February will see the release of Ontario artist, Herr Nox’s second album, Where Shadows Fade. Nox explained to us about his style, “I find myself (going) into strange musical territories. Too heavy for some, too soft to others. But I try to venture into more experimental waters so I guess that’s expected“.

HERR NOX

Welcome to “Doomsday“, which is the first track off the album and our introduction to Norwegian, Jørgen Munkeby on saxophone. Have to admit sax has never sounded so smooth to me until now. Munkeby for the record is a classically trained multi-instrumentalist as well as a singer, songwriter and producer in both the jazz and metal scenes.

Where Shadows Fade” is not only the title track but also the first single to be released and quite deserving so. Munkeby’s saxophone delightfully duels with the guitar in the interludes, especially helping build up the tension for Nox to hit you with his vocals.

Old school new romantic synth graces us in “Black Butterfly“. Nox partners up with Lindsay Schoolcraft of Cradle Of Filth fame for a song about falling for the type of girl who is broken and yet still beautiful. The music goes between driving guitar rock and synth wave but it works so well.

Just the very title of the song, “The Art Of Noise And Silence“, struck as something Japan could have written in the 80’s and it does not disappoint, making the hairs on the back of your neck stand on end. Schoolcraft’s beautiful vocals fly above all else, almost unearthly and angelic, whilst the guitars and synths are a cacophony below. This might make the near beseeching Herr Nox, the velvet tongued devil.

It had to happen, the sleazy, sexy sax intro. “Gotta Light?” has that intro and this is an instrumental piece featuring the talent of Munkeby with the sax front and centre, making you think of Casablanca style, cocktail bars, low lit with a haze of cigarette smoke.

Would you “Kiss The Butcher’s Hand” and give them your neck? Maybe some souls would. A good high paced rock’n’roll number that makes great use of lulls for Nox to seductively whisper to you before knocking you back on your arse.

Heads Will Roll” is a much heavier number, growled out vocals by Nox with Schoolcraft in sweet accompaniment. That line alone conjures visions of Alice in Wonderland and her nemesis the Red Queen.

The last offering is “The Burning” and it starts with a sombre cello, joined by strings which brings in the drums and wonderful jangly guitar. Herr Nox most certainly had a flare for the dramatic as this quickly graduates into an episodical that soars with emotion. There are always electronic bits popping up where you might not expect it, which is delightful.

I hear so many influences within this album. Nox’s style of singing runs the gauntlet of David Bowie, Davey Havok (AFI) and Ville Valo, yet it is still very much him singing.

There are classical leanings, rock and roll, gothic rock, 80s electronica and even a bit of glam, all stirred in to make this a rather tasty affair. Where Shadows Fade is new and yet it borrows and reshapes the past influences into something exciting and not a rehash, so I hope you find some time to indulge in Herr Nox as it is worth your time.

https://herrnox.bandcamp.com/music

https://www.facebook.com/Herrnoxofficial/

Australian duo, Dirt Factory have released their second album, “Factory Evolution“, which is out on Viral Records and was mixed in Brisbane by Roger Menso of Dog Machine fame.

Daniel Allen resides in Melbourne while brother, Michael Gillman can be found in Brisbane and they, like many other musicians, have not seen each other all this year but through technology have still been busy creating.

DIRT FACTORY

And so it begins and the first taste is “Binary“, an intro which is literally voices giving you binary code.

Salvation” was the first single from the album with its terminator stalking feel rhythm and Michael’s held cords on keyboard that makes this oppressive and the direct opposite of being saved.

With sci fi creeping doom is “Automation” but not all is as it seems. Electronic vocals with bleak long cords and relaying the degradation of mankind, as we make our way to a ignominious demise. There is an almost Gary Numan feel about this.

The second single lifted is “Violence” and it is an angst ridden view of a world at war with itself. The grating vocals of lost hope for mankind as he had forgotten to be human.

Title track, “Factory Evolution” is about some future where replicants are created to be perfect in exactly the same way, programmed only to do as they are told, which is to wage war. This is understated and it works with the story telling whisper and a touch of 70s funk feel.

Just as it implies, “Interlude” is a short piece, with cut up, female news readers, bringing you the breaking news of a world burning, cowering in fear of a pestilence and riots.

During COVID-19, the world of regular humans watched extremism unleashed in what could be called, “Pandemicamania“. The observation of the panic, dehumanisation and selfishness that had been previously displayed. It creeps along with its disgust of a non cohesive society that has lost its way.

Failed Empires has an imperious feel to it, a with grand swell of keyboards. Carried with oscillating beats travelling through it, Daniel’s ode to countries collapsing internally as he whispers their lessons of destruction.

