LEAETHER STRIP is the solo-project of Danish electronic industrial artist Claus Larsen. First signed by the legendary German label Zoth Ommog, LEAETHER STRIP quickly built a buzz as one of the most exciting emerging acts in Europe in the early 90's.

After a very successful Japanese Bodies 12, the debut album (The Pleasure of Penetration released in 1990) instantly established itself as a classic, featuring a punishing rhythm pace and aggressive electronic style with distorted vocals that he has since become renown for and that is often described as LEAETHER STRIPs trademark. The following albums and MCDs allowed LEAETHER STRIP to conquer the hearts of hundreds of thousands of fans of electronic industrial music across the world and to become one of the leading acts on the cult Zoth Ommog label. Both Solitary Confinement (1992) and Underneath The Laughter (1993) albums helped Claus Larsen establishing his position on the music map, reaching top sales in both the European and American electro scenes. While reminding the powerful angst seen in other electro acts such as FRONT 242, SKINNY PUPPY or even NINE INCH NAILS, LEAETHER STRIP rapidly got the reputation to be carrying a deeper message and meaning in his work through his very personal intense music and the sometimes emotional, sometimes political dimension of his lyrics.

With Serenade for the Dead (1994) LEAETHER STRIP shook the foundations of the industrial scene by surprise, radically departing from past expectations, drifting away from his trademark harsh power sound towards a more orchestral / gothic sound we would later refer to as symphonic dark electronics. Conceived as a soundtrack piece, this beautiful album showed a completely different side of Claus Larsens talent and proved that LEAETHER STRIP was able to take the challenge of redefining his sound while still offering the same song writing depth and force. A milestone in his discography that took the path of a more versatile musical approach that highlighted his diversity in rhyme and his masterful crafting in song writing.

Fears of seeing Claus Larsen express his inner torments only through his turbo-driven side-project KLUTE, while letting LEAETHER STRIP fade from its roots, were rapidly gone with the release of the follow-up albums Legacy Of Hate And Lust (1995) and The Rebirth Of Agony (1996).

His last album to date, Self-Inflicted released in 1997, continued the LEAETHER STRIP sound tradition, revealing a full return to the Claus Larsen sound of old, while being in many ways more diverse than anything he's done before, allying solidity and confidence; and being still today described as his best effort to date. The sound and vocal diversity being emphasised by a forced upgrade of Claus home studio after a devastating flood.

A few months later LEAETHER STRIP paid homage to SOFT CELL with the release of the Anal Cabaret ep which allowed many journalists to acknowledge that The guy can actually sing, which is pretty unusual in the EBM genre, where volume and distortion can make up for a lot of vocal inadequacies.

Besides a bunch of best of, demo collections and other remix albums, it was at the turn of the millennium that LEAETHER STRIP released his last 7-track single to date Carry Me (2000).

2005 marks the official return for LEAETHER STRIP...

Vomito Negro arisen from the curse, which rests on the last stage of yellow fever. Vomito Negro's musical collaboration already took off way back in 1983, and over the past years they established a name for themselves as uncompromising aural architects, combining power with emotion, trance with vision. VOMITO NEGRO is latin (portuguese/spanish) for “black vomit”, a phenomenon that arises in the last stage of the disease yellow fever, when the patient throws up his putrefied intestines and ultimately dies.

Macabre? One might consider Vomito Negro's interest in the darker side of the human condition as unhealthy, but in fact it..s fuelled by a desire to cope with and to understand life (and consequently, death) as we know it. Vomito Negro handle their topics with grim sarcasm and/or penetrating personal involvement; under the surface however, they give way to a message of redemption, passion and purification. : From the start on, flexibility is one of Vomito Negro's major qualities.Vomito Negro is never content with a certain formula: their musical approach, essentially based on the European “Industrialist” tradition of the early eighties, takes a different angle with every record. Tracing back their history through albums as diverse as 'Vomito Negro' (their haunting debut from 1985) to 'Wake Up' (1992) one hears growth and evolution in Vomito Negro..s varied soundscapes.

