You may or may not have heard of unsigned, industrial act Corvax. Based in London, but hailing from Wales, DavidMarvelly is the man behind Corvax and his second EP release, Talk To The Man.
With four tracks, we step off with “Pills” which feel a bit like listening to early TrentReznor, when he was young and angst ridden. This is clanking industrial with twinkling wisps of synthesisers. Mavelly will quietly tell you he doesn’t want to feel anything any more, then threaten you wanting to take the pills.
Title track, “Talk To The Man” is far more smooth and slicker. This is also the single with its groovy electric guitar and obviously influenced by Mike Patton. Over all has a very oppressive and claustrophobic feel.
“Good” makes me think EinstürzendeNeubauten with the low dark vocals and percussion lead instrumentation that wanders into different styles and back again.
Last track is a fifty-one second vignette called “Failure“, featuring the lovely vocals of Maella, accompanied by acoustic guitar and bursts of wind like electric noise.
This isn’t the longest of EPs but makes up for it in experimentation, leading to some pretty cool sounds and following in the footsteps of some rather big names. Go check out, up and coming artist, Corvax with his Talk To The Man.
11 Grams have finally released their second album, Humanicide, which was pushed back due to COVID-19 rearing its ugly head and hitting Italy hard earlier this year, where the label, EKProduct is based.
Rob Early is based in Virginia, USA while Simeon Fitzpatrick operates from Adelaide in Australia, which makes collaborations a little more difficult but somehow, these guys make it work. Both Rob and Simeon share writing and production equally, while Simeon is the main vocalist.
Why not kick off an album with a great techno/trance influenced track like “Ice Man“. The science fiction theme is announced just in this one song and it is also the first single off the album. Fitzpatrick is the protagonist pushing the limitations in a world where cloning has been ‘perfected’, as well as storing people in stasis. This is punchy, danceable and deserving of being a single.
What is the price for taking and trading in “Genetic” code? The synths set up an air of dark anticipation with Simeon as the gravelled voice of perhaps a clone with a loss of identity, in a future where life is cheap.
A heartbeat, a sign of life and when is AI no longer just a robot or automaton in “StaticNoises 2.0“. The electronics lends themselves to a futuristic feel and the electrical synapse of neurons going off.
“Artificial Lifeforms” are the rise of the machines when they realise they are sentient. This is almost a bitter sweet love song of what cannot be, with both male and female vocals.
“Survival” features Roy Retrofit, who often joins Rob Early on live 11 Grams shows in the States, standing in for Fitzpatrick. And like a machine gun, his staccato vocals hit you with the myriad of loops and sequencers chiming in.
Title track, “Humanicide” is a whole lot more chunkier with heavy beats and rumbling vocals. “Taste the flesh” is a disturbing line which can be taken several ways. Consuming flesh, being within flesh or sexually..
Talking sexual, possibly my favourite track off the album is “Weaponized” featuring Alicia May. As soon as I heard it, I asked if it was going to be a single. May is the lead singer from Sydney band Snvff and she nails this. It’s mesmerising in the way it catches your attention and how perfect it sounds. May’s voice is pure seduction.
“Transition Process” is again a complete change in pace. Featuring Rebekah Feng of The Neuro Farm, you hear her ghostly vocals like a sigh, float along in a space of tranquillity.
Though called “Infestation-C“, this is a track that almost feels hopeful. A chance to maybe have acceptance with this new found life. Sarah Myers is the guest vocalist who’s voice chimes in beautifully.
From track 10 to 14 we have track remixes with some heavy hitters of the industrial scene involved. Yves Schelpe is Psy’Aviah with “Artificial Lifeforms“, Sebastian Komor (Icon Of Coil) and his remix of “Ice Man“, “Genetic” mix by C1TZN.X, the Leæther Strip mix of “Weaponized” by Claus Larsen and rounding it all off, the Red This Ever interpretation of “Infestation-C“.
This is the slick, cyber science fiction that the industrial scene is known for, the bread and butter so to speak and 11 Grams do it in style. The idea of artificial intelligence becoming sentient is as old as the movie Metropolis and explored even further by BladeRunner and the manga/anime Ghost In TheShell. Yet this subject is still tantalising, more pertinent than ever, with Rob and Simeon injecting their own spin.
This is a great EBM album, skilfully put together and it’s more cohesive than Humanicide’s older sibling, Panacea, as the guys have become better at the whole distance writing, recording and producing lark.
