Virtual Machine
Virtual Machine music styl are:Electronica,Electro,Industrial.hise come from Santiago,Chile,One the most important dream of Victor Miranda is to concrete his style of music. He was born in the city of Copiapó, north of Chile. In spite of He is a Mechanical Designer He was always worried about this music in his youth. His personal inspiration is Virtual Machine,which was born in 2000 year. The French musician Jean Michel Jarre was the first step; then came Depeche Mode, De/Vision, Camouflage, Information Society, Alphaville, Elegant Machinery, Beborn Beton...etc. Without a definitive musical style, discs were born such as Deep Space, Connection and Inner Frequencies. Then, inspirited a lot in the Industrial world, Ebm, Future Pop and some alternatives styles, showed up Electrofusion which is different to the others works. Today my referents are De/Vision, Pride and Fall, VNV Nation, Apoptygma Berzerk, Rotersand, Evils toy, Funker Vogt, Icon of Coil, Hocico..........and more. I love Electronic music; however I have some hobbies too. I like designing and the digital photography, I love Stars Wars and Science Fiction. My sports are mountain biking, volleyball, rafting and snowboarding. I hope to be a new support in this enormous musical world, this sound is strongest in this part of the world. ¡The music is forever!
Violenta Domestica
I was born in 1979 on a warm January Monday, at 4:12 a.m., in Timisoara, Romania. I had a pretty normal childhood, the usual shit. I was a silent child… The older I got, the more I wanted to be alone and play with myself… I used to sing songs from the radio and TV, and to draw… cars, robots, girls…The Name I was given when I was born changed into Max when I had my (first and only real) birthday party in ’87. Ceausescu, the Romanian dictator at that time, powered off just when the movie „Mad Max“ became interesting… I freaked out… a little…The most important gift I received was a green accordion my grandparents had bought me. My grandfather used to have a band that played Serbian folk music in his hometown Gad, when he was younger, and he wanted me to play this instrument… I never did…I started to be addicted to the female anatomy very early, I think I was five years old… or even younger! I saw the first real vagina pic many years later, and the first one I’ve kissed was even more out of reach, but I’ve liked this strange slit between the legs of the three year old girls just the first time I saw it! …no, I didn’t undress them! It was in the summertime in the city park where they played naked…Pornography was not allowed and hard to find in Romania at that time, especially for a child, so I was a little shocked and fascinated at the same time as I discovered what’s in there when you open the lips… I think it changed my personality a lot…I won’t introduce you to my filthy brain, I don’t feel the need to right now, but I had some strange moments with the female human forms, which I consider more strong and evil than they look like… but I respect them… most of them… at least more than the male ones…In 1990, after the bloody revolution in Romania (which started in Timisoara, where I had the pleasure to be in the crowd incidentally, and big luck to have survived it all…) we moved to Austria in a (shitty) small town near Graz (where I’m still captive for some stupid reasons… one of them being that I went to school ’til I was 27), where I was introduced to all the (legal) sick stuff you can imagine! …no comment!Due to the fact that everybody loved me because I came from Romania (by the way, the same thing happened in Romania because I was half a Serb), I isolated myself even more than before …and started to put my ideas more intensively paper. The girls I drew became more realistic and sexy, the sceneries more dark and repulsive… Horror and porn shaped my mind in my puberty…In 1989, I started to listen to real music, my favourite bands at that time were Iron Maiden and Depeche Mode (and they’re still deep in my heart), Roxette for a short time, and even Modern Talking for some months… yes, I confess and repent!In 1993, I started to write lyrics and in 1994 I already finished my first Tape „Operation ’94“ under the oh so intelligent name MAX. I wrote and recorded some of the shittiest tapes this obsolete mankind has ever heard! In fact, no one heard them except for some „friends“…The „music“ I conceived at that time was made of ridiculous lyrics, stupid pot and coffee can „drums“ plus all kinds of toys and objects that made interesting sounds… and the accordion I got as my birthday present.The „compositions“ became more complex as time passed by, the last tape „Extrem pervers“ (1997) even had some moments that sounded like music… it contained progressive structures and rhythms that were very difficult to record! (by the way, I had a 300 € double tape deck that was able to record on multiple tracks) …some sort of porngrind inspired by bands like Haemorrhage, Cannibal Corpse and Infernal Torment (which I’ve discovered trough new „friends“), including the sickest lyrics I’ve ever written, no holds barred, no respect for anyone! A cheap guitar replaced the accordion, the vocals became harder and better…After „Extrem pervers“, I’admitted I couldn’t do more than that… besides that, I wasn’t really happy with it, and I was already 18 years old… what a shame! So I’ve decided to lock the tapes away and wait for better times. The silly plan was to find some people to form