Vomito negro's synthesized psychodramas range from danceable to contemplative, from instrumental to and ambient to voice-ridden and brutal. Live, the sound and the imagery of Vomito Negro's stage are an inescapable force setting alight the imagination of the listener/spectator. Vomito Negro established to be one of the most important Industrial European bands of the last decade. They built up a great following over the years. Lots of new bands following the same musical direction, Bootlegs, Compilations Bootlegs with bands like Front 242, Front Line Assembly, Kraftwerk, Depeche Mode, Klinik an lots of other bands prove that Vomito Negro is one of the bands who made electronic music great in Europe.

But Vomito Negro has to be seen like an open structure, over he past years, lots of musicians worked together with this duo, 'A Split Second'- Chrismar Chayell (producer), Poésie Noire – Ludo Camberlin (producer), Revolting Cocks – Luck Van Acker (live mix),Liquid G, Mario Varewijck (Insekt, Lowpass), Eric Van Wontergem (Klinik, Insekt, Monolith), Andy Szava-Kovats (Data Bank A, Dominion), Mark Lane (Mark Lane band), Slin Thompson (Psyche). After ‘Fireball’, an album mastermind Gin Devo wasn’t really content with, VOMITO NEGRO was put on hiatus. In 2008, he decided that it was time to wake up the beast again, and together with new member Borg, Gin recorded a new album that is ready to release.

In the beginning of the 90s Tyske Ludder set the course for their work as pioneers in the european EBM and Dark-Electro scene. Coming up from the New-Wave and New-Romantic scene they developed very early their meditations on the predominance of technology in our society. Nightmare-like visions of the then-raging war in Yugoslavia as well as the recurring military enforcement of the United States’ claim for world domination represent the other thematic constant. Through the years their musical model developed from heavy Electro-Sounds to some kind of ominous dance music somewhere between Industrial and the aroma of a nuclear blast.

In a unique melting procedure the band around vocalist Albert-X was again and again able to produce avant-industrial dimensions of sound which very often divided the followers into two enemy camps. That is how altogether three album originated in the mid 90s.

The scarce live gigs of the four electro-activists constitute the third column of the concept of Tyske Ludder.

At the beginning of our new millennium it has become very calm around Tyske Ludder. Disagreement on the further development of the band’s musical blueprint and colliding conflicts of interest made this step necessary.

Since 2004 Tyske Ludder are working again at new material and you can be eager how the years of silence took influence on the aesthetic concept pertaining to the fine arts.

In november 2005 TYSKE LUDDER signed at BLACK RAIN, album ‘SOJUS’ was released in february 2006.

Formed in 1996 by David Andrecht and Ted Phelps, Imperative Reaction began as the remnants of the Los Angeles based D.N.A. An early demo tape entitled Debris was released in the summer of 1996 only to be recalled and destroyed after the band decided to start over with fresh material. After some experimentation, Imperative Reaction started working on a new demo to be released the following year. Imperative Reaction’s first effort, Persistence of Memory, set the Los Angeles scene ablaze and earned Phelps and Andrecht a spot on the critically acclaimed compilation album, Exoskeleton Vol. 1. Released on Possessive Blindfold Recordings in the winter of 1997, the album featured Imperative Reaction’s contribution “Predicate.” Driven by the overwhelming response to the song, Imperative Reaction set out to record their full-length debut in January of 1998. After a short tour to support the Exoskeleton release, Imperative Reaction and P.B.R. parted company leaving Imperative Reaction free to sign with Pendragon Records in October 1998.

In February of 1999, Eulogy For The Sick Child was released. Comprised of material created during the band’s short, three-year history, Eulogy… was an immediate success in the United States. In March of ‘99, the album rested comfortably in the top ten of the CMJ (RPM) charts along with topping countless college radio stations “most played” lists. The overwhelming success of Eulogy For The Sick Child prompted the legendary Zoth Ommog Records to license the album for the European Territory in April of 1999. Europe greeted the release with massive club and radio play as well as stellar reviews in publications such as Side Line and NME. “Scorpio” the opening track on the album, enjoys massive club play worldwide to this day. In the summer of 1999, the band found itself on Metropolis Records as the result of the seminal label’s buy out of Pendragon Records. The rest of the year was spent playing shows to support Eulogy opening for such notable acts as Attrition, and Scar Tissue.