A call to revolution, to not take the abuse any more, though most will ignore the call to arms in “Deflect“. This doesn’t miss a beat and again there is the marvellous dirty and dark vocals with the clean sparkly synths.

DANIEL AND MICHAEL

The start of “Trash” had me thinking Einstürzende Neubauten in the rawness of the rhythm. ‘White trash‘ are in power, not those that care, those who only have their own interests at heart.

The final song is “Death In Your Eyes” and just when you think this is going to be a quiet number, the boys bring it up a notch. This synth happy piece about inviting your own destruction pulls together the threads of the other tracks of the album. A collimation of – if you let all these things happen then it’s the end.

The influence of what has been the year, 2020, is all over this release. Dirt Factory’s debut album, “Random Songs For The End Of The World“, definitely had higher tempo numbers on it, where as this new album seems sludgier and darker, effecting the general mood following lock downs, heavy restrictions and watching extremists across the globe. Important music is often created in trying times and although this album doesn’t break new ground, it a strong album with gems that will speak to you as the band is Dirt Factory and this is their “Factory Evolution“.

https://dirtfactory.bandcamp.com/

https://www.facebook.com/FactoryOfDirt/

https://viralrecordsau.bandcamp.com/music

http://www.viralrecords.com.au/

https://m.facebook.com/viralrecordsau/

For those that love their cyberpunk industrial music, should be thrilled that Seattle act Rabbit Junk released a new album on 23rd of October, Xenospheres.

Wired a little differently? You’re on the vertical while everyone else around you is the horizontal? “Neurodivergent” will speak volumes to you as it calls for a standard world to be more flexible or prepare to be broken. It’s vocal, it’s loud and it’s going to catch your attention.

The Bends” is bass heavy metal with that injection of industrial sensibility. It is almost bipolar with going from nu/core, straight into synths, without missing a beat. For those unfamiliar, the bends occurs when deep sea divers surface and then suffer from decompression sickness.

The harder the bastards push you down, you get back up to push back harder. This is “Relentless (Omicron Nu Epsilom)” and it soars vocally, with the great aggresive guitar and synth highlights.

Really like the mix of male and female vocals here in “Prismatic“. It works so well in a responsive sassy way about feeling invincible and wanting to get down to partying.

For something completely different, reggae style vocals greet you in “Angry People” and we all know these sort of people who want to start fights but take the stance of the injured party.

This is just rising levels of guitar angst for “Curse” and then in the middle it hits you… is that a passing nod to the “The Passenger” by Iggy Pop?!

Talking of Mr Pop, Rabbit Junk have taken the single “Kick It“, that Iggy sang with Peaches and given it an industrial makeover. It was already a punchy, punk number which now has an even sweeter, juicier bite to it.

A really nice mix of metal vocals and that beat heavy industrial noise in “Bits And Razors“. Intense guitar heralds the growing swells of the chorus.

The last track, “From The Stars II (Kite and Vireo)“, is a wonderful science fiction story that becomes a headbanging epic. This is the invasion of the alien technology within humans… or is this the other way around? Humans invading cyber space….

All in all, this is a rip roaring album, thumbing their noses at societal conventions whilst bringing the beat heavy noise.

Xenospheres is a free download from Bandcamp because the band decided that in this current economic environment, it would be worth giving back to the fans. Just goes to show though that Rabbit Junk are really a nice bunch, so please support by getting Xenospheres.

https://rabbitjunk.com/album/xenospheres

https://www.facebook.com/RabbitJunkOfficial/

New Orleans conjures for many of us thoughts of Mardi Gras, voodoo, vampires and now you can add the band, The Palace Of Tears, who released at the end of October, their debut album, Of Ruination.

The band is comprised of vocalist and lyricist, L.V. Darkling and Erick r. Sheid who pretty much plays and programmes everything else you hear.

THE PALACE OF TEARS

The slow, wind swept, instrumental void of “Terra Ephemera” or loosely interpreted, a land that was never meant to last, introduces you to the album. With graduating synths, the vale is lifted and hints of a tribal beat come into play.

Dark and imperious is the beginning to “Thy Womb Is Full Of Black Nectar” before we are acquainted to Darkling’s sonorous mezzo soprano vocals which are delicate and dripping with sensuous lyrics.

In a case of art imitating life, “Masque L’Intrigue” seems to be a result of the need for wearing masks to stop the current contagion. This is bitter sweet in its sentiment and like a reflection in obsidian… dark and cool. The synths and vocals entwine smoothly.

Tears Of The Moon” is slightly more hard edged, with buzzing electronics, yet still so ethereal just as the light of the moon is. This is eloquent and beautiful.

