1990 was the year the iconic album, The Good Son, was released by Nick Cave andthe Bad Seeds. It spawned several singles, which included the slow burn wonder that was “The Ship Song.” 2023, and Lunar Paths has taken this classic track and given it their experimental, electronic sheen.
Walking in Cave’s deep, sonorous vocal footprints is no easy task, but female lead singer, DianeDubois, pulls it off with great aplomb. The synths in the background are a constant, swelling and dropping, voluptuous in their role and the live drums of KevinHunter are an excellent accompaniment.
“The Ship Song” has always been a rich track, which is why it has been covered by quite a few bands…. mellow and smooth with an incandescent dark beauty that has been brought to the fore in this latest version by LunarPaths.
French industrial-darkwave project, DivineShade are ending a successful year, with the release of the single “Heaven.” This track, as well as previous single “Oublier,” will be included on the album Fragments Vol.1, which will be dropping April, 2024.
Instantly attention grabbing, within the very first bars, and when the electronic drums thunder in along with the vocals, you are not disappointed. Wavering between the sweet beseeching and writhing angst, backed up by thrumming fuzzed out tones, it all courses through your veins, infecting your senses with the sheer vehemence of conviction.
“Heaven” is indeed a glorious track, magnetic in the way it calls out to the listener and utterly enjoyable. It brings together aspects of industrial and darkwave, with a sprinkle of coldwave nuances, which the French have always been so good at, blending them into something very special. “Heaven” is waiting with Divine Shade.
Creepy creepy, in Melbourne city, where gothic delights pervade in the form of Velatine and their new single, “Nothing To Do With You.” LokiLockwood is the man with the plan, with IngaLiljeström, the siren, and it is out on the label SpookyRecords.
The electronics have the air of unquelled domination and Liljeström launches into a story of a woman maligned by many, but, it seems, through her own volution, found herself in order to make her life better. The vocals are languid like molasses and just as rich.
Liljeström’s singing, in both tempo and sound, reminds me very much of JonetteNapolitano of ConcreteBlonde (a personal favourite), combined with the ringing guitar and synth/programming of Lockwood, framing the story and focusing us on the tale at hand. Maybe it has “Nothing To Do With You,” but everything to do with Velatine and this really strong darkwave track.
Fredrik Keith Croona, Mathias Back and Anders Ström are the electronic triumvirate that make up Swedish aggrotech group, AgainstI. This is a relatively new project, where they have married Croona’s tortured vocals with some scintillating synth work, which culminated with the debut album, CarnivalOfExcess, plus a new single, “I Am The Way,” that is not so subtly a sledge hammer preview of the next album, threatening us on the horizon. So, it seems no better time than now to speak to lead singer FredrikKeithCroona about…well…all of this!
Welcome Fredrik Keith Croona to the tea rooms of the Onyx, where cake and coffee are compulsory.
Fredrik, you hail from Sweden, so we are wondering what the industrial scene is like there and how you found your way into it?
Thank you for the warm welcome! The industrial scene is well, different here, I feel like the most clubs either focus on old school ebm and or synthpop here in Sweden, and or goth/darkwave. But in all honesty you are asking the wrong guy here, since I am mostly a metal head myself and rarely go out hahaha. But to answer your question, I think the alternative scene in Sweden is doing ok, there seems to be a lot of stuff going on.
How supportive of local artists is it there?
Now that is a hard question to answer, it all comes down to what genre you play I guess. I don’t believe Against I has a big fan base and support in Sweden, but of course there are a few. Then again I know of other Swedish local artists that have a huge fan base here. So I guess it depends on the band.
What acts or musicians influenced you in the beginning?
The first ever artist that inspired me to become a vocalist was Pantera and Philip Anselmo, I just loved the music and diversity in Phil’s voice. When I found the industrial music scene it was God Module, Grendel and Suicide Commando. I think similar to a lot of dark electro/aggrotech acts tbh.
Who floats your boat now?
Haha it all depends on my mood! Everything from “Scooter” to say “In Flames” or “Night Rage”. But my latest find was “Orbit Culture” a amazing metal band from Sweden which I had the pleasure of seeing live a few months ago.
Fredrik, you are one of the founding members of Brutal Resonance, the industrial reviewing powerhouse. Do you think that experience made you more critical or aware of the sort of music you were making?
Well, I had a small part of its start up , yes. But Patrik Lindström was the mastermind behind the zine. I don’t think so to be honest. Always been trying to do what I like and experiment from time to time, but I always feel like I end up doing the same thing kinda hahaha. I’m a one trick pony it seems.
Even you, yourself, have mentioned that you are in a lot of different projects. For those unfamiliar, how many are you involved with and which are your main ones?
