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КОНЦЕРТЫ, ВЕЧЕРИНКИ:

12.12.2015

СКОРО !

XIII MOSCOW SYNTHETIC SNOW FESTIVAL! - 12.12.2015 Москва

Russian Synth Community представляет!

Международный ежегодный фестиваль независимой электронной музыки:

XIII MOSCOW SYNTHETIC SNOW FESTIVAL!

12 декабря, клуб "Театръ" (Москва, ул. Старая Басманная д. 20 стр. 1)

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Shadowplay Release: IKON 'Destroying The World To Save It' ARTIST: IKON
TITLE: “DESTROYING THE WORLD TO SAVE IT”
CATALOGUE#: SPR 018
FORMAT: CD, jewel case
RUNNING TIME:
RELEASE DATE: 20.12.2005
STATUS: in stock
For sales in the territory of Russia, Belarus, Ukraine & Baltic States only
OFFICAIL SITE: http://www.ikondomain.com


TRACK LIST:

01. Never Forgive! Never Forget!
02. The Dying Crown
03. Without Shadows
04. God Has Fallen From the Sky
05. Psychic Vampire
06. Father of Lies
07. Ashes of Blue
08. Rome
09. My Crucible
10. Heresy
11. Slaughter (For the Glory of Christ and the King)
12. Path of the Unknown
13. The Black Goat of Judas

"Destroying The World To Save It" is the first Ikon's full-length studio album since 2001. They are back with new sound varying from oldschool gothic rock through darkwave to dark-folk. In credits you can find Lousia John-Kroll, Roberto Massaglia and David Foreman (Tankt). CD mastered by well-known Ted Phelps. Already after three months after release tracks from this CD became club-hits and received good reviews in media. "Destroying The World To Save It" became "album of the month" in Zillo. It was released in 2005 by Nile Records (for Australia) / Equinoxe Records (for Europe) / Static Sky Records (for USA). Now it available in ex-USSR territory too!

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REVIEWS:


What differentiates gothic rock from hard rock? In Ikon's case, let's say that first it's in the vocals: deep, clear, and dramatically expressive. It could also be in the music, which here is led by heavy, complicated guitar textures, a strong bass line, and insistent beats designed for dancing. An essential ingredient for Ikon, though, might be their integrity, when our faith in everything else has fallen apart. Though Ikon takes a different musical path, their vocal delivery and lyrics are at times like, dare we say it, a back world that rocks. And Ikon does rock, especially in "Rome", a rousing stand-out that hearkens back to gothic rock's past and is still confidently, eloquently new. Guest vocalist Louisa John-Krol also appears on two tracks, departing from her usual sound for "Slauhter's" tribal pulse.
Carolee. Gothic Beauty Magazine #19, winter 2005-06, (USA)


