PeteCrane might be a familiar name to some, as half of Australian band Shiv-r. March heralds the album that will be the premier solo release for Crane, called ThatAnnihilatedPlace, on German label, InfactedRecordings.
But before that, he has released a taster to tease our palates before the album in the form of (pre) single, “YouAreNotYourBody“.
There is an instantly a bass synth heavy start to “YouAreNotYourBody” and you find yourself starting to move in time to the rhythm… It combines a techno savvy rhythm with precision synth and electronics, that is delivered with industrial sledgehammer.
PETE CRANE
The second track, “Norilsk” is just full on joy. Bouncy and heavy all at the same time. If this doesn’t make you want to dance, then not even the devil could tempt you.
The Xotox remix of “YouAreNotYourBody” is a heavy industrial rhythmic version that starts to drill into your brain almost literally as well as figuratively.
MorisBlak does remixes that smack you up the side of the head and his interpretation is also of title track. It winds up to the spoken word and it is a sexy beast indeed.
Dkag remix off the album a track called “MessedUp” which has an awesome amount of high energy, which you kind of expect from guys who are club DJs, because they just want people to hit the floor.
Crane has on board some impressive talent so far to remix his music and the statement is “ThatAnnihilatedPlace” is a club album. So far this offering doesn’t disappoint and currently the way this music for “YouAreNotYourBody” is definitely having an effect on mine. Get your groove on and wiggle to this in anticipation of more to come.
January the third was the release date of the album, LeDésertRouge, which is a combined effort from experimental, ambient, electronic musicans, PoetryOf Thorns of Mexico and I, Eternal of France.
There are four tracks on the album with the first three composed by Poetry OfThorns using sounds given to them by I, Eternal and vice versa for the last number.
“La Porte de Sortie” translates the The Exit Gate. This short piece is metallic and almost oppressive as it reveberates with its own self made rhythm. It is eerie in the insistence as if the Gate leads to some eternal doom.
“Ces pensėes pyromanes” literally is These Arsonist Pens and again there is that hollow presence of ghostly design. This is delicate and almost other worldy with a french girl speaking a little in the back ground. Maybe the title eludes to how words can inflame hearts and minds.
“Echos intersections et Aubes” or Echoes intersections and Dawns reminds me of a radio trying to find the channel but not quite catching the signal. Dawn with seagulls wheeling in the grey early morning skies as they mournfully cry to each other, dropping from one wind draft only to be lifted by another, in the meeting of stale dark and new light.
This blood-colored desert or “Ce dėsert couleur de sang” is the fourth and final track. This is noise building on noise but slowly and purposely, as you hear from within the distant storm odd snippets and echos. Like a sand filled, unbearably hot desert, it is relentless and has a life of its own and a near audible heartbeat. This experimental piece goes for a whopping twenty five minutes and twenty six seconds and has an almost trance like quality.
PoetryOfThorns‘ last album was produced by none other than goth – industrial legend, MartinBowes of Attrition, which means they have quite a bit street credability. Both these acts really seem to enjoy the collaboration and have a great respect for the other, it shows or rather it can be heard in the care they have taken.
This is what experimental music is all about, pushing boundries and artists encouraging each other to go one better. If noise and experimental industrial music on an ambient plane is your thing or whets your curiosity, please check out Poetry Of Thorns/I, Eternal with LeDésertRouge.
When you talk about industrial electronic noise acts like Coil, Throbbing Gristle and In The Nursery, you have to add Coventry band, Attrition. January saw the release of a new single, “The Great Derailer” from the album, The Black Maria, which is due out in the coming months.
Martin Bowes is the one member who has been continuously part of the group from the beginning in 1980 and has always steered Attrition to being a much lauded and still viable act now, even in 2020.
Martin Bowes
Of course the title song is first, “The Great Derailer” which is exactly five minutes long and begins with the jangling of guitars, juxtaposted with female vocals. Bowes‘ gutteral tones gravel along with Emese Arvai-Illes as the female lead, almost floating above Bowes. Who is “TheGreat Derailer“? There is a sound bite that seems awfully like one U.S. president called Trump. The violins are discordant and almost manically high pitched with fervour, off-set by the mellow tones of the cello, all heightened by the soprano wailing, rising and falling. Whoever this Great Derailer is, they revel in the turmoil created by the direputable and unruly.