If we are talking active projects as of this moment , then they are the following “Feeding Upon,” “Against I” or “Curse of Eibon” . There are quite a few more but none that are making any music at this moment . Main one is Against I which I am constantly writing for together with Mathias and Anders.
Most people are familiar with Menschdefekt and your other project, Cynical Existence. This brings us to your current project, Against I, with fellow Cynic, Anders Ström. Mathias Back is yet another member, so how did the band come together?
To answer that we have to rewind back into 2020 when I started up “Curse of Eibon” and that’s when I found Martin who plays guitar and writes most of the music for that band, and through the same forum I found Mathias who can play bass and guitar. And together with Anders the four of us founded that band. From there we found out that all of us work very well together and we have a creative drive. And the diversity was just perfect for Against I.
First was the EP, O.M.G, that stands for Obscene Morbid Gore which was on the label Insane Records and featured the single “Scum.” How important was getting this EP out there?
If I could I would release something every month, but I think ppl would be fed up with me also I doubt Adovxya would want to release my stuff every month haha. So , naturally it was important to release the EP to get something released. IR was good to us , but sadly we had to split ways after the release.
The EP was followed up by the juggernaut debut full length album “Carnival Of Excess” out on Advoxya Records. Can you tell a bit more about the premise behind album?
“Carnival of Excess” was a bit of a roller coaster, because all songs stem from my mind and experience and its kinda dark. Its all a big experiment you could say, a bit of a rider on a theme park with different styles, moods etc. For me the first album is always a experiment to see which direction to go after that, you know?
Again there are a couple of remixes by Miss Suicide and Teknovore. How important for you is it to have guest remixes and am I correct in sensing George of Teknovore and yourself kind of see each other as brothers?
It’s not super important, but more fun to see what others will do with your songs. What kind of spin they would put on it. Well, since we are both straight and married loves was already taken, so next best things would be brothers. I’m kidding of course! But in all seriousness, I’ve known George since about 2009 and I hold him in such high regards because he’s one of the nicest and most talented people I know. And every time we work together everything just work, you know?
Do you have a particular track off the album that is a favourite or really stands out for you as the core sound of Against I?
“Fleshride” is probably my favorite of the album, it has a good drive in it. And I would say it has that core sound that we have on that album.
You just dropped the latest single “I Am The Way”, so can you tell us what it all about?
“I Am The Way” is the perfect way to showcase what the new album from Against I will sound like and the direction we are moving. It’s more aggressive and in your face .
I want to touch on a compilation you were heavily involved in and very close to your heart. You lost your father to cancer (fuck cancer), and you brought together 23 musicians, each donating a track, where the money collected goes towards cancer research, with the combined help of Advoxya Records and Twisted Flesh Recordings. Can you please tell us how you orchestrated this mammoth task?
“A cure for darkness” is something I hold very close to exact the reason you wrote above. And when my father passed, I wanted to do something to help others who are battling and or know someone who is battling cancer. And an idea was to try and bring together some amazing bands and people to help out and create something amazing. All all praise should go to the artists and supporters and not me.
How much do you appreciate the musicians and labels championing your cause which touches everyone?
As cliché as it sounds, words can’t be written to say that. All people who are have helped are amazing and only earns the highest of praise from me.
Do you think you might make it a regular thing to release these compilations against cancer as well as to remember the victims and those affected by this blight?
Nah, don’t think so. If ppl wanted more then for sure, but I just want to focus on my music. It’s all I care about at the moment.
As you are constantly creating music, what is next for Fredrik Croona?
To create more music and evolve and move forward. I don’t want to release the same album every time. Then there is no point in making music. I have a job that earns me money, music is what I write for fun. The moment I get tired of making music, I will just call it quits. Simple as that.
Bats or no bats in the belfry, we wish you all the luck in everything you do.
Thank you so much, and I hope my answers has been satisfying.
Edward Butt and Liam O Callaghan are a pair of very busy Irish men from Cork, who you might know better as Arctic Lights. November 17th, was the drop date for their latest single “Melting,” which was produced, mixed and mastered by the guys. Told you they were busy.
From bongos, we are launched into aggressive sawing guitar and glitching electronics. The vocals are reminiscent of TrentReznor and the staccato style of the Nine Inch Nails track “PerfectDrug.” An air of instability is created by the slightly exaggerated guitar warbling between just becoming off key, while the vocals really just say it all with lyrics like, ‘I’m sick and tired of your crazy shit.’
When your mental health has hit rock bottom due to another person creating issues or unloading their own mental instabilities, is what “Melting” is all about. The walking on egg-shells because you are no longer able to predict what is going to happen next. You feel it in the music, as if ArcticLights are walking on that fine edge.
