by on

Zac Pliska and Emily Sturm make up the band known as VAZUM. Their music has been described as deathrock with shoegaze or deathgaze but on the latest album, there has been a paradigm shift. They released the new album titled Unrated V on October 22nd and the theme throughout seems to be the creatures and humans that inhabit the inky night and demonic spaces.

EMILY STURM & ZAC VAZUM – VAZUM

From the beginning, you can hear that his is going to be a different VAZUM album, a more industrial electro sound is creeping in and the “Jester” is a genuinely verbose and grandiose example. The nine minute epic will wind you up in it’s synth laden tentacles, enthralling you. The single “Lycanthrope” very much features Sturm’s vocals in this tale of werewolves and the animals men become. The chorus is a beautiful swirling gothic affair and speaking of gothic, vampires come hand in hand with the genre. “Vampyre” is probably a far more truthful examination of the blood suckers world, where everyone is just a food source to them. A nice heavy mood that smothers us in the dank blood-lust.

Everyone needs a woman pieced together from other’s dead flesh so they can have a “Frankenstein Gurl” though she will more than likely kill you in the end and this tune is a stonking representation with it’s scintillating synths and uncompromising rhythm. The tone turns a bit stalkerish as we join the “Vampire Killer” on his quest to remove the parasites that plaque human kind. There is great purpose to the music and Pliska cannot be swayed by Sturm’s sensual words of ownership and death. The synths waver and Latin is invoked for this is the “Wytch Lych“. The track gives the impression of impending doom if you are not found worthy of the witch’s time and it is a fabulously powerful piece.

For the rest of the album, it delves into a more instrumental and experimental vein. “Fantoms” is full of bells tolling, dark bass tone and creeping synths like something you would find in a Hammer Horror movie as Christopher Lee searches for his next victim. The far more electronic “Wytch Tech“, with Sturm’s sighed vocals could be a modern summoning ritual putting you into a techno trance. Following up is “Summon Her” where there are industrial clanks and screeching, near metallic sounds. You can imagine a thick fog where disturbing not quite human voices can be heard.

There has been folklore tied to the Gypsy people that they have unnatural powers and you will have to make up your mind as you listen to the trap like “Romany Way“. I remember a dark, British children’s television show I watched as a child, where there was an old grandfather clock that would strike thirteen at night and everything would go back to a past life. “Thirteenth Hour” reminded me of this with it’s mysterious wending synths. Your final track is “The Abyss“, a place that is unfathomable and permeates the mind with dread at what lays within, the unknown and music gives it a science fiction overdrive.

Some bands go on and they often lose what drew you to them or the quality just cannot be maintained. VAZUM just seems to be going from strength to strength. They remind me of the wonderful Faith And The Muse except they have a dark gritty core mixing industrial into their music which is making them a hybrid beast of much beauty.

https://vazum.bandcamp.com/album/unrated-v

VAZUM | Facebook

by on

There are some albums that come around and they make you stop in your tracks with the pure musical delight they are. Brisbane based Jerm is Stephanie Ganfield and she released her debut, self titled album on October 22nd. Jerm’s style I would describe as experimental electro-industrial with gothic overtones.

The delicate fluctuating rhythm free flows into the distortion and the gorgeously sensual vocals alight it all and this is just the beginning of the album with “White Lies“. It graduates in power and the synths sprinkle down. The single. “Make Your Mind” is a little creepy with the whispered lyrics asking you to make your mind up and yet there is this glorious chorus that sweeps you skyward. “At Night” has an odd syncopation but it works giving the song an even more languid feel, as though there is a hopelessness in the darkest hours of the night.

Her voice is mesmerizing in “Left Behind“, a single released back in 2018 under the moniker Germ, and the electronics just highlight the sweetness and purity of the singing. It is exciting to hear something that is experimental and so stimulating, which brings us to “Gem” with bursts of noise like mini fireworks erupting in the background. Slow and thought provoking with so much movement within the track. There is the brief interlude with the instrumental “Dissect” just before another single, “Brain Candy” and it is just extrodinary. Musically it is beautiful and expansive, with harsh edges, ready to hook into your skin and the concept if you take away what makes a female look feminine, still the sweetness and colour is all in the brain, that which makes you. Final track is “Beg”, that takes on a heartbeat that will, at any given moment, go into tachycardia. A beautiful way to end.

The production is great and the music has such near visible texture and a vibrancy that is breathtaking. As for Ganfield’s vocals, they are true and clear, combined with the darker lyrical content, you could be forgiven for thinking she is an angel who lost her way in this dirty world and to be fair, lucky for us. Even if you are not into industrial music, do not let this deter you from having a listen to Jerm.

https://jermnoise.bandcamp.com/releases

Jerm | Facebook

by on

Daniel Allen is one half of Dirt Factory and after releasing their third album, found himself in lockdown in Melbourne for quite a long time. So was born the new solo project Exo-Kult, which spawned three singles and the album, Knife Wounds, that was launched by Viral Records Australia on the 30th of October, 2021.