With the addition of Jason DM and Sam P. of Pulse Legion to the live band, 2000 proved to be a very important year for Imperative Reaction. Their explosive live shows became much more engaging than they had been in the past. Imperative Reaction began to build a reputation for itself as a must-see band as offers from venues all over North America began to pour in. In August, Phelps and Andrecht completed work on “Rift” which would be featured on the Counterbalance compilation on Inception Records the following year. The track was well received by fans and the press.

In early 2001 work began on the follow up to Eulogy… It was clear early on that the album would be a departure from the debut with it’s straight ahead approach and clean vocal style. Phelps spent the entire year writing and recording. In September, a setback occurred in the form of lost data on the main hard drive used for the recordings. In addition to pushing back the release date of the album to April 2002, it completely changed the sound and direction of the album. The album, Ruined, proved that there was more to Imperative Reaction than relentless club hits. The honesty of the lyrics matched with the raw intensity of the music that supported them set Ruined apart from other electronic industrial bands. Touring in support of the record from 2002 to 2003, the band performed in front of capacity crowds and gained many, many new fans with the successful tour.

Shortly afterwards, work began on their follow-up record. Taking nearly a year to complete, Redemption, their newest album, was established in early 2004. More aggressive than its predecessors, Redemption has a unified feel from start to finish. Each track complements the next without any letdown, and all of them could EASILY be a dance floor hit. Explosive beats, smooth programming, highly charged sequences, and vocals that accentuate the message in the lyrics made Redemption Imperative Reaction’s greatest album to date. Imperative Reaction finally came into their own.

Making a splash with Redemption and 2005 tour in support of VNV Nation, Imperative Reaction began work their new album set for release in the fall 2006. With their ever-growing fan base, the band was been bombarded with requests to re-release their out of print debut Eulogy For The Sick Child. The re-issue is completely re-vamped and re-mastered with brand new artwork (including lyrics), two unreleased tracks from the Eulogy… recording sessions and a 2006 remix of their 1999 club hit “Scorpio.” People will discover the band’s evolution from darker electronic music to their now pop-friendly style, while keeping their intelligent song writing skills intact. Eulogy… shows the potential of a new band, while Redemption shows how they’ve grown.

16volt began in 1991 with the mission to merge the raw guitars of early punk with the heavy beats and energy of industrial dance music. In 1992, 16volt’s founder and frontman, Eric Powell, signed with the Cargo Records industrial subsidiary and now infamous Re-Constriction Records. 16volt’s debut, “Wisdom,” was co-produced by David Ogilvie (Nine Inch Nails, Skinny Puppy) and Keith “Fluffy” Auerbach (Ministry) and was released in 1993. Met with worldwide acclaim from fans and press alike, “Wisdom” officially put 16volt on the map and, along with Powell, was credited with helping spawn a genre of industrial known as “coldwave.” That same year, 16volt hit the road, playing shows to club crowds on the West Coast of the United States.

In 1994, 16volt skipped the industry-standard “sophomore jinx” and released the slightly more raw-sounding “Skin.” This release brought more praise and won features in Alternative Press, Kerrang!, CMJ, Industrial Nation, B-Side, and more. “Skin” reached the #2 slot on Rolling Stone’s alternative charts and charted everywhere from the United States (CMJ) to France, Germany, Ireland, and Japan. 16volt hit the road again for club shows and radio junkets and destroyed it everywhere they showed up.

16volt’s third release came in 1996 by the name of “LetDownCrush.” Co-produced by Jeff “Critter” Newell (Ministry, Filter) and featuring special guests Stella (Stella Soleil, Sister Soleil), William Tucker (Ministry), Marc LaCorte, and Bryan Black (Haloblack, Motor, Xlover), the release once again proved that 16volt was a major force to be reckoned with. Interviews and features followed in huH, B-Side, Alternative Press, Kerrang!, CMJ, Industrial Nation, Guitar Player, and many more respected national rags. LDC charted again, this time at #1 on the Rolling Stone alternative charts and globally on college and commercial radio. This release also marked the debut of 16volt’s national touring career. Vowing to stay on the road for as long as possible, Powell put together a lineup that would tour for over nine months straight in a custom van, making their way around the United States several times with the likes of Chemlab, Bile, Acumen Nation, and Korn.

