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Spineless Universe

This is the news...

SpineFarm/Universal bought Candlelight Records
UK Live Agency IAA added us to their rostra and booked us a UK tour 
We're playing a festival headlined by Orange Goblin! http://www.hrhdoom.com/ 
Blood Rock Records have offered to produce a vinyl of The Comfort of Loss & Dust
2016 is shaping up to be a great year! Looking forward to seeing you at shows.

Dopamine

The summer solace has set in this, the foul year of our lord two thousand und funfzehn. The Comfort of Loss & Dust has settled into the cracks of your heart and crows feet. Augustine rises and we will hibernate until the fall. Dopamine will revive us you will feel the hairs on the back of your neck stand up. Until the darkness finds us. Cold in Berlin

The Comfort of Loss & Dust

Cold in Berlin announce their new album The Comfort of Loss and Dust will be released on 4th May by Candlelight Records. 10 tracks of unprecedented scope and power, recorded at Gun Factory Studios, London and Mastered by Jaime Gomez Arellano (Sunn O))) and Electric Wizard).

A black mass of punk rock doom-gaze awaits the listener, fired by the Gothic imaginings of vocalist/lyricist Maya. With its dark soundscapes spun in haunting imagery and a feeling of the uncanny, The Comfort of Loss and Dust plays like the aural accompaniment to a Hermann Hesse nightmare. The down-tuned guitars and powerful drums create a tide of sound; carrying Maya's vocals as she twists and writhes through the murky waters of love, loss and bone-shaking lust.

“The album travels. We draw from diverse, supernatural landscapes." says Maya. "From the Yorkshire Moors to the barren beauty of Iceland, from India to the Catacombs beneath Paris. All share a similar mystery - and for me, are tied up with some form of loss. I think the listener will travel with us.”

The record’s centrepiece is the seven-minute Mysterious Spells - a post-mortem of youthful abandonment and a terrifying journey into today's exotic hell. Electricity crackles, Tibetan singing bowls ring and prayers are offered as the band completes its metamorphosis into a new kind of audible beast, Cold in Berlin at their darkest, heaviest and shin-shattering best.

“With this album, definition is difficult but pain resonates throughout; the powerful sound of survival,” says Maya.

Following on from their critically acclaimed debut album Give Me Walls (2010, Cargo) and the 2012 follow up And Yet, this release will be the bands’ second on pioneering independent label Candlelight Records.

Since forming in 2010, London-based Cold in Berlin has played throughout Europe alongside some of the most revered alternative acts, graced major festival stages and won praise from influential publications including Q, Mojo, Metal Hammer, Rock Sound and Clash. Last year saw Cold in Berlin cement their position in the UK’s underground scene with a lauded appearance at Whitby Goth Weekend and a presence in the Terror and Wonder exhibition at the British Library.

Bloggers Delight

This summer I experienced my first Twitter Storm (in a teacup). We read a bloggers live review that was not only lazy but derivative. In response we posted a piece about the nature and quality of online music journalism. The results were staggering.

"A few days ago, I wrote a post on the Cold in Berlin Facebook page. That post went on to receive hundreds of interactions and while it is the most ‘liked’ thing we have ever posted, it also caused a good amount of outrage among those that disagreed with the sentiments I expressed. At this moment, people somewhere on the internet are still discussing how best to murder me (probably).

Many saw it as an angry off-the-cuff rant; an ill-considered attack on internet music writers. It wasn’t.

Yes, my jibes and comments were exaggerated for effect, but the truth is that I dearly love journalism. I have given most of my adult years to it and I really want the kind of brilliant writing I was able to read when I was learning the trade to continue in the future.

The internet has made it possible for anyone to publish their work online. Some bloggers write brilliantly. Most can barely string a sentence together. Often, their views are ill-informed and demonstrate none of the basic standards that the print world developed.

