Current Members:
Bryan Erickson (a.k.a. Hexfix93, Disease Factory) - lead vocals, composition, guitar, lyrics, mixing, production, various
Early projects, early changes, and first albums (1990–1995)
In the early 1990s, Erickson and Grigory, both residents of Colorado, brought together their shared interest in creating music to record a series of demos. With the addition of Gary Slaughter and Chris Workman, the group attempted several bands, including Disease Disco Factory, a parody of then-popular Dance group C+C Music Factory. Following a turbulent period for Erickson and Slaughter, Workman left the group. Slaughter and Erickson experimented with two new side-projects, Cyber Christ and Vortex. Cyber Christ explored a harsh and melancholy sound that was a sharp contrast to the group's other projects. When Erickson discovered that the term "Cyber Christ" had been used in the 1992 film The Lawnmower Man, he renamed the band Velvet Acid Christ in honor of a bad acid trip. The Vortex project was merged into Velvet Acid Christ to form one body of work.
In 1994, Workman returned to assist with the band's self-produced gothic-styled demo tape, Fate. Given encouraging response from friends, the band followed up with other self-produced albums, 1994's Pestilence, a dance-oriented album, and 1995's Neuralblastoma, a harder-sounding album.
Erickson, along with friends and minor contributors Steve Bird and Dan Olson, started the brief-lived record label Electro Death Trip (EDT) Records to better promote these recordings. In 1995, the three began distributing hand-made CD copies of Fate, Pestilence, and Neuralblastoma for resale in local music shops.
Label interest, touring, and a troubled rise (1996–2000)
Slaughter and Workman temporarily left the band during the first half of 1996 as Erickson continued the project alone, handing out copies of Velvet Acid Christ's recordings to industry representatives, including musician Bill Leeb of industrial pioneer Front Line Assembly. Leeb passed the music to Thorsten Stroht, a media promoter with European label Off-Beat Records. Off-Beat A&R negotiated a deal with the band.
For their first Off-Beat release, the group submitted 1996's Church of Acid, a compilation of selected tracks from Velvet Acid Christ's first three albums with an additional two new tracks, Disflux and Futile. Church of Acid was well received in Europe, and Futile became a regularly played track in many nightclubs across the continent. In 1997, United States label Pendragon Records released Church of Acid in America, though the two new tracks were removed due to a lack of trademark clearance for television samples used in the songs.
The band's next album, Calling Ov the Dead, was rejected by Off-Beat for not sounding edgy enough, prompting Slaughter's permanent departure. With the assistance of Bird and Olson, the band addressed the label's concerns and released Calling Ov the Dead in late 1997, with American distribution following through Pendragon in 1998. In the process, Erickson had accumulated a substantial financial debt.
With a line-up consisting of Erickson, Stroht and German musician Ingo Beitz, the band toured Europe in 1998 with Off-Beat label-mate Suicide Commando, which attracted the attention of Metropolis Records, the largest industrial label in United States. The parent label of Pendragon, Metropolis distributed the album Neuralblastoma, as a partnership that would endure.
Velvet Acid Christ spent the majority of 1999 in the studio, first collaborating with Germany's Funker Vogt on a remix EP entitled Velvet Acid Christ Vs Funker Vogt: The Remix Assault, then shifting to Velvet Acid Christ's next full-length recording, Fun With Knives. With Workman an occasional contributor, Erickson sought production assistance on Fun With Knives from the bands Luxt and 4th New Army. Fun with Knives, released by Metropolis and new Off-Beat sub-label dependent, became the band's best-selling album. Sales were propelled by the singles Decypher and Fun with Drugs, and by the track Slut, which featured vocals from Luxt's Anna Christine.
In spite of the success of the band, stress had led Erickson into depression and increased drug abuse, which channeled into the creation of the band's next album, Twisted Thought Generator. Simultaneously, the band toured Europe with industrial acts Project X and Stromkern and toured the United States and Canada with bands Din_Fiv and Haujobb. The line-up of the band during this period was unstable. Workman, citing a conversion to Christianity, resigned from the band with a request that his name be retracted from all previous albums. The first leg of the European tour consisted of Erickson, Bird and Stroht; the second leg, Erickson and Olson. The North American tour was performed by Erickson, Stroht and drummer Paul Lipman. With various contributors, Erickson completed Twisted Thought Generator. Due to lingering disputes, he withdrew the band from Dependent Records and submitted the album to Metropolis.