The B-side is “The Pillar (For Ossington)“. Ossington Subway Station is located in Toronto, Canada and also the place that Martin made field recordings of the trains as they pass by and stop. This is a much more sublime piece, almost clasical in nature, with female vocals like the calling of the sirens to lure you into their world within a hurtling steel carriage.
There are a bonus four remixes of “The Great Derailer” on the digital format. There is “The Great Derailer” by Planetdamage remix, “Entertain You” Dead Happy remix, “The Great Derailer” Mr Toma Vs Noirmagnetik remix and Khost‘s remix “Derail“. Each is diverse and a new surprise from Planetdamage’s laid back dismantling to Khost’s reimagination in industrial power noise.
My first real introduction to Attrition was in the early 90’s with the compilation Recollections ’84 – ’89, put out by the label Projekt, who are well known for their electro ambient releases, even though I had heard the odd song here and there. As leaders in their field, they have released some powerful albums full of creativity and dark beauty.
Now in 2020, on the TwoGods label, Attrition is about to grace our ears again. MartinBowes is threatening us with another single and new album….. and I for one can’t wait to hear what comes next.
What do you get if you cross Australian and Russian industrial music? NovaStateMachine and they are going to be releasing their back catalogue in the form of EPs, as spanking new remixes.
NovaStateMachine is the collaborative brainchild of Sydney sider CraigSaunders who is also know as SiK from the band Novakill and moscovite DimaIlyn who is best known for his band, UltimateSoldier.
The first EP to get the treatment is TCZRMXs001:HarshReality, which is made up of four songs off the TotalControlZone album, from 2019 on the lads own label, Shoknova.
Teaser for Harsh Reality
“HarshReality” Shokhammerremix by Novakill is a fantastic number to start off with. Who doesn’t like hard and fast tempo straight up to get the blood pumping. Novakill is Saunders main project and sometimes it’s a worry having the band do their own remixes but not here.
Making themselves a “HardTarget – insurgentmix” by giving a pounding industrial electro upgrade to this piece of hardware. This is a nice body rocking piece and no body armour required.
The cry to war in “NeverMore” is the UltimateSoldierRMX. Using sound clips of news based around the Kurds and the war against the Taliban, this is less doof power and more thinking man’s electro synth. Not to say there isn’t still a driving purpose but this is has a certain amount of finesse. UltimateSoldier is the Russian project for DimaIlyn.
“TheFuture” has the Uncertaintymix by Holon gracing it. This is a slow build up, spiraling and growing. Beautiful synth chords that seem to go on towards….. well we don’t know yet because it’s the future. For those those who are unaware, Holon is an electro ambient group.
This is a rather cleverly put together EP when you think about it. “HarshReality” is the current view, “HardTarget” is what is required to survive, “NeverMore” is what is desired and “TheFuture” is the unknown.
TCZRMXs001:HarshReality has an impressively good quality production and worthwhile supporting to hear what other exciting remixes will follow and who will be involved in this endeavour. NovaStateMachine has given us an impressive example how industrial music is ever evolving. Get some in your ears and the best bit is that you can name your price on bandcamp. Ace!
December, 2019 was the release of Cellmod’s latest album, TheDissident, on the label Mekanick.
The man behind this EDM/ industrial/electronic juggernaut is JuanEspinosa of Florida.
This latest album consists of new pieces but also remastered versions of the singles “PrayingMantis” and “TheMachine” which were both first released in 2017.
Juan Espinosa of Cellmod
It would be an injustice to pull this album apart but rather just give you a glimpse of this pure electronic offering.
There is always a driving beat throughout each piece of music. Each is seamlessly put together and flows in a hypnotic fashion.
A fusion of EDM, techno, industrial, wrapped up in a synthesized dream. This is technically diverse, as Espinosa mixes it up, keeping the tracks fresh with an almost agrotech taint creeping in.
Every track is very much a DJ’s dream of high paced rhythm. I suspect “FireStorm” may be paying homage to the Prodigy’s “FireStarter” but then maybe a nod to StudioX as well.
That is the beauty of this style of music, as it can and does borrow from others and builds on it.
For me the feature tracks are “HarderSerum“, with a special hats off to the featured GiantMonstersOnTheHorizon on the remixed version and “Ransacked” with its high energy.
TheDissident is a highly danceable album with a superb production. Cellmod has made a brilliant, futuristic masterpiece that deserves your attention if you like any of these genre.
SleeplessDroids is an electro industrial group from Sydney, who have been on a slight hiatus, however January has seen the release of a new single, “Dust“.