One does not think normally that “Cold Dead Skin” as romantic prose however it is used in effect to give contrasts of symmetry of the divine and the grotesque. The music feels like it is rising heaven bound with black gothic wings.

Shadows Of Whispering Phantoms” is the perspective of one whom has just lost the fight with death. Brooding in tempo as the spirit questioningly implores of they can be seen or heard by their loved ones as they pass beyond the vale. The guitar is almost hidden amongst the rising synths and there is something heart squeezing in the gorgeous sentiment.

The screaming angst of Scheid’s guitar marks the last song, “Of Ruination“. This is a wall of noise with the eloquent Darkling, cutting through with that magnificent voice. The swirling heavy guitar with the light electronica just make this truly breathtaking.

Ambient, dark soundscapes that are created here by Sheid are fabulous but it’s definitely Darkling’s vocal talent that takes everything to a higher, ethereal realm. It’s a bit like listening to Dead Can Dance if they were darker and more modern. So I say, go unto The Palace Of Tears to listen to the sweet seduction Of Ruination.

https://thepalaceoftears.bandcamp.com/

https://www.facebook.com/thepalaceoftears/

October 30th was the release date for the debut album, Abyss by In Tenebris. Power noise extrodinaire, Sebastian Sünkler of Stahlschlag, is the driving force behind this project, out on the label, Crunch Pod.

And so into the inky Abyss we travel, with the lonely, echoing call of a raven to “Inferis“, otherwise known as the Underworld. This slow build of wind tunnel sound, rings with eerie chimes.

One of the scariest creatures is “Mandkind“. They consume everything, create war and destruction and continue on. A mixture of subtle power noise creeps into this unrelenting march, with possible gun shots and Sünkler’s distorted vocals.

An electrical impulse, that could be a message. It then stops, with the atmosphere becomes murky and oppressive. This is “Interception“, with graduating industrial bangs in the background.

Hollow Hills” might emit whistles and groans, with an errant wind blowing through them. This feels bleak and forlorn, haunted by ghosts of the unfortunate, as the electronic chimes, twitters and knocks never seem to cease.

Mandragora” is the drug form of mandrake and this starts off like a bad, tormented trip. The lone piano, followed by struck chords and hazy noise, make this feel other worldly and darkly unrealistic. Mental screeching and lost filaments of lucid thought, drifting away.

IN TENEBRIS

The wavering apparition of the “Phantasm” is a very constant electronic echo of things past, making their presence felt. This shadow is what has been and never will be again, reaching out to the living. The finish with heavy breathing makes you apprehensive.

The final track is, “Antinatal“. Maybe this is opposite of birth and a return to the aether, the limbo between life and non existence. This music is like a fog, seemingly feathery and yet heavy and unable to be penetrated by light.

This is very much an album of dark ambient style sound scapes with leanings towards the nightmare realms.

I started this side project because of a coincidence. Someone on instagram asked me if I could do a spooky soundtrack for one of his lost places videos. Well, in the end he didn’t like what I did for his video but because of that I discovered how much I enjoy to create dark soundscapes.’, Sünkler explained to me.

With a taste for these dramatic, brooding vistas, one can presume that this is not the last we have heard from In Tenebris and nor should it be. Have a listen to the creeping doom coming from the darkly, delightful Abyss.

https://crunchpod.bandcamp.com/album/abyss-crunch-189

https://m.facebook.com/intenebrismusic

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, EK Product 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 “Static Noises 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.

11GRAMS- SIMEON FITZPATRICK & ROB EARLY

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 Blade Runner and the manga/anime Ghost In The Shell. 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.

https://11grams.bandcamp.com/album/humanicide

https://www.facebook.com/11grams/

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.

STAHLSCHLAG- SEBASTIAN SÜNKLER

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!

https://crunchpod.bandcamp.com/album/alive-crunch-185

https://www.facebook.com/STAHLSCHLAG/

https://m.facebook.com/crunchpod

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.

BLACK ANGELMATT VOWLES

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 Of Death is all this and a whole lot more with Black Angel giving it beautiful inky wings.

https://blackangelmusic.bandcamp.com/album/kiss-of-death

https://www.facebook.com/blkangelmusic

This May saw the release of Manchester’s, Rhys Bloodjoy‘s album, Human. Pattern. Repeat. In hiatus, ensconced in Spain during the height of COVID-19, Rhys found himself in a position to find inspiration to create.

Bloodjoy’s style is described as shoegaze, sophisticated electro loops with melody. With that in mind, let’s delve into this noise monster.

Instantly you are taken by the electro beat and the almost Joy Division guitar with “Death By Succubus“. The vocals are distorted and the guitar starts to wail as the song picks up speed, becoming more frenetic. And then nothing…….

