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Vampire Nation | Dead City Diary

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Electronic: Down Tempo Electronic: Ambient Moods: Type: Soundtrack
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Dead City Diary

by Vampire Nation

Alternative ambient Downtempo World
Genre: Electronic: Down Tempo
Release Date: 

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  Song Share Time Download
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1. Let Them Eat Cake
3:06 $0.99
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2. Web
4:06 $0.99
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3. Crawl
2:44 $0.99
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4. Poison
4:03 $0.99
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5. Bite
1:51 $0.99
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6. The Whip
1:47 $0.99
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7. Final Curtain
1:03 $0.99
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8. Bury
2:07 $0.99
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9. Needle
4:15 $0.99
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10. The Snag
3:44 $0.99
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11. Entrapment
4:03 $0.99
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12. Dead City
12:43 $0.99
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13. Wounded
6:55 $0.99
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14. The Snare
5:29 $0.99
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15. Entanglement
3:16 $0.99
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16. Vein
3:51 $0.99
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17. The Score [Bonus Track]
3:01 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Vampire Nation returns with their 10th CD entitled Dead City Diary. Recently reviewed in Outburn magazine they compared the music to Delerium and Tangerine Dream.

Artist: Bio
Around 1994 musicians fed up with the commercial woes of the industry
launched a far reaching, controversial and highly political project
that
would explore civil rights through historical inaccuracy's. Taking the
name
Vampire Nation as a reference to the lifeblood being sucked out of
their
mother country the band musically exploded with a vast number of
exquisite
works. In 1999 Vampire Nation spawned a worldwide F.B.I. investigation
for
their controversial philosophy. Even so the band continued launching
releases
that challenged *pop* music for being a fluttering farce and further
cemented
their cult status, and now the saga continues...

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Reviews


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Pittsburgh City Paper

Among the most dramatic-sounding are “Snag” and “Entrapment,” with boom-bap beat
Local electronic musician Vampire Nation -- a.k.a. Fredrik von Hamilton, plus various onstage members -- has been purveying his brand of eclectic, genre-straddling music for nearly a decade, quietly marketing to a national fanbase and even doing a handful of dates in England and a slot at last year’s CMJ in New York, while often being ignored by area audiences. His latest opus might have a shot at changing that attitude.



In previous outings, VN has explored the realms of cosmic ambient, Middle Eastern-influenced world beat, and downtempo trip-hop, as well as various boundary-crossing combinations that have led to comparisons with the likes of Enigma or Muslimgauze. On Dead City Diary, von Hamilton has roughly divided the proceedings into three mini-suites.



The first section opens with “Let Them Eat Cake,” in the tradition of VN’s frequent “diss” songs (this one castigates certain members of the goth scene who dismiss his music), and then unfolds with three tracks emphasizing flamenco rhythms and Spanish classical guitar, of all things. But the private Ottmar Liebert concert doesn’t last long. By track five, “Bite” (most song titles here describe what would happen if you were a hapless fly caught in his spider web), the gears shift into head-nodding hip hop. Except for some jazziness and record crackling on “Final Curtain,” VN doesn’t limit himself to the underground, but makes attempts to match the production of mainstream thug rap and is surprisingly successful. With considerable bass frequencies, these are the joints you bump in your ride when you want to turn heads. Among the most dramatic-sounding are “Snag” and “Entrapment,” with boom-bap beats one might imagine Bone Thugs or Jay-Z rhyming over. Certainly, VN could have a future as a hip-hop producer if he felt like diversifying his musical portfolio.



And speaking of variety, Dead City takes a whole ’nother turn by track 12, where the mood morphs into echo-laden breakbeat and, finally, full-on ambient techno. On the funky “Wounded,” he overlays plenty of his trademark dense keyboard atmospheres, but the real floor-bangers are “The Snare” and the secret, hidden 17th track. Both are sublime trance-techno songs, as good as anything churned out by Paul Oakenfold. The rub is that with a smidgen of angst-ridden, Teutonic, Depechey vocals over the top, they would sound just like the trancey neo-industrial thud currently infecting so-called-goth dance floors. Is Vampire Nation getting its revenge on VNV Nation? Maybe, but Dead City’s versatility is so disparate that von Hamilton could theoretically split himself into distinct personas (as many electronic artists do nowadays) and keep on barreling forward in several different directions without slowing down. It’ll be interesting to see what happens from here.
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Pulp

satiated with a simultaneously ominous and captivating undertone.
becomes about as soulful and scary as Michael Jackson's "Thriller," which is a lot to live up to. The rest of Vampire Nation's new album, Dead City Diary, drops the neo-soul/pop feel, but remains satiated with a simultaneously ominous and captivating undertone. The worldly, Egyptian-born Fredrik von Hamilton, whose many travels have brought him much musical inspiration, is a whiz at electronic ambience. As Vampire Nation, he emotes ethnic images through a mixture of hip-hop beats, jazz-style acoustic guitars, creepy piano riffs, drum sampling and effects. Though much of the album carries a dark and eerie theme, it shouldn't be categorized as goth-rock, but more of an experience of world music set through current technical trends.
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Morbid Outlook

a lush combination of dark electronic and worldly fusion.
Don’t let the band name turn you off. (I know the “v” word can evoke its share of cheesiness.) Dead City Diary is a lush combination of dark electronic and worldly fusion. The musical influences are varied spices in these soundscapes, imbued with a subtle, angsty power. For more information, check out www.deadcitydiary.com
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Dave Nolan


"Dead City Diary" is an ambitious undertaking, especially considering that Vampire Nation is really just one man: Fredrik von Hamilton. Like Enigma, another one-man "band" that von Hamilton cites as an influence, VN mixes a lot of different sounds and styles. Mostly it's dark, ambient waves of sound, pulsing and swooping across a lonely and sinister aural landscape: good Halloween music. A worthy effort, but not good enough to get five stars, so I'm giving it four.
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