The amount of noise on the internet means that the cream is failing to rise to the top. Great writers are not being read, and many aren’t able to sustain careers in writing at all. I have seen some of the best minds of my generation become marketing assistants, to borrow from Ginsberg.

I think the sea of bad music writing benefits no-one. The reader fails to get a true picture of the band or event. The band fails to get a fair trial. The journalism industry fails to make enough money to pay people or sustain important publications.

Bloggers will say they do it not for the money, but for the love.

I believe them when they say that. But the long-term affect is that they are putting professional writing out of business - and replacing it with an inferior offering.

Bloggers will say that they can only learn by doing it for free for years first.

This is one way to learn. But it would not help the world of surgeons if they gave everyone keen to be a surgeon the knife and sent them into the operating theatre. The skills should be acquired first.

Many who read the original post felt that using the prism of my own band was an ungrateful and insensitive move. The truth is, it is the only prism I have to look through.

I see many very well written pieces about our band, some of those people like us, some of those very firmly don’t. I also see constantly poor work that has no value to anyone - a mere vanity project for the writer.

I expect it is the same for every band.

 

I feel that if you are going to become a critic of someone’s art, whatever it be, you should take it seriously. The creator has probably spent countless hours working on it, and if you are going to give your view out on a platform, you should make very sure you know what you are talking about.

Maybe we are biting the hand that feeds us, but I prefer to think of it as a gentle nibble. More than anything, I am proud to be in a band that has something to say - it seems rare these days.

I am also thrilled to have friends, fans and followers that have their own view on this. It is great to be thinking while so many are lost on Buzzfeed.

No doubt the conversation will continue. Who knows, perhaps in the world of the internet, where everyone is a critic, there is no need for music critics at all.  

But for now, we must get back to doing what we have done for years and years and years. We are finishing our third album and it sounds wonderful. Fans of Siouxsie and the Banshees and The Cure are going to love it.

A few minor points to clear up:

- Yes our bio had some weird quotes in about The Cure. Maybe that’s why journalists weren’t able to use their own minds and come up with a more useful description of our music.

- Yes we had to delete some comments on the post. Sorry about that - moderation isn’t an easy thing to get right. As a general rule I tried to remove only offensive stuff and comments I felt were only designed to attack us. Sorry if your view wasn’t heard because of this.

- Yes, we probably did deserve all the lazy comparisons.

- No, we aren’t ungrateful to all those who have written about us in the past. Thank you for doing that. If you don't write about us again, it doesn't change that you got us here and despite appearances, we haven't forgotten that.

- No, it wasn’t a PR stunt."

Then the singer waded in

"What I love most about the internet is it seems that anyone can just share their opinion on anything. For example I could go and see a band and then blog about it. The band should then never ever ever ever have any opinion at all about this except unending gratitude towards the bloggers for deigning to write about them, no matter how poorly written or incorrect it is.

If people want to know our influences, they could ask I suppose?  Or I could just post a list of books and poems?"

As usual she summed up the situation perfectly. Are bands allowed to criticise the critics? Once a piece of music is released, is that the end of involvement by the artists who created it? We like to think not. We fall out and back in love again with our songs for example, and reserve the right to contradict ourselves, attempt to move away from those we had previously aligned ourselves with and proceed in a discursive manner.

My favourite journalist/filmmaker Adam Curtis recently wrote about the stagnation in culture and politics due to the rise of "digital trackers" in the US. http://www.bbc.co.uk/blogs/adamcurtis/posts/NO-FUTURE

'Their aim is to discover patterns, coincidences and correlations, and from that find ways of stopping change. Keeping things the same.

We can't properly see what is happening because these systems are operating in very different areas - from consumerism, to the management of your own body, to predicting future crimes, and even trying to stabilise the global financial system - as well as in politics.

But taken together the cumulative effect is that of a giant refrigerator that freezes us, and those who govern us, into a state of immobility, perpetually repeating the past and terrified of change and the future.'