The touring paid off and interest in 16volt grew. The band returned home to be wined and dined by much larger labels. In 1998, along with full-time members Mike Peoples on bass and Kraig Tyler (Chemlab, Crazytown) on guitar, 16volt signed with Slipdisc/Mercury/PolyGram and got to work on the band’s fourth release, “SuperCoolNothing.” Produced by Bill Kennedy (NIN, Megadeth, Sepultura) and Joseph Bishara (Drown, Danzig), SCN was the band’s most aggressive album to date. This time, Powell and Co. got a hand from special guest Chris Vrenna (NIN, Tweaker) on drums. Upon completion of the album and the most intense promotion schedule to date, they hit the road adding John “Servo” DeSalvo (KMFDM, Chemlab) on Drums, playing shows with the likes of Orgy, The Flys, and Candlebox. During the first two weeks of touring, however, Mercury/PolyGram was purchased by Seagram’s, creating a ripple that would send 16volt back home and cause the firing of the entire Mercury team slated to work on the SCN record promotion.

To celebrate the release of “Primal,” 16volt hit the road in 2002 with KMFDM for a North American whirlwind, completing 34 shows in 36 days. Most of the dates were sold out, and by KMFDM’s own admission the tour was one of the best packages they had ever put out. 16volt returned home on the tour bus and inked a deal with Capitol Records. The band then spent 11 months working on demos and being bombarded with pressure to compromise, which ultimately forced Powell to walk away and head back underground.

In 2005, Powell inked a one-off deal with Cleopatra Records to release 16volt’s first-ever “best of” collection. The double-disc set titled “The Best of Sixteen Volt™” features fan-picked tracks on one disc and the first-ever live release of 16volt on disc two. Powell cleaned house, went into isolation, and began working on the next phase of 16volt.

In August of 2006, Powell had a new record under his belt called “FullBlackHabit” that he began shopping to indie labels. He found a new home at Metropolis Records and inked a worldwide multi-album deal. The new record, slated for release in early 2007, features guests appearances by Paul Raven (Ministry, Killing Joke, Prong); Steve White (KMFDM); Bildeaux (Necrofix, OHN); Kraig Tyler (Chemlab, Virus23, Crazytown); Scott Robison (Dr0ne); and Jason Bazinet (SMP).

In the Spring of 2008 16volt, with live members Steve White (KMFDM), Jason Bazinet (Chemlab, SMP), and the return of 16v veteran Mike Peoples hit the road for a highly successful U.S./Canada tour. Playing 28 shows in 30 days the band once again set it’s mark to a high level by playing to larger than expected crowds on all stops of the tour.

Immediately following the return from the road, Powell and Peoples began to shape the process for the next album. An even more refined, slightly more aggresive album titled “American Porn Songs” released on September 8th, 2009 on Metropolis Records. The album features guest appearances by Steve White (KMFDM/Pig), Jason Bazinet (Chemlab/SMP), Scott Robison (Drøne/The New Slaves), Bildeaux Sarver (OHN), Joseph Bishara (REPO!/Danzig), Jeremy Inkel (Left Spine Down/Front Line Assembly) Tim Skold (Marylin Manson/MDFMK), Sean Payne (Cyanotic/Prude), and Marc LaCorte (Powerman 5000/Black Metal Box). The band starts hitting the road again on the 2009 “Precursor Tour” in July of 2009 with plans for a full North AMerican tour in Spring of 2010 with a special stop in May at Montreal, Canada’s “Festival Kinetik”).

Since 1989, CHEMLAB have blazed a singularly fearsome and deeply influential trail through the music world, creating, destroying and then reanimating the American Machine Rock scene. Their music is the mid-air collision between digital dance grooves and the churning chaos of rock’n’roar.

Superuncool co-conspirators Jared Louche and Dylan More wrote their first full length, Burn Out At The Hydrogen Bar, in the burned out, midi-ghettos of NYC. Recorded in 1992 at Chicago Trax studio, Burn Out quickly became the Machine Rock standard against which future records are still measured. Forged of tense, sample-rich programming, vicious guitar howl and snarling lyrics about damaged proto-futures, it unleashed a wave of rave reviews from magazines as varied as Alternative Press, Raygun, Keyboard, Rolling Stone and more. The record torched the charts, trashed dance floors and launched the band out on endless tours supporting Nine Inch Nails, White Zombie, SKREW and many others.