the first real band „Bloody Cunt“! It was a stillbirth… I had no chance to play any instrument, no people with the same ideas, nothing… but I still have the logo in my scrapbook.Over the next years I wrote tons of lyrics and concentrated on other forms of art, like drawings, paintings and sculptures, to express myself in a way… it always was a sort of self therapy and helped me not to run amok or (even worse) kill myself!In 2002 I fell in love with the machines, after I was forced to manipulate something in Photoshop at the art school. I bought myself one of this machines… Endless hours of practicing (without teachers) made a pretty good graphic/digital artist out of me… though far from the best…Soon I’ve mutated into Dr.Winter! Doctor stands for the need to explore and understand things that seem banal and unimportant to most others - Winter stands for the apathy, depression, melancholy and coldness that I feel without reasons …apparently without reasons!In 2004 I came in touch with some music software and started recording my ideas …this time much more professionally than before. Suddenly the cans sounded perfect and even the toys made horrifying strange sounds after adding a little distortion and things like that…But again I couldn’t finish it! This time it was Bill’s fault that I’ve lost all of the 17 songs. Some of them were as good as finished, but the raw data was gone, only the audio files left over and so they became the first demo under the new name Violenta Domestica. This first „release“ had the fitting title „Teratogen 1.0“, which was the perfect description for my new music style.A teratogen is any medication, chemical, infectious disease, or environmental agent that might interfere with the normal development of a foetus and result in the loss of a pregnancy, a birth defect, or a pregnancy complication. Known teratogens that we use daily are alcohol and cigarettes for example, and my music is a new, still unknown one…The name Violenta Domestica is inspired by things I’ve seen in my family and my circle of friends… it’s also a track from one of my favourite bands, Mr. Bungle. Mike Patton always recorded whatever came into his mind, and so will I… besides that, I would compare my first recordings with their early works… not knowing of them at that time… megalomaniac to say that, I know…The second try resulted in the E.P. "A Drama in seven Pieces"…and the small green accordion is still here! It was used in the piece „Room 79“ and for the cover of the E.P., which contains the first recordings that I really consider finished after all this years!Right now Catalin (the founder of Arcana Noctis) is sending them to all kinds of zines and labels… hopefully there will be a reaction!Apart from the first album and a professional video clip, I will probably collaborate with Sergiu of Stone Fixion (www.stonefixion.com), another megalomaniac that seems to fit more and more with my ideas and expectations… and some other strange individuals as well, to make this nightmare continue…
Dr.Winter, January 2007
www.teratogen.at
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Virgins O.R. Pigeons
Virgins O.R. Pigeons are a three-man EBM/Industrial band.Pierrot:Guitars,Vocals.Steph:Keys and Programming.Sitras:Vocals and Guitars Formed in 2002,they experimented with different sounds and combining their disparate musical influences, they created songs that exude the imposing violence of Industrial, through dark ,atmospheric Electro/EBM melodies...They made their first live performance on the 30th of October, supporting the Visual Kei band BLOOD at Club Underworld,Athens.CURE (JP) has officially announced the release of Virgins O.R. Pigeons debut album!The release date is set for the 28th of March, 2007.The album will be limited to 1000 copies, so make sure to reserve yours first! As described by the band, the album will be "A Manifesto for the masses, an industrial antidote for your spiritual decadence...”They have accomplished another successful collaboration with BLOOD, uniting their forces and musical artistry ,by doing a remix song for them, which will be featured in BLOOD' s future releases.Also,Virgins O.R. Pigeons will be the first ever International band along with Hallows End ,that will participate in a gothic compilation from Japan. The title will be [Darkest Labyrinth]. March 17th, 2007 on sale!Having already secured numerous leads both for the Greek and International musical standards, Virgins O.R. Pigeons are getting ready to unfold the full spectrum of their abilities in the near future...........The best is soon to follow...
Veillance
Veillance was founded in january 2006 as a solo project by Marko V. The sound combines strong beats and percussions with harsh electronic tunes, atmospheric sounds and industrial elements. So far, every track is taken from life and so the theme of Veillance is called "Between heaven and reality".The feedback on this project is very good and so far Veillance is included in playlists of some radio-stations in the US and in europe.The first release is planned for early 2007 and is called "United".Several remixes are done. In[Perfektion] have done a Dance Mix of the track "Time to kill", DJ Shai made a Dark-Trance mix out of the song "United" and Veillance remixed Empusa's track "Never" and In[Perfektion]'s "Brain Trauma".For more information about Veillance, please visit Veillance on MySpace [www.myspace.com/veillance] or on their homepage [www.veillance.de].