The Natural Order

Greetings traveller. We are Cold in Berlin. Perhaps we met twixt sleep and dreams, in the penumbra of uncertainty you call “unconsciousness”. Or perhaps we met at a gig. 

Cold in Berlin; murder drama fanatic, owl fancier, cat owner, skull obsessive, ossuary explorer. Our business is music, impure and simple. 

Cold in Berlin have regrouped (again) and are writing our third album. In the mean time we are releasing a track called Natural Order. 

Intended as a bridge from our last album 'And Ye†' to our next, Natural Order is available on Candlelight Records label sampler Legion III

We build too many walls and not enough bridges - Isaac Newton

Au revoir

It with great sadness that we have said au revoir to our drummer Alex (he's french). Alex has left the band to pursue his professional music career, taking a paid drumming job (imagine that!) in a 7 star hotel in Dubai. We wish him the best of luck and hope he keeps cool while rocking out. Alex was a fantastic driver and his professionalism will be greatly missed. Sometimes after a gig he would have the drum kit packed and the engine started before the rest of the band had even started drinking.

Alex's highlights include: 
The time he smashed our hire car wing mirror off in a collision in Paris, France, when the car wasn't even allowed out of the country.
The bonnet roll at Dover Ferry Port.
His French elocution lessons.
The 6 points he added to my licence due to speeding.

Take care mate, we'll miss you.

Take Control

As usual we did everything in the wrong order. We spent all of 2012 playing songs from our new album and then we released it. And Yet was release by Candlelight Records on August 27th 2012 we played an album launch party and then we did nothing...

Totally burnt out we managed only one more gig in 2012 at Norwich Arts Centre. It was a great gig to end the year with and the show was filmed by two cameras so we'll be releasing the footage once edited.

We realised we had to get organised and spent all winter planning for 2013. So this year looks pretty good already. We're releasing a second single from And Yet. Album opener Take Control is released on 18/02/2013 on iTunes and on CD. In keeping with tradition, the CD is lovingly hand created and includes remixes and b-sides. 

Straight after we hit the road to play a dozen gigs all over the UK. Which will lead us nicely into summer and the promise of festivals...

The online store is restocked with music and new T-Shirts so get them while they're fresh.

See you on the road...

°CiB

CandleLight at the end of the tunnel

After many years of independence in the music industry we are pleased to announce that we have inked a deal with CandleLight records. 
We are thrilled that such a respected label has shown such faith in our music.
CandleLight will be releasing our second album 'And Yet' on 27/08/12 with world wide promotion and distribution.
CandleLight have been behind many great albums and bands and we are proud to
be part of such a great British success story.

A massive thank you to everyone who supported us and helped us to get to this position.

Stay tuned for further updates on our new releases.

*CiB

The process of capturing voice on vinyl

We have just recorded our 2nd album (working title And Yet).

Spend a year writing the album.
Take a week out of your lives in London.
Drive through the snow to the Ladder Factory recording studio in Oxfordshire.
Work 12 hour days then sleep in a thatched roof cottage.
Alex and Bozley did the drums and bass in one weekend.
Guitars and vocals over the following 4 days.
We are very happy with the first mixes.
We recorded:
And Yet
Jean/John
Love is Shame
Roll on in
The Lie
...And The Darkness Bangs
Take Control
Brick By Brick
The Witch
Whisper
The Visionary

You will hear most of these tracks debuted at our single launch gig at the Old Blue Last on 9th March http://www.facebook.com/events/235087286571843/

Throw us a bone

It's around this time of year that the music media reveal their top 10's of the year. Here's a list of the top 10 shit things that happened to us in 2011.
1. Drove 7 hours to Liverpool to play Sound City festival, only to be censored by the Dean of Liverpool Catholic cathedral due to our obscene material.
2. Tour of German falls through. 5 different promoters cancelled on us in the 5 weeks preceeding the tour.
3. 2nd manager quits.
4. No awards and no recognition from the music industry.
5. Our practice space is reclaimed by it's Christian trustee owners. They change the locks and lock us out from our gear on the day of a gig.
6. Video camera stolen in Italy. All live footage of January tour lost.
7. 3/4 of CiB move into a house with a wasps nest in an external wall. The wasps swarm inwards throughout the summer and make much of the house unlivable. 
8. Redundancy.
9. Break ups.
10. Tories.