CHEMLAB’s next album, East Side Militia, was written and recorded with old friend William Tucker (Ministry, Foetus) and touring guitarists Geno Lenardo (Filter) and Krayge Tyler (Virus23 ,Crazytown). East Side capitalized on the power of Burn Out, four-wheeling the band’s explosive sound through uncharted terrain, mixing hammering dance-rock songs with dark, ambient nightmares. Again the glowing press reviews, and again the record confounded all expectations. CHEMLAB took their gasoline riot shows on the road once more, touring with countless bands such as KMFDM, GWAR, Sister Machine Gun and 16 Volt. Tireless gigging, avalanches of critical acclaim, extensive radio-play and a reputation for pushing the performance envelope built CHEMLAB a broad and ferociously loyal fan base around the world. The band reached critical mass overdose of burned fuses and fractured cells in 1997. They imploded, taking other bands, the record label and their studio down with them in flames. They remained off the grid for years.

In the meantime, CHEMLAB front man Jared Louche released records from his decadent new base in London. The critically acclaimed Covergirl, produced by Martin Atkins, Hardcore Vanilla, the latest installment from supergroup electro-sex-noise project h3llb3nt (feat. 16 Volt, MOTOR/ Haloblack, Thrill Kill Kult, PIG) and the Altered Statesmen record with Mark Spybey (CAN, Download, DVOA) feature prominently. Louche has also spread his solo performance smear across London, the UK and Europe, and toured the US many times with Pigface.

Remade, remodeled and mutated, CHEMLAB returned in 2004 with their critically acclaimed monsterpiece, Oxidizer. Recorded with Jason Novak and Jamie Duffy (Acumen Nation), OXO offers up a Glam-Punk scornocopia of crash, riot and roll that drags Machine Rock deep into the future. It’s the perfect synthesis of the violence of Burn Out and the sleazy groove of East Side, all of it channeled through a fractured T-Rex filter. Produced by Louche, Novak and Julian Beeston (Nitzer Ebb, Cyber-Tec), Oxidizer packs a fistful of sharp hooks, swaggering attitude and motorik-rock glory that rages long after the flavor-of-the-month bands have whimpered into obscurity. A year later, CHEMLAB unleashed Rock Whore vs Dance Floor, a sprawling collection of remixes from artists as varied as Cubanate, Die Warsau, Kill Memory Crash, MOTOR/haloblack, Grossman (Ministry), En Esch/KMFDM and a dozen more. The band returned to touring, bringing their trademark 110mph-rocketing, train wreck spectacles to venues all across the United States. 2007 saw them out on the Detonation Days Tour with Paul Barker (Ministry) and Duane Dennison’s (Jesus Lizard) new band USSA and asymmetrical noise-experimentalists Skeleton Key.

Based in Vancouver, Canada, LEFT SPINE DOWN (also known by the acronym LSD) plays a brand of music called Cyberpunk that fuses the sounds of Industrial, Metal, Punk and Electronica.

The band features Jeremy Inkel of Industrial music legends FRONT LINE ASSEMBLY & NOISE UNIT and has no shortage of firepower both on stage and in the studio.

The band self released their first album entitled the SMARTBOMB EP in June 2007, and it was met with a frenzied reception from fans and critics worldwide. The EP was produced by FRONT LINE ASSEMBLY/NOISE UNIT/UNIT 187’s CHRIS PETERSON.

Their full length release FIGHTING FOR VOLTAGE saw the band combining efforts with mastering giant SHAUN THINGVOLD (SKINNY PUPPY/STRAPPING YOUNG LAD/LAMB OF GOD/K-OS) and again with CHRIS PETERSON. The album was released in Canada on April 22, 2008 by Canadian label SYNTHETIC SOUNDS, distributed across Canada by Indie Pool and released on September 23rd 2008 in the USA by BIT RIOT RECORDS/WTII RECORDS.