They first started in 2011 and the member lineup is as follows – AaronPotter on vocals, ShaunAllen on drums and DerekDimitri playing synth.
Okay, yep. Love the first opening cords. They somehow speak to my soul. I am a sucker for a jangly guitar but I’m gathering this is a synth and not a guitar… hell who cares!! The mix of electronics is just another level. Beautifully heavy bass and drums fleshes this out as the synths compliment perfectly.
The vocals are bloody good as well. Potter can go from pained whispers to open hearted singing. It just comes down to have good technique and an excellent set of pipes.
The ‘b’ side is “Believe“, a quirky piece of drum inspired number. The intermittent bleeps and bloops that gets heavier throughout, is a just over three minutes piece of ear candy.
The third song is a remix of “Dust” called Substance. It is almost hard to believe it is the same song. Up tempo, faster beat and layers of synths change this song completely.
They might have been on a break but it looks like SleeplessDroids are back and bringing the good s and hopefully there is a new album in the works because of this single is anything to go by…. it’s going to be brilliant.
From across the southern oceans, the New Zealand capital of Auckland, in November 2019, Death With Machines released their latest EP, Leech. Lawrence Legacy (aka Lawrence Baniecivich) is mastermind and/or overlord
Let me introduce you to the murky, sleazy beats that is “Born Evil“. Baniecivich forcefully whispers to you which is punctuated by the gutteral groan saying ‘born‘ with the follow up whisper ‘evil’. This is reminicent in some ways of Aesthetic Perfection. It is catchy and a good start to the EP.
“Leech“, the title track is just begging for you to groove along to as the lyrics are puncuated out. This is reminicent of industrial bands from the 80’s and 90’s like Front 242 and Suicide Commando, who often had sado-masochistic themes.
‘I hate the way you make me laugh, I hate the way you make me cry’ and we have the song aptly titled ‘Hate’. This is a smoldering beat that is even and constant…. even insistent. If you hate someone then you can’t love them and they can’t break you, except that hate turns inwards.
Last song is “TheGallows“. This is slow and if you can’t guess, a song about death and cold bodies. All returns to nothingness and all are equal in the eyes of death. A nice depressing little number.
So gravely growling is Lawrence’s trade mark vocal and it works for an EP of lust, loss, anger and something just a bit demonic. Get into some Kiwi cyber industrial, listen to Leech by DeathWithMachines.
January saw the bandcamp release of DirtFactory’s debut EP, Random Songs For The End Of The World. This electro industrial band is comprised of two brothers, MichaelGillman (programming and synths) and DanielAllen (vocals and programming). More surprisingly is the fact that one lives in Brisbane and the other in Melbourne.
From the get go “Saibanetikku” is a koto drum dream that leads to an electronic beat followed by deep ahhhs and a fabulous synth accompaniment. Daniel’s modulated voice joins this simple and yet spine tingling build up. The way Michael mixes and brings in sounds and beats is subtle while still holding your attention completely.
Still on the Japanese cyber/futuristic theme, we have “Kaiju” which basically means monster. A commentary on our world, as we play with science and create the monsters that will eventually destroy us. Godzilla (Gojira) is a kaiju, created by exploding nuclear bombs. This is a science fiction nightmare which cuts a little closely to a dark reality.
DIRT FACTORY
Track three is an “UnseenTragedy“. This is punchy with syncopation weaving throughout. The layers of vocals with different voice mixers and electronic synth is an immersive experience.
Sleazy greasy and oozing, “GiveMeTheDrugs“. Slower but still a ravenous beat is your pusher, making you desire more of this ode to wanting to throw one’s self into the arms of your chosen drug. Daniel will cajole and threaten you to get what he wants…. no placebo accepted.
DIRT FACTORY live December 2019 Flamin Galah, Brisbane
Will machines with AI eventually obtain “DigitalConsciousness“? Is it a scientist speaking in the background? The music is again powerful and evocative with heavy drums and a futuristic feel… that Terminator efficiency, so to speak.
Robitic vocals bring you “ErrorDelete” with undulating electronics with such a catchy rhythm and breakout synths. This definitely brings visions of Bladerunner or GhostIn the Machine.
“SlaughterhouseShutdown” is horror movie homage with mentions of plastic for the blood splatters and no one is getting out of there alive. Haunting with gothic keyboard for ultimate creeping doom and everyone’s favourite …. fairground carnival music with screams overlayed with Psycho violin tendencies.