Our new single '...and the darkness bangs' is out March 2012 

Happy New Year...

The Settlement Chapel

For over a year now we have made our music in the Settlement chapel, Rotherhithe, South East London. The building was home to more than one enterprise, including the base of operations for londonisdead. Our space was (semi) legally sub-let and the hard work and dedication of those who maintained it, kept the chapel warm, lit and occupied. The christian trustees who own the building decided a few months ago to sell the chapel, rumor was for it to be demolished so developers could build on the land. We tried to get the building listed so this couldn't happen, but English Heritage couldn't help. Yesterday we found out that the christians have been to the chapel and had the locks changed. Our gear was locked in the building, we had no way to get to it and we had a gig that night! 

Compared to the amount of bad lucky we have had lately, this seemed beyond a joke, beyond karma (what had we done? nuked a gay whale for Jesus?), something else, something weird was happening; like an elite covert team had been assigned to completely ruin our lives. For the last 5 weeks, each week, all the dates of German tour have one by one been cancelled, leaving us now with one gig... in Paris. This weekly devastation takes it's toll, we have no coping strategies left. We are ill and tired and totally bereft of hope. We struggle on from one disappointment to the next. Clinging to bottles and cigarettes. Laughing manically one minute then slumping into a mute depression the next. 

When fellow East London bands break up and many have this year, we note this not with some glee that there are now less competitors in our over saturated market place, more with a genuine empathy for their plight. Similar bad luck probably happened to them and they just couldn't see the point of carrying on, it doesn't seem worth it some times for all the effort and money you put into it and what little you get back. And yet we carry on, how I don't know? Because we're worth it or worthless? This is our plight, like some sick form of penance, martyrdom and masochism we deserve it. We are writing some fucking dark tunes right now.

Thanks to the help of some amazing friends we managed to cobble together enough gear to play Stripped at the Purple Turtle and we're allowed into the Settlement Chapel one last time to remove our equipment. After that I'm taking a spray can to the walls. God is gay.

Clubbed to Death

"I RAN A CLUB AND IT WAS NOTHING SO WE CALLED IT 20NOTHING" GOES ONE OF OUR SONGS. WE'VE RAN CLUB NIGHTS BEFORE, WE'RE RUNNING ONE NOW, IT'S CALLED WITCH HOUSE LONDON. YOU MAY HAVE HEARD OF IT, FOR A WHILE IT SEEMED LIKE THE MOST DIVISIVE EVENT ON FACEBOOK.

MY FAVOURITE MUSIC HAS ALWAYS BEEN DARK AND ELECTRICAL, WHEN I FIRST HEARD WITCH HOUSE MUSIC IT SOUNDED LIKE THE LATEST EVOLUTION OF JUST THAT. THEN YOU FIND THE RABBIT HOLE GOES DEEPER...


Witch House music incubated and mutated on free music sharing platforms such as Soundcloud and Bandcamp, and survives and breeds on private forums like www.witch-house.com, and on invite-only Facebook groups like Witchbook and Dior Nights, which use Facebook to run miniature secret societies and covens. These technologies (or services, however you want to define them) are core to the distribution of the music, but equally important have been the Tumblr and Vimeo platforms. The cut-and-paste ethos behind many witch house projects extends to their visuals, and the gifs, music videos and photo collages that populate artists’ feeds and channels are as much a part of the aesthetic of witch house as the music is.