March 2009 saw the band release VOLTAGE 2.3 REMIXED & REVISTED again on SYNTHETIC SOUNDS and featuring one new original song plus covers of Nirvana’s “Territorial Pissings” and Joy Division’s “She’s Lost Control”. The album features remix’s from a literal who’s who of the Industrial music world today including KMFDM, Tim Skold, Revco, Combichrist, XP8, Download, 16 Volt, The Birthday Massacre, Seb Komor and DJ? Acucrack.

In September 2009 the band embarked on a North American tour opening for the REVOLTING COCKS ‘LuBriCaTouR’ that sees the band playing major venues along with legendary sideshow performer JIM ROSE. In support of the tour the band released a second remix album this time a Double CD entitled SMARTBOMB 2.3 THE UNDERGROUND MIXES again on SYNTHETIC SOUNDS and featuring artists as diverse as mind.in.a.box, Angelspit, Dismantled, Cyanotic, Memmaker, Psy'Aviah, Decree, Amduscia, Decoded Feedback and Helalyn Flowers to just name a few. The 2nd disc is also an Enhanced CD that features all 3 of the band’s Music Videos in iPod ready format.

October 2009 saw the band take its fight to the European Market via leading Darkrock and Industrial Label DANSE MACABRE RECORDS, who are releasing the bands first two albums in a Double CD entitled FIGHTING FOR VOLTAGE: DELUXE EDITION on October 16th.

The band has been very active in the Vancouver live music scene over the last few years sharing the stage with ohGr, The Birthday Massacre, Combichrist, DOA, Genitorturers, 16Volt, Rabbit Junk and Chemlab to name a few. With work already underway on their follow up LP expected it to drop in Summer 2010.

Alter Der Ruine was brainspawned in 2005 as a device to get soft shoes to tap to a heavy beat. To compound this simple plan an intricate execution was employed. Long story short 2 Mikes and 1 Jacob got together and made a racket that took the scenic route to its destination.

Pooling enough influence to inspire even the laziest artist, ADR set its sights to constantly evolve and explore areas unfamiliar to them. The end result rests in a sound strikingly familiar that lounges in its own swanky world. A swanky world where sleaze and serious had an ugly, humor filled love child that craved synthesizers and something to snap its fingers to. Luckily Alter Der Ruine exists for them.
Do they exist for you…

The Gothsicles are an electronic band from Chicago, Illinois, USA. Their music is generally of the electronic music variety, but deals thematically with more humorous topics than their contemporaries, often writing about classic videogaming or lampooning the musical conventions of the genre. 2009 saw the release of their latest album “Sega Lugosi’s Dead” on WTII Records. Sega Lugosi’s Dead features guest appearances from Prometheus Burning, Cyanotic, The Dark Clan and unwittingly, Caustic. In addition to the album tracks, Sega Lugosi’s Dead contains remixes from Alter der Ruine, System Syn, Iszoloscope, Boole, and DEFCON.

Caustic is an American industrial band based out of Madison, WI, created in 2002 by DJ Matt Fanale (AKA Eurotic), who is the sole consistent member. The band’s live lineup varies quite a bit, largely depending on the location of the show. Caustic’s lyrics are typically really silly, while the music itself ranges between older styled industrial and more modern styled powernoise.

T-FAKTOR is a side project of Benjamin DeWalt (a.k.a. DJ HELLRAVER) of the hard hitting industrial power noise phenomenon know as TERRORFAKT. The T-FAKTOR project began in 2002 with the release of "Terrorfakt Presents T-Faktor - Music From Antartica - A Collection Of B-Sides And Outtakes" and has since released various one-off remixes and compilation appearances.

Compared to TERRORFAKT, T-FAKTOR is more 'fluid' and experimental, providing DeWalt an alternate outlet to the forward hard hitting sound of TERRORFAKT. Similar in some ways, and certainly including several "dancable" tracks, the T-FAKTOR sound also contains elements that TERRORFAKT does not explore, representing a departure from the standard powernoise formula. In DeWalt's own words "The writing process is different for me at least and I think my thought process behind each song is different. While they may seem like they would work for some people,..I don't find them 'TERRORFAKT-ish'. Maybe it's ME, but they just don't belong on the same CD as say 'Mephisto or Warlord' or 'Welcome To Hell'.". T-FAKTOR is sure to satisfy hardore TERRORFAKT fans as well as reach a broader audience.

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