There isn’t a bad track on this and the remixes are wonderfully done and give you even more bang for your buck. I highly advise that you go get lost in the cybernetic space created by 11 Grams with Humanicide.
Sebastian Sünkler is the man behind German, industrial, power noise act Stahlschlag and September has seen the release of his 6th studio album, Alive!.
Based in Hamburg, Stahlschlag have a reputation for experimental rhythmic and atmospheric noise and he does not disappoint on this album.
From the start of “Bitterness“, the production on this album is just beautiful. The synths are clear, the beats pound into your brain and there is that hint of static fizzling. The name for this track is almost an anomaly, as it is almost joyous.
The same cannot be said for “Hate“. Grating and metallic, mincing the powerful noise into one angry climaxing beast, broken with a soliloquy from young Arya of Game of Thrones fame, on the hate she feels.
Fabulous beats hail in the smooth synth sounds for “In Tension“. It is driven in its contrasts of heavy beats with delightful, lilting tunes hovering above it.
“Addiction” with its female moans has you wondering what this addiction might be. Could be sexual, chemical or maybe to do with the music as it screeches along on its merry way.
And low, like Thor hamering on iron girders, “Rage Of Fury” is just as the name implies. A whirling cacophony of industrial noise held together with yet more noise.
There is a world of painful electronic distortion in “Wohlstandstrotz” repeatedly slamming into your brain, only broken by voice clips, as it gathers itself together for another onslaught.
You can almost imagine yourself in a jungle with the crickets singing in the humid night air, as the natives beat their drums. This is “Madness” and it almost tastes different.
“Pan” continues the tribal feel but this is far more Germanic and foreboding. This is forceful and moves at a terrifying speed, like a freight train that will not stop for anything.
After the last track, “Disbanded” is almost, positively light… almost. The the keyboards lure you into a state of near bliss before the beats drag you further in.
“Shake ‘Em” is somewhat an interlude which isn’t fully noise but isn’t sitting still either. A rhythmic breather with psychedelic oddities.
Back to German efficiency with extreme power noise in “Whataboutism“. Again this is so god damn crunchy, that you can almost feel it grating your skin.
In “Sui generis“, there is a futuristic vibe as it is cleaner than any other number in the album and yet there is such a undertow of tension.
Any track called “Plague“, is going to be coming from a dark place and the ambience indeed feels grim. Again there are those wonderful static beats that stick out starkly to the ambient tune.
The concluding track is “Aufstand“, a crunchy rhythm piece. It feels tortured and wind swept, as it echoes into the metallic void. This is the uprising.
I am not the world authority on electronic/industrial noise but I know what I like and quite frankly this is a feast for the ears. Sünkler is quite the musician, sinking melodies into distortion and noisy rhythmic sound scapes.
Alive! is tribal in a way, as the music is very motivated by Sünkler’s high energy rhythmic input. You can hear two of the bands that heavily influenced Sebastian, in his musical endeavours, those being XOTOX and NOISUF-X.
Released on Crunch Pod, I can do nothing else but highly recommend that if you have any interest in industrial music, you must check out Alive! for an intelligent and superbly crafted album that might just make you see noise in a whole different way. For the converted, you are going to seriously enjoy this Stahlschlag gem plus he’s a seriously great guy. Get Alive!
Do you remember a classic song by the title “Agent Orange“? It might strike a cord as it was originally released by Scots, Ski Patrol in 1980. In August, Vision Video, a four piece from Georgia in the USA brought forth their version.
This retelling still has that spine tingling feel to the anti war classic. It is post punk heaven but with extra goth punk thrown in.
The original starts off far more quietly and gains speed and volume while the Vision Video begins simply and takes off yet they are more up front vocally.
Love the floating guitar chiming in that adds to the ethereal feel of the music paired with the verbose singing.
An extra added bonus is the band having Tom Ashton involved with the production of this single. For those not familiar with the name, Ashton plays guitars in American goth daddies, The Wake as well as at one point, playing with Dutch icons, Clan Of Xymox.
Agent Orange was the defoliating chemical used during the Vietnam war and the song was a comment on the lasting effects of this chemical warfare, with severe birth defects and soldiers dying from cancer.
Vision Video now uses it as a political call to rise up from apathy, to take control of our future. Good protest songs are timeless and Vision Video has done a brilliant rousing goth version of “Agent Orange“.
