Kill Shelter And Death Loves Veronica - The S3X Tape Sessions

With both artists already having demonstrated a propensity for collaboration in their respective bands, it was perhaps inevitable that Pete Burns and Veronica Stitch would work together. The merger of Kill Shelter’s gothic rock with the post-industrialized dark electro of Death Loves Veronica is already a provocative notion, but with The Sex Tape Sessions, the artists take things further to address a potent sociocultural issue – in an era of influencers and social media personalities, the very notion of identity and persona has become a commercial product unto itself, be it political, artistic, sexual, or even some twisted amalgam. Well, given the proliferation of pornography and sexual material on the web, that’s as good a backdrop as any for Kill Shelter and Death Loves Veronica, with the EP’s four main tracks each presented in extended and shorter standard mixes.
Of course, there isn’t much variation between the regular and the extended mixes beyond length, but so what? The EP is ultimately a DJ’s wet dream as each version brandishes pulsating EBM bass and thrusting dance beats, all supplanted by Stitch’s sultry vocals – breathily erotic in their delivering, but never belying a sense of menace, like a cobra poised to strike. While immediately palpable on the opening “Sex Tape,” it’s even more so on “The Sinner,” its lyrics rather disturbing in the implications of obsessive and even destructive desire; throw in some languid guitar passages for melodic texture, and you get a track that is eerily enticing. The same can be said for “Death Kiss,” as the guitars howl with harmonics and feedback amid a scorching bed of EBM, Stitch’s repetitions of “Suicide Kiss” almost becoming too much to bear. “Resist” is also notable for the production flourishes, a seething synth sweeping across the speakers to match the breathy whisper of the vocals, a glassy guitar adding quite nicely to the chorus.
Released on multiple formats and platforms, Kill Shelter and Death Loves Veronica have even encouraged those who purchase the EP to share and redistribute freely, using the very medium to enhance the underlying metacommentary of inauthenticity and commoditization. Some may even choose to disregard its cerebral concept and simply enjoy the EP as a darkly lascivious helping of throbbing EBM, which would also play into its rather heady themes. Musically, it’s no gamechanger, but it will provide enough of a good time on the dance floor if nothing else.

Death Loves Veronica - Corruption For The Insidious

San Antonio, Texas based award-wining writer and producer Veronica [Campbell] Stich strikes back with her fourth full length album from Death Loves Veronica. Introduced as ‘inspired by the atrocities of an evil world, told through the eyes of Veronica,’ Corruption For The Insidious gives us pulsating electronic bass coupled with electro-dance drumbeats. As a signature piece that sets the foundation for the kind of vocals where I imagine the singer to be knee-deep in combat boots, standing on a stage of throats. Veronica has an impressive catalogue, but since I’m late to the party I’m going to start here. Veronica has composed and performed music for several years with post- punk, and deathrock acts. This solo project includes modular and analogue synthesizers, guitars, and experimental methods; to give a dark electronic feel reminiscent of the 80s and 90s electronic post-industrial/new wave movement. Death Loves Veronica is an intriguing project and that’s because of the sphere Veronica creates. It’s an obscure and freaky sound which is mixed with ghost-like, sensual vocals. The work sounds cold, and obscure but ohh so sensual because of Veronica’s sexy, whispering timbre of voice. I can imagine this album being played in dark cellars and dungeon parties in every major European city. Death Loves Veronica has something atypical and definitely ominous but also fascinating for its global minimalism. The lead single, digital only, release of “When I Was Dead” features guest guitarist, Tim Skold from Not My God. The single has sleeker guitar parts and lyrical bleakness that reflects the industrial roots of a rather typical gothic/dark wave song. “Where Were You When I Was Dead?” isn’t a surprising line, given the title, but I’m taken aback as it’s exquisite when paired with the music.