A change of pace, new early material, and beyond (2001– present)
Erickson placed Velvet Acid Christ on a short hiatus in 2001, as he abandoned his dependence on drugs in favour of exercise and a vegan raw foodist diet. Newly clean, Erickson created the 2003 album Hex Angel: Utopia/Dystopia. Though critical response was mixed, Hex Angel: Utopia/Dystopia ranked #1 on Germany's Deutsche Alternative Charts (DAC) for four weeks after its release, and the album's single Pretty Toy reached #18 on the Billboard Alternative Chart during the same year. The album also marked the band's short-lived return to Dependent Records.
Erickson spent 2004 releasing and reissuing some of Velvet Acid Christ's earliest material. With the four-volume compilation series Between the Eyes, the band published a collection of its singles and B-sides, then followed with subsequent re-releases of Fate (Vol. 2), Pestilence (Vol. 3), and Neuralblastoma (Vol. 4). The band also offered free MP3 downloads of Dimension 8 and Oblivion Interface on its website until early 2005. Dimension 8, which had been available as a hidden bonus on Twisted Thought Generator, and Oblivion Interface (informally known as Between the Eyes, Vol. 5) provided fans with previously unheard work from the Cyber Christ-Vortex era of 1991–1994.
In 2005, Erickson collaborated with guitarist Todd Loomis on a new album, Lust for Blood, which was released on September 26, 2006. With Lust for Blood, the crew labored intensively to create a new overall sound while maintaining the band's original characteristics. Following its release, Lust for Blood ranked at the top of Germany's DAC for four weeks; the album's single release, Wound, ranked on the DAC's singles chart for eight weeks and held the #1 position for four weeks.
In 2009, Erickson began to create the next LP with minimal input from Loomis this time when he was working on his project The Twilight Garden. The result was The Art of Breaking Apart, released October 27, 2009. This LP was a tribute to bands like Current 93 and Death in June and brought VAC many new fans while making the others angry at the new direction of the music.
In 2010–2011, Bryan Erickson teamed up with William Anderson of Louisiana. William did a ton of sampling, and Bryan made a bunch of VAC B-sides that turned into Toxic Coma tracks. The project had a revolving door of members, again Bryan being the main constant. They released a LP entitled Satan Rising under Toxic Coma on Metropolis Records. It fused the techno sound of Fun With Knives and the brutal black humor of Toxic Coma. Erickson then began to write more music for future VAC LPs.
In October 2012, Velvet Acid Christ released their tenth LP entitled Maldire. The release marked a return to the dark electronic sound. Erickson formed a live band and toured extensively (2012-2014) to support the album. The latest album entitled Subconscious Landscapes was released October 28, 2014. A remastered Greatest Hits compilation was released by Metropolis Records on May 6, 2016.
Discography:
Studio Albums
1994 - Fate
1994 - Pestilence
1995 - Neuralblastoma
1997 - Calling Ov the Dead
1999 - Fun With Knives
2000 - Twisted Thought Generator
2003 - Hex Angel (Utopia/Dystopia)
2006 - Lust for Blood
2009 - The Art of Breaking Apart
2012 - Maldire
2014 - Subconscious Landscapes
Compilations / Demos / EPs / Singles
1992 - Oblivion Interface (demo re-released in 2004)
1993 - Dimension 8 (demo re-released in 2000)
1996 - Church of Acid (1994-1995 compilation)
1998 - Neuralblastoma (1994-1995 compilation)
1999 - Fun With Razors (remix EP)
1999 - Decipher (maxi-single)
1999 - Fun With Drugs (maxi-single)
1999 - The Remix Wars: Strike 4: Funker Vogt vs. Velvet Acid Christ (remix EP)
2001 - Dial 8 (maxi-single)
2003 - Pretty Toy (maxi-single)
2004 - Between the Eyes Vol. 1 (singles compilation)
2004 - Between the Eyes Vol. 2 (re-release of Fate)
2004 - Between the Eyes Vol. 3 (re-release of Pestilence)
2004 - Between the Eyes Vol. 4 (re-release of Neuroblastoma)
2006 - Wound (maxi-single)
2009 - Caustic Disco (maxi-single)
2016 - Greatest Hits (remastered compilation)
Let's Kill All These Motherfuckers
Velvet Acid Christ Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Fiction friction, anarchy, call into so extreme, running to a cold place, it's a constraint, construct the evil, construct the evil, construct the evil, the crouching, the calling of the fascist world, the world of skinheads, the world of fascist racist pigs, a sexist, a racist's religion fight, the call? No government, it's all insight.