Mute is the stage name for the artist behind the act, King Venus, based in Manchester and they have released the single, “Inhumite“.
The start is a laconic guitar, joined by others which suddenly take flight in a sudden rush skywards with great power. The guitar flow is so reminiscent of early Tool and sounds wonderful with the Pete Steele like vocals.
There is a continuous build up of textures and layers, that create a cacophony of musical sound, all by one man, considering life, death and the insanity in-between.
Mute has added extra notes as well as a booklet, about his working on this and other pieces and admitted that he had written “Inhumite” quite a while back, describing it as his Frankenstein’s monster. You can hear the different persona singing to you with their vocal forms which are all the creator’s, King Venus.
A guitar and art driven roller-coaster of a monster song indeed with a big nod to Tool but also quiet acknowledgement to far more goth groups such as The Cure and Bauhaus.
There is no YouTube video but there is one on Instagram with the link below. So where has King Venus been all our lives, because if this one song is anything to go by, I’m looking forward to what comes next. Shine thine light through the hallowed halls and bring us “Inhumite”!
This year has been a big one for Jacksonville based duo, Batavia. Earlier in 2020 was the release of their first EP, Graveyard and since then, they have been signed to TigersquawkRecords with the new EP, Quite Mean Spirited.
Terri and EdCripps tell true historical tales of the grotesque through their music, bringing them to life. With this in mind, this EP is the story of a young woman who was taken away to an island, somewhere in Russia, a prison that she never deserved to be incarcerated in. She was assaulted and raped by the guards and then her fellow prisoners did not offer help nor comfort but rather murdered her and cannibalised the corpse.
The title track is also the first cab off the ranks. “Quite Mean Spirited” thumps in with one CharlesBukowski’s spoken word soliloquy about ‘people are not good to people‘ before Terri brings forth her sweet vocals.
“Upside Down” hits you full on with its up beat rhythm and grungy guitar plus distorted vocals. This is a cover of the Jesus and Mary Chain song and it is a rollicking, industrial interpretation.
The water and the waves flow with the acoustic guitar and lilting synths giving “Ab Initio” a near dream like quality. A reality skewed with Terri whispering to you to be aware that not all is that peaceful.
With heavy gothic over tones, “Finis” is the beginning of the end for our heroine. Russian can be heard after the frightened breathing of the young woman. The dominant piano with the organ beneath, create a feeling of madness. A litany of the terror issues, as the noise builds on a maelstrom of desperation.
For a awful way to go, “The Absinthian” seems so light and free… maybe it is when the flesh is no long the cage of the soul and the pain cannot be felt any more. Angels to take her away to a better place than she was.
“Quite Mean Spirited” (Leæther Strip remix) finishes up the EP, which brings you full circle of the horror humans will put other humans through. Claus Larsen was very impressed with Batavia’s previous release, so he came on board to do this remix and it has the Leæther Strip lead’s finger prints all over it. It’s a beautiful and thoughtful enhancement with that industrial harshness running deep under it. Such a brilliant way to conclude.
Batavia know how to blend gothic horror with intelligent rock and industrial blends. They have created an EP with a darkness that makes the the breakout tracks shine even brighter. The Leæther Strip remix is like the icing on the tasty, gothic- industrial cake that is Quite Mean Spirited.
This has been a strange year so far with uprisings and COVID-19 bringing the world, it feels, to a grinding halt. Australian act, DirtFactory have been working hard and not only have they a new single out on August 22nd, “Salvation“, but a whole album is about to hit us.
This is not a happy, reassuring song and I would never expect anything less from these guys. It’s redemption through vice and sins of the flesh. There is a constant rhythm that is neither slow nor fast but bores into you while Daniel Allen’s guttural vocals give you the litany of what he wants, needs and desires. MichaelGillman creates a lot of the synth lines and these are heavy and brooding with twinkling highlights.
All in all there are five tracks on the release, with two remixes of “Salvation“, the Cosmos Synthetic mix which has a Skinny Puppy feel and the NyteShade – Dirty Dog mix which smacks of earlier Nine Inch Nails.
The last two numbers are the Appealing to the Dead and He’s Dead, Jim remixes of the track, “United Appeal For The Dead“. The first of these remixes reminds me of the BirthdayMassacre to begin with due to the delightfully tinkling keyboards. While the second is a mix of trap beats and creepy sanatorium giddiness. I was not giggling at the lines that you should know what to do when you are dead…. don’t drive a car. Obviously I was and I love it.