Suck” has a middle eastern feel, threading it’s way though this rhythm driven piece. Like a psychedelic trip in a demented hippie van of free love and sexually driven tension.

Single, “Run From The Hunter“, draws on an almost American native rhythm and texture. Feed back upon feed back, as the guitar fuels the claustrophobic feel that you can’t get away from.

An interesting title in “Birth Canal Contemplations Blues” and like a Jim Morrison messiah from under the sheets, Bloodjoy wants to make love with that waggling tongue.

Celebration” is down and dirty rock and roll that is relentless and pulsating. Not everything is worth celebrating because life can be difficult and painful without being constantly reminded as well that you can do better.

An intense build up to “Infernal Regions” that winds around your senses. Reminiscent of The Cramps‘, Lux Interior, both vocally and suggestively in a lurid wanton manner. This lascivious and dark.

RHYS BLOODJOY

Final number is the title track, “Human. Pattern. Repeat.” It is a short explosion of screaming noise and reverb that rings out, then suddenly fades to nothing.

Death and sex are often thought of as two sides of the same coin, just like genius and madness. Bloodjoy likes to use the references of one for another or double entendre to evoke those feelings and ideas through both the lyrics and the tone of the music.

It is a clever use of off kilter psychedelic with raw guitar mixed with that industrial sensibility, which makes it a tad unusual and extremely interesting.

It’s got a little bit of everything for those that love experimental, noise and shoegaze styles. Check out Rhys Bloodjoy’s album as it is name your price for the download or you can buy the vinyl LP and remember Human.Pattern.Repeat.

https://bloodjoy.bandcamp.com/album/human-pattern-repeat-vinyl-lp-digital

http://www.facebook.com/RhysBloodjoy

http://www.bloodjoymusic.com/

From Wroclaw, Poland comes the band xDZVØNx with their album Everything We Dreamt About, released April 3rd.

Welcome to the sweet insanity that is Børa on main vocals, synths plus mandolin and Snufkin on backing vocals, synths and programming.

They describe their style as noisepop, mixed with brutalistic architecture and glitch art, and originally were associated more with the witch house scene in Europe.

XDZVØNX

Intro piece to the album is “Why I Called You“. Just by listening to the lilting short number, you can tell that this is going to be a highly electronic album.

Current truth is “Face By Face” right now is my favourite track off the album. The vocals are wonderful and just something about this is almost soul deep.

The Final Boss” really feels like a cheesy platform game tune gone cyberpunk. It’s fast and fun, brilliantly light yet bassy massive beats in this short piece.

Rolling seamlessly straight into “Panic“, the vocals puncture your ear membranes as they shred straight ahead, frantic with a reprieve at the end.

The dulcet and seductive tones of Børa in “Pray” lead into fast paced beat, that spirals and twists in an almost out of control fashion.

Bubbles” actually does sound like foamy spheres floating and eventually popping. A low electronic buzz in the bass ties down those light bubbles of sound.

The somewhat dirge start of “You Have To Be Alone” is a bit confusing until the cacophony of noise breaks through. And so we have lulls and crescendos of screaming synths as well as the human machine.

You might find “I Want To Find This Girl“, sweet and understated, almost ballad like. It is pieces like this that show a lot of depth.

Like a bad trip, the single, “Litzmannstadt” featuring Belmondo, wavers, like you are in and out of consciousness and there hints of Die Antwood. Belmondo is the rapper that embellishes this with his deep vocals and polish lyrics.

Imagine an 80’s electronic wonderland mixed with Ladytron and you have “Playground“. This is nearly hypnotic in the way it is written.

I Will Vomit Glitter” is a get your punk/industrial on extravaganza of a single. A fun upbeat track about literally vomiting glitter.

The song, “No Eyes” just explodes in a glorious wave of sound. It will suck you in with the tune and make you want to bounce.

Angelic vocals over soaring synths and hard bass is the style of “Stupid Smile“. Booming and echo filled visions of a smile that is left in the mind. You might think for a moment that something is wrong as the sound skips and wobbles like a tape being eaten by the deck but this is part of the experience.

Not sure if the vocals are Børa or Snufkin on “I Am Saint“, as they have been slowed right down to a deep rumble of a voice. And this is also the last number for xDZVONx and it leaves you wondering who that was.

There is nothing boring about this album. This is avant-garde, experimental expressionism in electronic art form. We hear Børa both sweet and harsh and Snufkin helps push the boundaries of electronic music as an extension of themselves. Every time I listen, I hear something new. This is Everything We Dreamt About from cool tunes to dance beats from xDZVØNx.

https://xdzvonx.bandcamp.com/album/everything-we-dreamt-about

https://m.facebook.com/xdzvonx