It is probably fair to say that one of the biggest themes in agitated lyrics found on Goth albums are those which rail against religion and its hypocrisies, its realities, although never its possibilities. (Unless you're a Christian Goth band and then it tends to go all luvvy-duvvy.) I have never actually understood why Goth bands get in such a state about it all, because once they've said they are enraged, or done the Catholic guilt-reversal thing to blow off some angst endured during their adolescence what more is there to say? Why, for example, isn't there as much anti-politics to be heard, when people trot out the old 'so much killing in the name of religion!' Well, yes, good point. And just as much in non-religious ways. Why, I never ask myself with any great intensity, does it matter so much to people? Let it go, take up gardening.
Ikon have some religious themes on this album and it's been a long time coming and just like The Machine In The Garden, who didn't get why slow release schedules can profit a band far more in terms of quality than regular activity, this has ladled gravitas over the whole project, because this has a massed focus that recent EPs haven't called upon. Both 'Psychic Vampire; and 'I Never Wanted You' are great records, but they were teasers and tasters for this.
They're a Gothic rock band, not a Rock band with Gothic sensitivities. They're lean, and the melodies hum among dust and grim determination. Like The Nephilim without play-acting and frills or throat problems, 'Never Forget! Never Forget!' forgets its table manners and goes straight for your throat and shakes. Stern, sturdy drums and subtle, bolstering bass give their songs weight. The vocals are clear, one step above dour, and out of the overall hefty sense of purpose with some gentle electronic swishes, the guitars flicker and fly out like vicious, colourful accusations, livid spasms inside the dark rock heart. If there are messages and themes for me to unravel as a listener I am not generally disposed to such things, so whatever is going on here I didn't take too much notice of, and will just let seep into, and around, me over time. If I hear a loud, agile guitar voguing behind a scowling face I leap into metaphorical cab, shouting instructions of 'follow that noise!' 'The Deep Crown' thuds itself into the ground, stamping, as the serious guitar waves and grates in the twilight.
It's often that high, tensile steel sound which the guitar is choking out, a classic Goth sound, and it repeats and is layered as the voice lands like a professorial parliament of rooks, walking the length of the melody. 'Without Shadows' pulsates with regret, and the song is actually over-agitated, with the guitar constantly busy and provocative, the song one long, addictive corridor. 'God Has Fallen From The Sky' is a husk. Lambent acoustic, sympathetic bass, whispery vocal offshoots. I'm hearing nothing new musically, but I'm puzzling over words, and assuming that's good. Fuzzy guitar disrupts the drowsiness, building behind synth sighs.
'Psychic Vampire' you probably know, as it disports itself disgracefully, and successfully, before the decorous and nimble 'Father Of Lies' unfolds as a grave delicacy suitable to the most traditional Goth palate, complete with a stretchy, wonderful chorus. It's a musical itch followed by the cool 'Ashes Of Blue' with the ticklish, deceptively childlike vocals of Louisa John-Kroll that also takes them into left-field indie/'alt' territories, because who could resist this?
'Rome' burns (ye Gods!) with a guitar which wants to take it out on somebody, something, as the rhythm flutters then marches. The vocals push it aside to take the lead, and off they all stomp, quite sensibly with a dignified pace and simultaneous decorative interplay which only comes with experience. This is mature rock with a tough exterior that manages to be attractively pock-marked, like a perfumed Artica.
'My Crucible' is more standard Goth, with its chirpy guitar and solid bass sound uniting behind simple phrases, but it works and expands, and excites. I don't know why he sings 'Crew Sea Bill', when it's 'crews-cybil, isn't it? (Isn't it?!!) But that's personal styles for you, and it's another annoyingly addictive song. A peppery 'Heresy' is far simpler, with bright guitar.
'Slaughter' steps away into ululation and atmospherics, where a synth curiously vibrates with a Mediterranean feel, the drums click like stout heels, strings are sweet and even the bass doffs its hat. Ravishing, certainly, but I'm not sure why this track is here, because it's thrown the mood and lightened it. That said, 'Path Of The Unknown' is a very spry take on earlier tracks, and gets you bouncy, while still being dark and somehow gripping with its tangle of sounds and defiant lyrics. 'The Black Goat Of Judas' which is engaging fury and ends with sirens and Italian and you're done.
This is a formidable collection of magnificent music which makes Goth accessible to those might normally shy or turn away, while appealing to Goths right across the board with its inflamed misery and hard-hitting songs. It's an album you will return to regularly until it becomes a staple part of your collection and you will rely upon, but the surprising thing is that despite its obvious excellence there's a fundamental sense of modesty about Ikon.
I simply can't recommend it highly enough, but I'll get a ladder anyway.
Mick Mercer

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DISCOGRAPHY:


CDs:

From angels to ashes, 2003 Nile Records
On the edge of forever, 2001 Apollyon/Metropolis
Dawn of the Ikonoclast, 1999 Apollyon
This quiet earth, 1998 Apollyon/Metropolis
The final experience, 1997 Apollyon
Flowers for the gathering, 1996 Aplooyon/ Metropolis/Nile
A moment in time,1995 Apollyon/ Metropolis
In the shadow of the angel, 1994 Apollyon/ Metropolis

Singles:

Psychic Vampire ep 2004 Nile Records
Psychic Vampire cd single, 2004 Nile Records
Ceremony cd single, 2003 Nile Records
Afterlife cd single, 2002 Nile Records
Afterlife 7" single, 2002 Nile Records
Blue snow red rain 10" single, 2001 Apollyon
The shallow sea pt 1 cd single, 2000 Nile Records
The shallow sea pt 2cd single, 2000 Apollyon
Lifeless cd single, 1999 Apollyon
Reality is lost cd single, 1999 Apollyon
Ghost in my head ep, 1998 Apollyon
Subversion cd single, 1998 Apollyon
Subversion cd single, 1998 Metropolis
Life without end cd single, 1996 Apollyon
In a lonely place cd single,1995 Apollyon
Condemnation 7" single, 1995 Apollyon
The echoes of silence cd EP, 1994 Nile
The echoes of silence 7",1994 Nile
Why 7" single, 1992 Nile

Compilation appearances:

Attrition directive, Hearse Records Australia 1999. Track featured: The shallow sea (original demo version). This track is exclusive for this release.
Black bible, Cleopatra Records U.S.A 1998. Track featured: Subversion III. This is the U.S single version of Subversion which was the 3rd one recorded hence III.
Candles and intrigue, Left as in sinister Australia 1994. Track featured: Echoes of silence. From the cd The echoes of silence
Candles and intrigue vol two, Left as in sinister Australia 1994. Track featured: Lifeless(single version). From the cd single Lifeless.
Children of the damned, A tribute to The Damned, Apollyon Records Germany 1997. Track featured: Just can't be happy today. Is also featured on the Ikon cd Secrets within.
Ceremonial, A tribute to Joy Division, Mere Mortal Productions U.S.A 1995. Track featured: Shadowplay. Is also featured on the Ikon cd Secrets within.
Dark eyed and starry they were, Heartland records Australia 1996. Track featured:Answers to nothing (exclusive version). Is also featured on the Ikon cd Secrets within.
Dark eyed and starry vol II, Heartland Records Australia 1998. Track featured: Subversion II. From the German cd single Subversion
Doom & Gloom, Gloomy Prophecies German 2001. Track featured: The shallow sea (single version). From the German/Australian cd single The shallow sea.
Electropolis, Metropolis Records U.S.A 2000. Track featured: A triumph of my will (exclusive track). This track is not featured on any other release
Eurorock Festival VL, Zoomshot Germany 2001. Track featured: Fine line (album version). From the cd On the edge of forever.
Ghosts from the darkside, Purple Flower Germany 1999. Track featured: Ghost in my head (album version). From the cd This quiet earth
Gothik, Cleopatra Records U.S.A 1994. Track featured: Exit. Is also featured on the Ikon cd Secrets within.
Goths paradise, Orkus German 1999. Track featured: In too deep. From the e.p Ghost in my head.
Goths paradise III, Orkus Germany 1999. Track featured: Victim of hate. From the limited edition 2cd This quiet earth
Hex files vol 3, Credo German 1998. Track featured: Temple of light(album version). From the cd This quiet earth.
Life is too short for boring music, EFA German 1994. Track featured:Condemnation(album version). From the cd In the shadow of the angel.
Living for music, Dischordia Germany 1995. Track featured: Reality is lost(live from The Esplanade Hotel 26.11.94). Also on the Ikon cd Secrets within.
New face of Apollyon, Apollyon Records Germany 1997. Tracks featured: The disappeared (exclusive track) & Stranger i've become (1997 remix). Both tracks are also on the Ikon cd Secrets within
Opus Collective, SSI Communications Australia 1995. Tracks featured: Condemnation (remix) Betrayal (original version). Condemnation is from the cd single In a lonely place and the version of Betrayal also appears on the Ikon cd Secrets within.
Opus Collective vol II, SSI Communication Australia 1996. Track featured: Sleepless(single version). From the German cd single Life without end.
Palace of worms, Palace of Worms Italy 1996. Track featured:Somewhere else(album version). From the album Flowers for the for the gathering.
Orkus best of 1999, Orkus Germany 1999. Track featured: Reality is lost(single version). This is the 1999 single version.
Orkus club hits vol 2, Orkus Germany 2001. Track featured: The shallow sea(single version). From the cd single The shallow sea.
Palace of worms, Palace of Worms Italy 1996. Track featured:Somewhere else(album version). From the album Flowers for the for the gathering.
Passion of covers. A tribute to Bauhaus. Cleopatra Records U.S.A 1995. Track featured: She's in parties. Also featured on the Ikon cd Secrets within.
Pearls of passion, Zoomshot Germany 1999. Tracks featured: Cry for love & the Crimes of Passion track No order. Cry for love is from the U.S single of Subversion while No order was taken from the Crimes of passion cd Rites of burial.
Shattentanz I, Zoomshot Germany 2000. Track featured: Weisse rosen. Taken from the limited edition 2cd This quiet earth.
Touched by the hand of goth, Subterranean Germany 1995. Track featured: Condemnation(album version). From the album In the shadow of the angel.
Trancewerk Express vol 1.A tribute to Kraftwerk, Hypnotic U.S.A 1995. Track featured: The model, Also on the Ikon cd Secrets within.
TV terror, Cargo U.S.A 1997. Track featured: Gilligans Island. Originally recorded in 1994, should have been released then but were major delays. Also on the Ikon cd Secrets within.
Zillo club hits, Zillo Germany 1996. Track featured: In a lonely place. From the cd single In a lonely place.
Zillo club hits vol 5, Zillo Germany 1999. Track featured: Lifeless (single version). From the cd single Lifeless not clubmix as stated!

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