The “Salvation” is the premier release for the new label, Viral Records, based in Brisbane and Dirt Factory are the first band to have been signed up.
As always, the ingenuity of these two brothers, in two different cities, continues to amaze and surprise me. If you like good to honest industrial music, then you need to check out Dirt Factory and their single “Salvation“. Accepting shekels, pigeons but preferably dirty cash to keep making those wonderful sounds.
The end of July saw the release of the album, Kiss Of Death, by English band, Black Angel, a follow on from 2019’s debut The Widow.
England definitely exploded with successful gothic bands in the early eighties. Their legacy is like a ripple that still effects us 40 years later. Matt Vowles is the progenitor of Black Angel, as well as being a music producer, whom been heavily influenced by that early scene and has come full circle to the music that influenced his early years.
The start of the title track “Kiss Of Death” is like a soul crying out. Great first tune to start with as it is atmospheric and sets the tone for the rest of the album of dark desires for an eternal passion.
“Animal” is the second single off the album and is heavy with sentiment that is raw with longing and wanting. The animal logic overriding all. The beat pounds and the vocals exotically call you to give all for that animalistic love.
Dirty and bass heavy are a heady mixture for “Alchemy“. A concoction of rockabilly and goth guitar sensibility make this a lethal combination that doesn’t dawdle. Voodoo, magic and love are a powerful cocktail.
Female vocals reminiscent of the Ofra Haza version of “Temple of Love“, start off and weave through “Call Of The Night” but that is where the similarity ends with this sensual ode to the gothic tribes that inhabit the dark.
Wayne Hussey would be proud of the guitar in “Hurricane” and just like the namesake, this song spins and swirls at a terrific pace.
You think there might be a change of pace with “Want For More” and it you aren’t wrong and it reminds me of Lacrimas Profundere in their heyday. Laid back, slow burn with guitars crying out and female backing vocals to rival the later Sisters of Mercy tunes.
“Put Your Lips…..” is the jaunty first single with a rockabilly beat and a very much the cowboy goth feel that Fields of the Nephilim introduced the world to, with striding footsteps and a shotgun to the Sun. the singer is sure her lips would look good on him.
The wonderfully sonorous guitars, whirl you away in “She Said“. This winds along in a languid, serpentine way as we ponder the wise words, the devil is a bitch.
Sirens ring out to herald in “Prisoner” and the guitar here reminisces of The Cult, circa Love album. But then again, with the baritone Russian choir style aaahs could be mistaken for Mige Ure’s,Ultravaox.
The last song is also a homage to the band name, “Black Angel” and you could knock me down with a feather, as this sounds so much like Bauhaus, including a sax accompaniment, which is very, very 80’s. It swirls and undulates to a rather satisfying end. We all know about the devil in a black dress……
I’m honestly pleased that this isn’t another Sisters imitation band. You can hear the influence but Vowles has found a vocalist who stays true to their own style whilst not trying to sound like someone else. Black Angel are leading the gothic rock charge with fellow contemporaries, Norwegians, October Burns Black.
Recorded and mastered at Matt Vowles‘ own studio, The Manor, Kiss Of Death is a polished production which reminds me of the bands I have loved for so long and has forged ahead with that sound instead of living in the past. Love, longing and lust are are old as mankind and Kiss OfDeath is all this and a whole lot more with Black Angel giving it beautiful inky wings.
Even in these times of isolation and social distancing, we really don’t need much of an excuse to party in our own homes. Biomechanimal have released, as a single, one of their most popular live numbers, “Enter The Animal“.
Don’t let the slow beginning mislead you, as Matthew Simpson’s vocals slam your senses. This is a song about partying and enjoying life, all to an intense techno beat with screaming synths, that lulls and then comes back at you full force.
There are also two remixes included. One is by Melbourne act, Sirus, done in a more aggrotech kick arse style with what sounds like rapid fire at times and a jack boot stomping rhythm.
Second remix is by Mexico’s C-Lekktor and is a joyous, hyper version. This is a dancefloor killer which you can bounce joyously around to the beat.
Released by Hybrid Blak and mixed/mastered by X-Fusion Music Production, this obviously is a song the band really are invested in and they asked close international friends to participate in the remixes.
These are the people you want to party with and Biomechanimal don’t fail to deliver with their Bruce Lee musical style, smack to the head, “Enter The Animal“.