Witch house is perhaps the first anti-genre, in that it has always actively resisted not just definition, but also detection. Much mockery has been made of artists spelling their band names with strange typographic symbols, but in the early days of witch house this had a specific intent: namely to create a ‘lexical darknet’ (to quote Warren Ellis, the comics writer and novelist whose blog posts led me to my first discoveries in the field), whereby fans had to use the specific symbols in the band names to locate their music online.

The equal importance of visual and audio material helps us get closer to a definition of witch house: it is a mood or a feeling, the kind of atmosphere generated by the seminal Goblin’s soundtrack for ‘Suspiria,’ the creeping, schizophrenic suspense of the Laura Palmer mystery, or the Red Room at the heart of Twin Peaks, the final twenty minutes of The Wicker Man, or a basement rave in the house at the end of The Blair Witch Project. In repose, it generates an aura of ritual, darkness and suspense. In motion, it combines the glamour of fetish clubs and serial murder and hard drugs into an amoral dystopia of sound and vision.

Excited yet? You should be. Witch house is almost completely free from the constraints of mainstream hype - aside perhaps from the majestic witch pop of S4LEM, the mysterious feedback glyphs of WU LYF, and the luxurious electronic experimentation of Balam Acab, the three artists closest to crossing over into mainstream consciousness. 

For the most part, its artists are incredibly underground - legends only in the hearts and minds of those that follow them. Admittedly, the hipster recognition factor has spawned many a merry band of symbol-inflected wannabes. But for the most part, witch house is still made up of artists committed to a DIY ethos and a neo-goth aesthetic, interested only in the making and destroying of sounds and visuals. Witch house only exists as a construct, a figment, or even better, a ghost: the minute you look at it head on, it disappears.

Yes, your friends will tell you to turn it off, that it isn’t music. Yes, they will judge you to be an irredeemably pretentious hipster. No, your goth friends won’t respect you either - they STILL only listen to Ministry and the Sisters of Mercy. No, nobody else you know in the much-vaunted ‘real world’ will know what the fuck you’re on about.

But what you will bear witness to is a revolution in progress. The best new DIY, bedroom-produced underground music being made today, presented in such a way that it is nigh-on impossible for the mainstream to co-opt. A powerful, addictive, stolen kind of music: the kind that makes you feel at peace and alienated at the same time. The kind of music that runs from definitions and pigeonholes, and laughs in the face of convention.

People, this is the nadir of the ‘MySpace revolution’ which started all those years ago. This is the rise of a generation of producers who already believe they are ‘post music industry’. This is where it all happens, and this is what you’ve been waiting for. 

TRULY INSPIRED AND GIDDY WITH THE FEELING OF A CHILD WHO HAS JUST FOUND HIS CHRISTMAS PRESENTS EARLY I IMMERSED MYSELF IN THE ONLINE SCENE. FINALLY I HAD FOUND NEW MUSIC I WAS EXCITED ABOUT. NEXT I WANTED TO FIND THE REAL WORLD SCENE www.witch-house.com AN AMERICAN FORUM HAD LINKS TO GIGS IN LONDON BUT NO CLUB NIGHTS. COULD IT BE THAT NO ONE WAS RUNNING A WITCH HOUSE CLUB? AFTER WEEKS OF BROODING I THOUGHT FUCK I'LL START ONE.

SO I POSTED ON WITCH-HOUSE I'M STARTING A WITCH HOUSE CLUB NIGHT AS NO ONE ELSE IS. HERE I MET SHADOW OF SEVEN AND WE AGREED TO RUN WITCH HOUSE LONDON TOGETHER. AT OUR FIRST REAL WORLD MEETING WE AGREED THE AESTHETICS AND THE RULES. I WANTED IT BE OFF FACEBOOK TO CONTINUE THE DARK UNDERNET PRETENSIONS AND PROMOTED JUST BY WORD OF MOUTH. "CLUB NIGHTS EXISTED BEFORE THE INTERNET" I MUSED, TRYING TO DENY THE INTERNET'S PARADIGM SHIFT OF CLUB PROMOTION. OUR VENUE MUST BE SOMEWHERE NEUTRAL THAT WOULDN'T DISCOURAGE GOTHS OR HIPSTERS, WE FOUND WHAT WE NEEDED AT VOGUE FABRICS OF DALSTON. NEXT WE JUST HAD TO FIND LONDON'S MOST WITCHIN D.J'S... ENTER SEB FROM FROM ROBOT ELEPHANT RECORDS AND CRIM3S (FORMALLY STORY OF ISSAC)