The final piece is “CorporateGreed” which brings to mind another song, “CorporateSlave” by another electronic Australian artist, Snog from the 90’s which was another excellent dance number. Could be the sounds of the financial world that become lost in the growing noise as the harsh beat takes over. The low vocals grace but do not take over. This loops and reverbs in a most delicious way with unbridled angst.
Remixes of “ErrorDelete” by DigitalAnodyne (DJWolfAud) and Vargil (CamillaAstridStrand) have been added onto the end as extra bonus numbers for your listening pleasure which you are sure to enjoy.
Movies, especially in the genres of horror, science fiction and anime, have had a huge influence in the vision of these songs. Synth and noise maker extraordinaire, Michael’s roots in industrial music lay in the WaxTrax era and the burgeoning onslaught of the Belgium and German bands such as FrontlineAssembly and co. However, more than this, he has not tried to ride their sound but rather forge his own, with brother Daniel firmly giving the band a voice.
The music is savvy, clever and down right satisfying. There is great depths to each song, crafted to sound bigger than just a two man effort, giving them an epic EP. As yet unsigned, Dirt Factory are far more than an uncut diamond, rough where needed and cutting edge when they could have been mediocre. These are the Random Songs For The End of The World.
End of November, 2019 saw the release of goth rockers, HerDespair’s latest EP, ExorcismsofEroticism. This 6 piece band are based in London and currently not signed to any label, though I wonder how long that will last.
“Pandaemonium” is a banger of a number to start off with. Those crystal clear vocals that draw you into the heart and heat of song. Author, JohnMilton, wrote the novel, ParadiseLost and created a capital of Hell called Pandaemonium, city of fallen angels and daemons. This builds in its terrible beauty of a soul left bereft and shunning heaven’s God .
A single off the EP is “TheExorcism“. Again you hear the wonderfully crafted lyrics with the musical sensibilities of VilleValo (HIM). A few goth girls are going to melt with this and I can see why. The guitar riff in this is a killer.
Third track, “In That Moment”, has the orchestration wooing you whilst giving you a sense of wonder at how they manage to make this sound so grand and polished. The electronic aspect is spectacular.
For such a darkly named song “Like A Crucifixion“, it feels so light and up beat with a great, catchy chorus. If this is the next single, I would hardly be surprised.
I think English icons, ParadiseLost might have misplaced a track in “Beyond The Veil” as it really reminds me of their goth phase. This is a slightly slower number and I’m not sure if the reference is a veil of mourning or the distance between death and life, though no matter as it all works.
Of course all this commentary of passing to the land of the dead leads well into the final track, “Final Rest”. The sentiment is beautiful as the music swells with the acknowledgment of going to a place of peace… their heaven.
HER DESPAIR
For HerDespair, this is the second EP since the band first released Mournography in 2018. There is great wealth of literary expression and the use of poetic English language is lovely to see.
The band cites influences like The Sisters of Mercy, My Dying Bride and Karl McCoy’s wonderful, Fieldsof the Nephilim and honestly you can hear touchs of these 80’s iconic goth bands but also more recent acts like The 69 Eyes, LacrimosaProfundere and more than a passing nod to tragic love hero’s, HIM.
Goth rock needs shots in the arm like this every once in a while because what the world doesn’t need is another SistersofMercy clone, yet this is a classic example of love lost, longing and dwelling in darkness, set to a backdrop of heaven and hell. Beauty is in the darkness and in the music of HerDespair.
The latest single from Italian duo, Kill Your Boyfriend came out the end of 2019, called “Elizabeth” on Depths Records and the label is based in London. This is the appetizer before they release their new album this year.
KILL YOUR BOYFRIEND
An anguished, noise filled introduction reminiscent vocally of Kirk Brandon (Theatre Of Tragedy and Spear Of Destiny) with the intensity of Andy McElligott (Sex Gang Children), asking ‘why are you here?‘. This is experimental noise with a shoegaze twist. Heavy beats and grating industrial screeching as “Elizabeth” undulates and graduates until the last prolonged note heralds the end.
Almost three and a half minutes of song and yet it pulls you in and spits you out, like hardly any time had passed at all. Plus there is a remix of “Elizabeth” for your listening pleasure. If you enjoy your industrial noise then there is no doubt you will get into Kill Your Boyfriend and if you haven’t heard of these guys before, then this could be the gateway drug that sucks you in.
Onyx Music Reviews 