Get the fuck out of my face, I'll kill you in a second, the cross is your savior, it crawls into your head, latch on, latch on to some feeling that was broken up, no car, no cares, no life, nothing, your face, you'll die in your disgrace.
Killing everything in the name of democracy, you lay into some kind of machinery. To be is?
The lyrics of Velvet Acid Christ's song Let's Kill All These Motherfuckers are quite dark and disturbing, but they seem to portray a sense of rebellion against the establishment, the government and any form of authority. The opening lines of the song "Electric shock, a beating heart, crush it down into the ground" speak of a sense of rage and intense energy that needs an outlet. The lyrics "release the pressure of corroded side, all fall into this genocide, the crying sound, the crying sound" suggest a feeling of desperation and hopelessness, where people are ready to rebel against the society that has oppressed them for so long. The line that repeats throughout the song "let's kill all these motherfuckers" symbolizes the intense desire to break free from the shackles of society and to start anew.
The next verse of the song seems to suggest that the rebellion is led by a group of extremists who are willing to go to any length to achieve their goals. The lyrics "Fiction friction, anarchy, call into so extreme, running to a cold place, it's a constraint, construct the evil" paint a picture of a group of people who have lost faith in the system and are now willing to go to any extent to bring about change. The sense of urgency is palpable in the lyrics "the crouching, the calling of the fascist world, the world of skinheads, the world of fascist racist pigs, a sexist, a racist's religion fight, the call? No government, it's all insight." The song seems to suggest that the group is ready to take on the establishment and is not afraid to use violence as a means to do so.
In the final verse of the song, the lyrics "Get the fuck out of my face, I'll kill you in a second, the cross is your savior, it crawls into your head, latch on, latch on to some feeling that was broken up, no car, no cares, no life, nothing, your face, you'll die in your disgrace" suggest that the group is now ready to take on anyone who stands in its way. The lyrics "Killing everything in the name of democracy, you lay into some kind of machinery. To be is?" seem to signify the loss of faith in the very system that was supposed to protect and uphold the values of democracy. The song ends on an ambiguous note, leaving the listener to wonder about the fate of the group and its mission.
Line by Line Meaning
Electric shock, a beating heart, crush it down into the ground, release the pressure of corroded side, all fall into this genocide, the crying sound, the crying sound, the cruddy sound for vision now, just fall away, just play this game, so insane for digital tension dementia.
By suppressing their emotions and succumbing to digital addiction, people become complicit in a genocide of their true selves. They cry out, but their cries are ignored as they lose touch with reality and play along with the madness.
Fiction friction, anarchy, call into so extreme, running to a cold place, it's a constraint, construct the evil, construct the evil, construct the evil, the crouching, the calling of the fascist world, the world of skinheads, the world of fascist racist pigs, a sexist, a racist's religion fight, the call? No government, it's all insight.
The violent rhetoric of anarchy and fascism is used to construct evil ideologies that perpetuate hatred and oppression. This call to action is to reject all forms of government and instead embrace an individualistic, inward-looking worldview.
Get the fuck out of my face, I'll kill you in a second, the cross is your savior, it crawls into your head, latch on, latch on to some feeling that was broken up, no car, no cares, no life, nothing, your face, you'll die in your disgrace.
Religious beliefs are forcefully imposed onto others, leading to a lack of autonomy and a sense of emptiness. The singer threatens violence against those who try to impose their beliefs. Without any sense of purpose or enjoyment in life, they predict a miserable, lonely death for those who adhere to such dogmatic views.
Killing everything in the name of democracy, you lay into some kind of machinery. To be is?
The idea of democracy is perverted into justifying mass slaughter, as people blindly follow some larger system without questioning it. The question 'To be is?' is left open-ended, highlighting the ultimate lack of meaning in this cycle of violence and oppression.
Lyrics © OBO APRA/AMCOS
Lyrics Licensed & Provided by LyricFind
Julian Cennamo
on Pain
This is a song about coping with failed relationships and a broken home. The lyricist has been triggered by a life event- most likely a breakup. The event is particularly tragic because it brings back haunting memories of fear and abandonment experienced in childhood.