WITCH HOUSE LONDON WAS LAUNCHED ONLINE AND THE TROLLING SOON BEGAN. WE TRIED NOT TO BE DISCOURAGED EVEN WHEN ONE TROLL WENT TO THE ALL THE EFFORT OF CREATING A MOCK EVENT. GET A LIFE CUNT! WE EXPLAINED TO THEM WE ARE NOT HIPSTERS BEING IRONIC, WE'RE GOTHS, THE LAST BASTION OF COMMODIFICATION AND ALL WE WANT TO SHARE THIS EXCITING NEW MUSIC WE HAVE DISCOVERED WITH YOU.
THERE IS NO SUCH THING AS BAD PRESS AND SOON OUR ATTENDEES ROSE ABOVE OUR VENUES CAPACITY.

OUR OPENING NIGHT WAS A MINOR SUCCESS. WE DIDN'T LOSE ANY MONEY, THOUGH THE BOOK KEEPING AT VOGUE FABRICS IS SO DODGY YOU WILL NEVER WANT TO PROMOTE THERE AGAIN. BUT WE HAD TO FOR ONE MORE BOOKED NIGHT. TRANSCODA PLAYED LIVE AND SCARRED PEOPLE FOR LIFE WITH SET OF ABSTRACT GOTHTRONICA CULMINATING IN THE DRILLING OF A BABY DOLLS HEAD. HEADLINER WIK/\N CAME DOWN FROM THE NORTH BRINGING THE DARKEST BEATS AND DRONES THAT ONLY A MAN FROM TOWN PERMANENTLY RAINED ON COULD PRODUCE. AN AMAZING SET. MUSIK, MOVEMENT, MAGIK.

AT 3AM VOGUE FABRICS (A GAY FRINDLY VENUE) WAS RAIDED BY A TRANNY PARTY. WHO PROCEEDED TO STRIP TO THEIR THONGS, GIRATE ON THE BAR AND D.J BOOTH, IMITATE A VOGUING WALK OFF AND GENERALLY RAISE HELL. A FITTING END TO OUR TIME IN EAST LONDON DIY CLUB LAND.

WE'RE TAKING WITCH HOUSE LONDON NORTH NEXT FOR A STINT IN GOTH LAND AT SLIMELIGHT. JOIN US. https://www.facebook.com/event.php?eid=112572132184809

After a journey...

So, it took us an awfully long time to get to Super Normal Festival despite being told it would take only 2 hours, 3 at max. Quite simply we got lost. We were lost for hours basically and the outward journey, which for me started at 1.30, finished at 7.30 as we arrived at the small and rather cute festival site.

I like Super Normal. It was tiny, as far as festival sites go, but that works for me. The masses that descend on festival sites seem rather like commuters to me and sometimes I feel uncomfortable. Because of so mnay reasons however, I only saw ManFlu play before us and then we dived back into the car. I would have stayed and seen more, I really like watching ManFlu ive and thoroughly enjoyed their new songs.