Vladimír Hirsch
The Czech composer Vladimír Hirsch (born 3rd July 1954 in Benešov) has been composing since 1972, when, as pianist and organ player, he started to compose small romantic and classicist compositions for these instruments. Soon, though, he abandons these compositions for a longer period and takes up experimental rock music in various formations. In 1987 he decided to focus on classical musical form as well, nevertheless with an attempt to enhance the action potential by modern means of expression and by searching for specific processes. He attempts to resume the tradition of 20th century Czech and other Slavic music, but eventually attains his own clear-cut position both in tone creative principles as in composition style and opinion on orchestration and the role of not quite musical components in it. Typical for him are new sonic characteristics of classical instruments, created by force of digital technique. He makes efforts to reach of organic incorporation of seemingly distinct or irreconcilable elements into the living form, called by him INTEGRATED MUSIC. He is founder and leader of ensembles Skrol, Aghiatrias and ZygoteThe first of the symphonies, composed for synthesisers, is a four-movement composition, which as if it was trying to show the number of ways the author was to take in his development. The basic themes are handled here with an attempt to exhaust various alternatives of harmony, the composition structure is more subject to experiment then the sound itself. It is an introspective project, of a very intense, in parts painful dwelling in the atmosphere of the work, trying to implicate the conflict of the inner world as seen through feelings and rational thought.Cycle of compositions for piano; an expressive conception of already acquired author´s original melodic and harmonic style of work with a theme. Unfortunately, recording labours with poor quality of sound.Initial author´s work in terms of integrated music philosophy. Suite of epic character, centred on the religious and seemingly obsolete theme of heresy, which nonetheless functions as a mere symbolic expanse for the central idea. While making use to a great extent of unique synthesised sounds of string instruments, brass, classical organ, densely enhanced piano, drums and combinations of these, the atmosphere mentioned above serves here, only as a sort of hardly identifiable background. Severe militant rhythms enhance the relentless music, along with a basis of instrumental loops. Their obstinate character should serve as a counterpoint to the melodic themes developed upon them. These themes recur occasionally, in altered form, to their beginnings, as if in doubt over the expressed judgement. This project version became the base of Skrol album Heretical Antiphony.The second symphony is intended for the so-called ”integrated orchestra” (as is the majority of the author’s works), using both authentic and synthetic instrumentation from the classical symphony orchestra, enhanced by industrial sounds which add colour to the compositions. Developed here are also some of the author’s leading motifs, that have not yet been fully exploited in the past. It is an allegory, where the virtual physical collision of two antagonistic worlds represents a similar kind of interference occurring on the level of elementary ethical values inside an individual. It is a kind of autobiographic apology of a failure in a similar kind of fightThis work is initially an extensive composition in quasi-oratorial form, in final version abbreviated and restructuralised. Classical form is here only in contours. Opus is characterised by thematic spurts, erupting in desultory pulses and, exhausted, dying away in a mass of industrial sounds, without consequent ending of idea. The industrial matrix is also a space and energy source for volcanic activity proper. The solo role of the organ is surprisingly not dominant and its parts are often taken over by other instruments. The re-worked second version of the composition is markedly shorter, placing more emphasis on systematic approach to its theme, without essentially influencing the above said basic qualities of the opus. Second version was released in 2002 by Integrated Music Records.This symphony is a kind of recapitulation of the author’s creative period between 1987-98. It is a highly uncompromising, even aggressive project, thematically concerned with the crisis of values of today’s world. It gives us a pitiless image of its chaos, paradoxically serving itself as an excuse for the soulless stereotypes of life, a cheap apology of the absence of blame for it. The author does not avoid a certain level of cruelty here, yet it fully corresponds to the necessary level of intensity that the cry of warning be heard in a strong emotionally hypo-acoustic (hard of hearing) environment. Even through its univocally signalised scepticism the composition is filled with the effort to undermine the bonds of stereotypes on the one hand and on the other to bind chaos, as a yearning for the spiritual purification of society. The pitiless view is documented by a highly martial character of the individual, mostly short meter movements. Symphony No. 3 is formally once again a relatively classical unit, but conceived already fully in the spirit of the author’s philosophy of the so-called integrated music. It is an opus, at the end of which we feel utmost exhaustion, but also faith in the giving up of oneself to an idea, notwithstanding the futility, by which it is surrounded. The final movement, which brings us back, in the manner of Sisyphus, to the very beginning of the process, but on a different level, is proof of this.It is a nesting in of authentic parts of Diamanda Galás’ „Plague Mass“ into an integrated composition, supplemented by a few shorter compositions and conceived as an authorial partnership. The album is adapted into the formal structure of a classical mass with all liturgical parts.Contrary to the preceding album of SUBPOP SQUEEZE, the second one no longer sounds like methodical entertainment, mainly thanks to its unifying, more