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From the undulating ca- dences of Debussy’s “La Mer - 2. Jeux de Vagues” through the overwhelming wall-of- sound production on Ike \u0026amp; Tina Turner’s “River Deep - Mountain High”, to the galloping bass line of Iron Maiden’s “The Trooper”. These imaginative qualities allow us to talk about music beyond mere terms of theory such as tone and form. 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By adding singer\/percussionist Stefan De Graef (Psychonaut) and guitarist\/singer Sander Rom (L’Itch) to their ranks, HIPPOTRAKTOR have become a more versatile outfit able to employ a broader palette of sounds, taking the band’s earlier instrumental prog metal sound to new heights.\u003c\/p\u003e\n\u003cp\u003eTaking notes from the best moments in contemporary progressive and post metal, HIPPOTRAKTOR capture the awe-inspiring power of nature—from the delicacy of the first falling leaf to the massive cosmic energy of the sun. By combining the big, catchy riffs and the rhythmical prowess of Gojira with the relentless but equally groove-loaded complexity of Meshuggah, Meridian delivers an overwhelming experience of sound, presenting the listener with sentiments that are recognisable, but with an intensity that seems larger-than-life. “Meridian finds its origin in everyday moods, taken out of context and morphed into a stylised version that re- flects the dreamer in me,” explains main songwriter and guitarist Chiaran Verheyden. “It tells the story of someone who’s lost in a world too massive to comprehend, and seeks answers in places where none can be found. 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There was the same rush of adrenaline right before going on stage as you get before going on at any big open air festival... maybe with a little extra anxiety added, because knowing that so many people are watching you without being able to see them yourself was super weird.\u003c\/em\u003e”\u003c\/p\u003e\n\u003cp\u003eDespite these surreal circumstances, \u003cstrong\u003eTHE OCEAN\u003c\/strong\u003e's performance in Bremen felt like a real live show, for everyone watching: the energy spilled over to thousands of people from all over the world watching from their homes, who clotted the band's instagram story with hundreds of shares and comments. The crazy response was another testimony to how much we were all missing live music at this time: to watch a band connect with their crowd at home in this very intense way was an experience that was oddly beautiful and frustrating in equal measure.\u003c\/p\u003e\n\u003cp\u003eAfter this special and invigorating experience, it was clear that the 2nd part had to be intentionally different. “\u003cem\u003eWe wanted to do something more cinematic visually, and at the same time more intimate, we wanted to capture the feeling of the 6 of us in a relatively small, confined space, facing each other, in a circle... without the crowd playing any role or being any part of this equation\u003c\/em\u003e”, says Staps. “\u003cem\u003eIt was March and the room that we spent the whole day in was cold, but that was part of the vibe. 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Born in North Wales, he started his musical career in 1980 and soon became a pioneer in the early industrial music scene in the UK. He was a former member of SPK during arguably their most crucial era, and went on to work with THROBBING GRISTLE members Chris \u0026amp; Cosey as well as appearing on early albums by CURRENT 93, NURSE WITH WOUND and others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader’s First Reformed. Additionally he created several video game soundtracks, television scores and solo albums, as well as collaborating with artists as varied as THE MELVINS, CLOCK DVA, JARBOE, John Balance of COIL, Paul Haslinger (TANGERINE DREAM), PUSCIFER, Wes Borland and more, including Grammy Award-winners TOOL on their much acclaimed effort Fear Inoculum. 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As a matter of fact, the material on [ O T H E R ] is so powerful that it moved Williams to create two ambient remix versions of it, and one dub remix EP exploring the sounds of this record to the greatest extend of his ability.\u003c\/p\u003e\n\u003cp\u003eOver 13 years after the release of [ O T H E R ] , Pelagic Records has gathered 16 bands and solo artists to record their own unique takes on tracks from the Other-sessions. The result is an album that is more than a compilation, and more than the sum of its parts; covering a wide range of musical niches and directions, but sharing the same underlying mood and vibe defined by Lustmord's timeless soundscapes: from the ambient solo performances provided by IHSAHN, ENSLAVED or JONAS RENKSE to the subdued voice of ZOLA JESUS woven into Lustmord's sombre fabric to the industrial carnage that is GODFLESH's version of 'Ashen'.\u003c\/p\u003e\n\u003cp\u003eWhat demonstrates the profound influence of Lustmord on this contemporary music underground showcased here is that artists from disparate ends of the sonic spectrum all feel inspired to explore the essence of his idiosyncratic sounds within their own realm: experimental electronica icons ULVER excel on a stunning, hazy rendition of ‘Godeater’, while Japanese post-rock act MONO deliver a crushing version of ‘Er Eb Os’, and THE OCEAN take us on a cathartically heavy mindtrip back to our 'Primal [State of Being]'. 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The mantric title track opens with the angelic voice of Stefanie Mannaerts (Brutus) and slowly builds up to erupt in an explosive sermon delivered by Colin H. van Eeckhout (Amenra, CHVE, Absent in Body), the appearance of both gifted musicians affirming PSYCHONAUT’s stature in the Belgian metal scene and beyond\u003c\/p\u003e\r\n\u003cp\u003e“No man is an island entire of itself; every man is a piece of the continent, a part of the main,” so famously wrote the reverend John Donne in his Devotions. A rare moment of extroversion in a work that is otherwise marked by introspection, and a most powerful psychological analysis that still inspires today. Resounding through the ages, Donne’s most direct and honest recognition of human interconnectedness still resonates in the bowels of Violate Consensus Reality, creating a powerful discourse on the intersection of the individual and the collective. 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