I have been trying to sum up the feelings of the journey for my notebooks and failed. It wasn't that we were beaten, just more like down hearted. I have spent hours in the car with these men- and they are fun and we often make wrong turns and have to get back on track. Perhaps that is it though? We were not on any track at all- certainly not towards our desired destination. Lots of work goes into sourcing a destination, booking emails go back and forth, phone calls need to be made, money discussed, journeys planned, cars borrowed, money spent and time taken so it seems like it is important to finally get there and play.   It seemed like it was important. But then, as scratching notes into my diary I realised I had lost something, when I was sat in that car, behind a massive traffic jam, going in the wrong direction and it wasn't until this morning that it camey back to me as I was reading Hastings, and there it was for me to reconnect with:

So stop pacing the aisles and counting the miles. Instead climb more moutains, eat more ice cream, go bare foot more often, swim more rivers, watch more sunsets, laugh more, cry less. Life must be lived as we go along. The station will come soon enough.

 

Confessions from Berlin...

This is where I begin again...and yet.

In the midst of the all the violence and noise,

in the wake of burning streets and broken glass...

in the end, although I wish it was not true; my heart is not enough.

Fucking God

Ever been censored by a worldwide institution before?

No? Neither had we until we drove 7 hours to play a gig at Liverpool's Sound City festival at Liverpool's Catholic cathedral, only to be excommunicated by God's Scouse rottweiler.

The Dean of the cathedral had agreed to host an evening of live music for a large fee, the stage being curated by Clash magazine.

At the last minute the Dean and his staff decided they better check out exactly what they were letting lose in their walls. Turns out they didn't like the look or sound of Cold in Berlin.

It started with our album opener God I Love You. One of Maya's straighter set of lyrics, about levels of  destruction present in relationships, was some how misconstrued as an anthem about fucking god!

The festival venue managers had the uneasy task of telling us 30 minutes before our stage that if we played "that song", swore excessively or mentioned the word "god" in the cathedral then not only would our set be cut but all music due to take place in the cathedral for the rest of the festival would be cut also. A threat we knew they wouldn't fulfil but still quite a burden to bare after hours on the road and minutes before a gig.

We were told that the Dean's staff would be present to make sure we behaved. We decided to be the bigger man (than God) and not jeopardise anyone else's gigs and alter our set.  A minute before set time our manager spotted that the Dean was present.

We still swore less than usual and played an altered Oh I Love You, only to have our set cut short for what turned out to be time constraints. The Young Knives it seems need 40 minutes to warm up for their luke warm performances of their estate agent bland indie suit rock.

We did a post gig interview about the debacle, the journalist found the next day church staff denying that any censorship took place. We have the emails proving it!!!

So the Dean took his money, censored free expression and then denied it ever took place. Cunt!

How has the Lord smited thee? Watch the gigs intro here

Language Shocks

Nobody reads this because words aren't important.
Or so we thought. 
Some reviews of Cold in Berlin have come to light that criticise our singers use of certain words. 
Words that can only be described by critics as 'language'

When you boil it down CiB are white girl/boy middle class guitar oriented rock.
Despite all our punk ethics we have still produced an album that is essentially listenable.
Harbouring some teenage dream of rebellion I vowed to make music that my parents wouldn't like, but as we're not NWA our music isn't such a barrier to a different generation that we're not speaking to or for.

So what's left?
Our singers voice and her words.

Our singers use of profanity is not only unrelenting it is also unapologetic.
Male singers especially in hip hop do seem to hold the monopoly on profanity - something we seek to reverse. But on this point we have noted opposition.

A minority in the rock press seem to be suggesting that only male performers have the right to swear - that fuck, shit and cunt should not be uttered by female lips. The latter being the most galling as men do not even posses one.

As Jarvis Cocker said "I hate it when people say swearing is the sign of a limited vocabulary. If you use a swear word well, it is big and clever".

We agree and believe it is all about context. It's time like these that swearing was invited for! Tory double-think speaks of how "we're all in this together" Bollocks! The last decade and this tumultuous year so far is the right context and it is words and their free use that remains as our last expression of freedom. The Arab spring of protests credited social media and free expression of language as key to their revolutionary success.

