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

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.

13 Gothic Lovesongs For Valentine's Day

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.

Review: Liv Kristine - Vervain

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

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.

Review: Kissin' Black - Heart Over Head

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

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.

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

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

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

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

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

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

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

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]

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

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

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?

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

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.

Interview: Pretty Addicted

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

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.