serious thought conception. It is grounded in a certain specific boundary situation in the author’s life, at first adapted in writing, later adapted musically. The music schame is basically rock, typically combined within with sampled loops. The melodramatic expression of states of anxiety, full of lyrics, together with the formally compact sound of the album makes for a unique statement, regardless of certain formal defects and occasional shoddy resources.A dark-ambient album devoted to the theme of subliminal sensual perception and its fictive musical applicaiton. An abstract conception of the confrontation between the surreal and real world (artificial ambient versus realistic industrial sound). The meditative character of the compositions is brightened by discharges of a kind of radioactive irradiation, representing the fleeing moments of understanding. The formation aims for purity of expressive means in an effort to accentuate the role of the primarily suppressed and ignored spiritual dimension of our world, while pointing to the importance of the liminal “structures” of our perception. Concept, themes and compositions bases of this project represent groundwork of 3rd AGHIATRIAS album "Regions Of Limen".The second and final remixed version of original recording (1998, at that time under the name Zygote), evolved basic principles of musical application of s.c."fractal geometry" mathematical theory and precized original sound idea.A suite in the spirit of integrated music focusing on confrontation of spiritual and materialistic world, traditional for the composer. Musical themes of modern classic and ambient clash with periodically repeating elements of fashionable trends of pop music and attack their rhythmic, structures and melodies. They become their inner destructive agent and challenge of tattiness and first-signal degradation of human feeling, governing the conventional taste. It is obvious though that the tout ensemble is skeptical as the end states sadness from status quo, loneliness and weakness of the individual, e.g. disbelief in a practical possibility to overcome the overwhelming panegodeism of contemporary human. The title NONTERRA, thus NONEARTH, is more than explicit in this context.A selection of mainly short-lenght tracks, which frame the global survey of author´s scenic musical works in period between 1990 and 2004. Album content rearranged excerpts, abbreviated or adapted versions of compositions. Special digipack of double-cd with total time 127 minutes.Thematic opus, inspired originally by Dostoevski’s interpretation of Hans Holbein´s painting of same name. It is a polemic with his questioning of the Christian faith in Christ’s resurrection, since the level of cogency in portraying a truly dead body is strikingly exposed in the works of the German artist. Also because of this the symphony may be understood as a sort of filling of the gap between Christ’s death and laying into the grave (see indiv. parts), i.e. the process, which is not given much space in the bible. The author is trying to create a deeply immersed, painful perception here, dominated by uncertainty and doubt, but through the belief in spiritual strength inclined to hope and strife for the fulfilling of the faith’s thesis. In expressive terms the work combines expressive means ranging from symphonic to noise, in a totality which up to now represents the author’s concept of the so-called integrated musical form the best. Contemporary author is working on new version of this composition.
Void Kampf
2006 Void Kampf left Black Flames records.the new demo album NON STOP SUCKIN BEATS is out. This album is a remix album from Suck My Beat. 2006 should be the year of the first Void Kampf's release on a label, so wait and see...Concerts in Germany (Dessau) and in Belgium (Tournai).Several apparitions on CD samplers.2005 Void Kampf has signed on Black Flames records.The official Void Kampf website has no more "under construction" sections.New materials should be released at the endof the year.We plan to play in Poland in june in a Black Flames festival together with Skoyz.2004 A new track Electronic Body Jesus appears on an American DCD sampler :"Inter Breeding II" from the Label BLC Productions.The new website is launched.An unreleased track "Body War" on BLC's DCD sampler "Inter Breeding III".Some remixes are planned for a remix album "NON STOP SUCKING BEATS".Death at Corner 'Schneller mix by Skoyz" appears on the sampler "In this cold terrific room vol II" A Concert with Skoyz and K-Bereit.2003 The new demo is finished,two versions for it :A simple version with the 13 tracks of SUCK MY BEAT and a limited version with a multimedia track on a second cd.The first demo is reedited with bonus tracks and a remasterisation work.A concert in Germany at Dessau's Beat Club with Proceed, Cyborg Attack,Tank, PP? and Mezzire.2002 Mr Body 2000 joins the band definitively. The musical orientation suits now more Pouppee Fabrikk than Empirion.VK begins to work on a new demo which concept turns around the disco bitches meeting in discothek.After a couple of beers in a club,the title is found : SUCK MY BEAT.Concerts with Opale, Ionic Vision,Proceed.2001 The first demo FIRST ASSAULT is out,an 8 tracks production with an additional multimedia track on it.VK comes back to a solo project, the web site is on line.Combat appears on a german sampler edited by SonicX and in a french magazine with an interview.Mr Body 2000 and Oliver Camuscle join VK for some performances on stage with Steril, Ionic Vision,Grendel and Feindflug.2000 Four additional members join the group,we started working on a first demo and the first concerts tought place in Lille.On stage two singers, Ats man,Mr Body 98 and the French Lover as keyboarder.1999 Void Kampf starts as a solo project.After some experimental tracks made by Mr Body 1998, VK finds it's own way by doing techno a la empirion with EBM influences.The first result of this mixture was "S&SR" a danceable song which was broadcasted on radio and played during parties.The feedback of this song has brought VK to a local audience.