We're going to keep singing and swearing so we aren't 'absorbed by mainstream audiences'.
We're swimming up stream against the tide of pseudo liberal morality. 
We're not speaking your language.
We're kicking against you fucking pricks.

CiB

Release

We unleash our debut album this month.

Give Me Walls will be released across the UK via Cargo distribution and will also be available on all major download sites from 29/11/10

Our launch party is at the Old Blue Last on the 26th with Neurotic Mass Movement and Wild Palms (d.j set)

Give Me Walls to lean against

To build up and break down

Give Me Walls to annihilate

To scrawl upon

Some useless message to the dawn

A monument to remain much louder on the horizon

Than we could ever be

4

We are back on the London live scene as a band of 4 lead instruments.

This what they used to say about us...

''A mighty explosion of noise, something fast and powerful and vibrantly alive. Within the assault, a strong female voice fiercely declaiming. A whirling, howling maelstrom of non-stop action.

This was my first exposure to Cold in Berlin (formerly known as Death Cigarettes) and it was love at first sight. I’ve seen literally hundreds of acts – big things, next big things and things that shouldn’t have ever been. Then this band struck me like a bolt of lightning and blew everything else away.

Some bands play. Some bands perform. Apart from and above them all is Cold in Berlin, who break the third wall between band and audience, who literally and viscerally engage with a crowd, playing with them as a kitten toys with a mouse before sinking its teeth in for the kill. You want to stand about, nursing your pint, texting a friend? Not while this lot are on, matey.

Typically beginning a show within the crowd itself, the dainty demi-dervish that is singer Maya belies her innocent looks with powerfully compelling vocals and a literally in-your-face attitude that fascinates and terrifies in equal measure. Whether on stage or off, Maya is She Who Cannot Be Contained, a feminine fury who commands all before her. There is no hiding place.

And no respite elsewhere. Even if Maya is lost in the crowd, the rest of the band often only barely constrain themselves to remain on stage, attacking their instruments as though their lives depended on thrashing them to pieces. It isn’t a random racket; it is a structured, apocalyptic demolition as precise as that which ensures that a detonated chimney stack collapses straight down rather than through the roof of the school next door.

They’ve got tunes too. You’re tapping your foot as you’re running for cover. The guitars churn and buzz, drums pound. It’s not a song likely to be covered on X Factor anytime soon. More’s the pity.

If this seems over the top, then it reflects the power and presence of the band. Are Cold in Berlin the best band around? Hell, right now, they are the ONLY band around.''
WILDMAN


Recording Give Me Walls

Against all odd we have just finished recording our debut album Give Me Walls.

We spent 9 days in Pete Baker's studio in Bushey during which time we grew beards, topped up our studio tans, painted skulls at an art cafe owned by a certain PiL bassist and smoked and drank to excess.

We hear we have managed to transpose every moment of truth, pain, joy, love, hate, madness, despair, fun and punk rock energy from our years together onto the medium of binary computer language.

Soon you will hear for yourself when we turn all that into a cd and mp3s.

A massive thank you to Adam, Pete, Jon and Milts, without whom we would have nothing.

The End of the Beginning

When you are young you do all kinds of things
You run through shopping centers
Dance in the aisles of supermarkets
You swim naked in lakes
Climb hills carrying boxes of wine
Scale castle walls on New Year's Eve
Stand barefoot on a beach at 4am dreaming of love
You make phone calls like they are the most important
words you will ever waste on another

And then suddenly you are not like that anymore
You don't even know when you changed
or if you have finished changing
you don't stop doing those things
but something feels different
maybe things feel more important
perhaps something devastating has happened
but it doesn't make any difference
it is too late anyway
but this isn't about aging
it's about knowing changing is underway

Death Cigarettes have done all kinds of things
and now things feel a little different
something has changed
things are more important

we are devastated
we are clawing
we are screaming on rooftops
questioning the stars

we are Cold in Berlin

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