies", but I think it will reach it's highest peak with the new album. I do not regret anything I've done, but maybe some songs on Vampyria have been a misstep, and perhaps even the extreme electronic systems in Horror Masterpiece." As well as ups and downs, bands very strange experiences can also be part of the package, but has Lord Vampyr had any? "Not one in particular, but surely the extreme passion of some people, wild fans I see that have all the demo tapes and CD's I've made over the years, or one of my mexican fans that made me a personalised t-shirt of Lord Vampyr."

If he could replace the soundtrack to any film with his own music it would be "The Omen". He said, "It's one of my favourite movies, I think it's perfect for our type of music." And if he could choose any band to be in it would be: "Mercyful Fate, but King Diamond is King Diamond!..." Adding, "Ah maybe Metallica for the money ahahah."

And to close: "Thanks to you for the interview and the support. I hope to meet all our fans in the world, listen our album cause that is the best album of Lord Vampyr… can be sure about that.

Keep the thirst alive!!!"