2007 saw the birth of Swedish EBM group Spark!, with original members StefanBrorsson (vocals) and MattiasZiessow (synths, programming), dishing out the beats. However, in 2013, Brorsson left the band, citing personal reasons, leaving Ziessow to continue on. Fans can rejoice, as the lads are back together in 2023 with the single “66 Ton Krom,” which will be on the new album out in 2024, on the ProgressProductions label.
The direct translation is ‘66 tonnes of chrome‘, and with the frenetic pace of the rhythm, they can only be referring to a large vehicle, such as a big shiny truck. And behold there is a big shiny buff truck on the cover! Brorsson’s vocals dance between the programmed electronics that come on in rapid succession, while the synths rip down the road burning rubber with those beats.
There is something quintessentially Swedish about the EBM that comes out of that country, and it not just singing in the native tongue. A lot of joy can be felt from “66 TonKrom,” as if the break the guys have had from each other, galvanised their sound. Industrial electro-pop from Spark! that is going to get your motor running.
As sure as the sun will rise tomorrow, SebastianSunkler will probably release a few more things before the year is out. So, November was the release for the new double sided single for STAHLSCHLAG, called Abhinivesha. “Om Mani Padme Hum” and “Ong NamoGuru Dev Namo” will both be on the new album Amrita, which is slated to come out in 2024.
“Om Mani Padme Hum” starts with the charming chimes of temple bells, before the clever combination of harsher electronics and beats are injected into the track, becoming ever more demanding to be heard in the transcendental mirage of the universe.
The second track, “Ong Namo Guru Dev Namo,” has a much darker edge to it, forbidding and sharp. It echoes with the waiting ghosts of past, cavernous sounding, pounding and primitive, only promising enlightenment to those whom dare to cross those boundaries.
As always, STAHLSCHLAG have pulled something unique out of the basket yet again, combining rhythmic noise with accents of that which is ancient and otherworldly, creating a fantasy soundscape to lose yourself in.
Since the 2007 inception of Vancouver band, The Silence Industry has revolved around lynch-pin member GrahamJackson, with other musicians joining him when they are available. The single “As The Walls Close In,” is part of an ongoing project where singles will be released with art work, and each will have two exclusive ‘b-side’ tracks.
The beginning of the title track has that all-encompassing heavy bass, which I associate with early Tool, bubbling with latent tendrils of misgivings, leaning itself to a progressive rock feel. The vocals, crisp and clear, combined with that guitar work, definitely harken back to the roots of 90s gothic rock. The two ‘b-sides’ consist of unreleased versions of “Bags of Clay (Lofi Piano Version)“, which is full of slow burn longing, and “These Long Sunset Shadows ( A Dark Ambient Noise Jam),” that clocks in at just over twelve minutes and the description tells no lies. This is a melancholy at its ambient best.
Fluid and engrossing is how I would describe “As The Walls Close In,” as it beautifully mixes gothic rock with something a little more modern, and with that open door policy with other artists, that only piques my interest more. The single/EP is on Bandcamp for nameyourprice, so you have nothing to lose and the real possibility of gaining some damn fine tracks from The Silence Industry.
In the mid 80s, Tears For Fears were one of the huge names in popular music, topping the charts. One of their tracks is the still well loved “Mad World,” and MadilHardis has released a cover of this iconic number.
Echoing, delicate singing of Hardis is the absolute focal point, with the electronics simply haunting the background. The Tears for Fears version was for the disaffected, while this new cover is ethereal and not bound to this world.
Pretty sure that I have said this in the past, but honestly the vocals are simply angelic in nature, touching that place within you that causes involuntary shivers down your spine. Otherworldly and poignant, with the ability to drag out emotions of even the most coldest of hearts, this is “Mad World” by Madil Hardis.
From Louisville, Kentucky, the duo of StephenBeasey and BrianCain are the darkwave band WhoSaw Her DIe?, and have released in December, the EP, Ignoring The Serpent.
Oh dear, “Emma” it seems is a stalker, who doesn’t understand the word no, looking to control the subject of her misplaced affection. The vocals deep and foreboding, as they tell of Emma’s indiscretions and unhealthy obsession. Angels can be found in many religions and not all are the light bringers which many pray to now. Rather, they are often avenging beings and this is the premise of “Angel Of Old.” There is a beautiful mix of synths and guitar, that play and intertwine throughout the track, all set to a spritely dance rhythm.
The last track is “Ignoring The Serpent,” slower and far more introspective. The serpent is the metaphor for evil and the premise is that no matter what happens to a person, we can hold onto that which makes us a decent human. The guitar sprinkles this lament with light while the synths and vocals are the grave warning of the loss of this humanity.
Who Saw Her Die? delves into the synth based sound of the 80s and marry it to the far more modern darkwave drone with sparkling guitar work. It really works for them, as they write about the human psyche, the paranormal and how they feed into each other. Don’t be ignoring this serpent, because the bite is quite intoxicating.
Onyx Music Reviews 