| Viktim | |
|---|---|
| Origin | Audubon, New Jersey, U.S. |
| Genres | Industrial metal, aggrotech, industrial rock, coldwave |
| Years active | 1996–present |
| Labels | Dark Asylum, Red Dye Records |
| Associated acts | MyParasites, Ninetwelve |
| Website | [1] |
| Members | |
| Eddie Threat Mike Violentz Scotty Emerle Chris Novelli |
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| Past members | |
| William Cannon Nick The Scum J Rivet Jaws Mikey Hell Neil Lotek Sascha B Brittany Bordella Dan Roberts Glitch Nix Chris Irrelevent Micheal Mythix Octavio The Jowens Pigpen Sean Marzz |
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Viktim is an industrial metal band formed in 1996 in the Philadelphia area of South Jersey. They released their debut album As Love Turns Grey in 2003 which featured cover artwork from Chad Michael Ward ( Marilyn Manson, Cruxshadows).[1] A remix EP version of the As Love Turns Grey CD was released in 2010 on Dark Asylum Records, and has since then sold out of its 100 copy press run.[2]
Contents |
Viktim was founded in 1996 by Eddie Threat while attending Art School in Philadelphia, one of many coldwave bands formed during the industrial rock/industrial metal boom of the 1990s spearheaded by the success of Nine Inch Nails, Marilyn Manson, and White Zombie. Since forming in 1996, Viktim has become one of the oldest industrial metal bands in the Philadelphia area. Featuring heavy dance beats, crunching metal guitars, and distorted vocals, Viktim released its first songs in 1996.[3]
Viktim has performed on the same bill with many important bands such as goth rock icons Christian Death, industrial noise band Cenotype, industrial metal band Skabdriver, gothic rockers The Azoic, and Philadelphia goth band Carfax Abbey.
Viktim is known for a high energy in your face stage show that includes strobe lights, fog machines, crunching guitars, and most notably they perform with Angle Grinders on stage. Some of the other highlights have included climbing twenty foot high speaker columns and diving into the crowd after angle grinding on them, suspension of members from the lighting rigging in the ceiling rafters, and audience participation as gang vocals. Reviews in magazines such as Culture Asylum describe these shows in detail, from the crunching guitars to the blinding strobes, and hot steel of the angle grinders.[4]