DANIEL ALLEN – EXO-KULT

Apparently this is not music, “This Is Shit“. Welcome to the intro to Knife Wounds but then we are treated to hearing Allen singing in “Shutting It Down” and he has a quite pleasant voice, though we still get the obligatory growled lyrics as well. The slow beats of “Eliminate” is the list of modern life’s disappointments and the want to see it all wiped away with the sweep of a hand. “Cold” is one of the singles off the album with wandering synths over a never shifting rhythm and the anguished vocals about never belonging.

Another single is “Ready To Blow” which is more bass heavy and reminds me of late 70s industrial such as Cabaret Voltaire, which follows into “I Will Not“, a commentary on religious orders. Sludgy and grubby is probably the best description for “Dancing“, which of course is not actually very dance like at all. Voice clips of a bomb run from possibly the 1950s, informing you of how it is done as the instrumental runs in the background for “Untitled“. The last single, “Bring Out The Dead“, is one of those uncomfortable songs about human nature and violence.

The relentless synths and beats combined with Allen’s raw vocals. We bringing down the pace with the near hypnotic “Breath” and then it is straight into the more futuristic “Satisfaction“with it’s drone like quality because the ‘man’ wants you complacent. An apocalyptic future or is the future here in the dark and abrasive “Predetermined Error“?! It feels like Allen left “Crematorium” as our lucky last parting shot at the money hungry religious establishments, honestly the concept is actually is a very interesting one along with this song.

You can still hear glimmers of Dirt Factory but this is a very much stripped down affair that Exo-Kult has given us. More basic and darker in content, written in isolation but plugged into the world via the internet, watching the world drowning in a sea of intolerance, mismanagement, war and death. Wonderfully mastered by Roger Menso of Nyte Shayde Music in Brisbane and Exo-Kult is the second artist to be signed to Viral Records. You will hear from Allen soon again because the new Dirt Factory album is hitting us in December.

https://exokult.bandcamp.com/album/knife-wounds

ExoKult | Facebook

https://viralrecordsau.bandcamp.com/

Viral Records Australia | Facebook

https://viralrecords.com.au/

https://nyteshaydemusic.bandcamp.com/

NyteShayde | Facebook

by on

Hybrid Blak Records is an up and coming label run by Keith Kamholz who is Mechanical Vein and also a member of Biomechanimal. He has gathered together, from across the globe, tracks from artists in the electronic and industrial scene to create Blaktracks II, which is indeed a second compilation they have released. Blaktracks II came out on October the 29th, 2021 and the mastering was shared by Zardonic, Keith Kamholz and a few of the bands doing their own.

Kicking off is MORIS BLAK x KALCYFR with “A Touch Of Malice“. I don’t expect any less from MORIS BLAK than something that will blow us away and we are not disappointed. Metal vocals over huge drum beats, massive guitar riffs and those bass drops that you feel in the pit of your stomach. “King Of Cups” is the offering from Biomechanimal and it is a short but lethal punch to the throat with their mix of perverted metal dubstep.

Sinister Souls x Mechanical Vein’s “No Light City” is a mix of hip hop and drum & bass with a healthy dose of cyber punk attitude. It reminds me just a little of “Freestyler” by Bomfunk MCs, except with teeth. Duo, SO CALLED, are DJs/producers and they are behind the glitch electronica of “Hypno“, who are trying to influence your mind through their catchy rhythms.

Don’t let the beginning of Sentinel Complex’s “Last Judgement” fool you. The sedate flow does not last and launches into an amazing, crazed Bach like musical opus but with synths. For a second bout, we hear from Mechanical Vein, this time joined by Saltee. “All Gods” has a great exuberance in tandem with the fierce and outraged lyrics. If you are looking for something immense with huge beats and a bass drops that just throw you down, then look no further than TriS and their “Warcall“.

Static Starlight’s track “Linkin Bizkits” gives us electronic screams within the depths of frizzing synths, as it pummels your senses with the dance beat. Let the insanity ensue with “KIRA“. I believe Kofin may have been inspired by the Japanese anime Akira, from the Japanese vocal clips to the emulation of the the epic soundtrack. It is definitely amazing and you can’t help but bounce around to it.

Prophectical with “Aletheia” go from breaking beats to electronically created soundscapes and there is a lot of finesse in the buildups and near classical lulls. They are coming to get you, for this is “DEHUMANIZE” by Truly Significant. You can feel them in the song stalking and the panic between the driving guitar and rhythm, only to lull you into oblivion at the end. Sadly we are at the last track, “King Of Nothing” by ER4SE. This is probably the most calm of all the tracks with it’s use of auto tuned vocals and more laid back style. After having being bombarded with all that heavy bass, ER4SE is the cool compress.

Hybrid Blak’s Blaktracks II is a very slick production with a lot of very talented popular acts and no so known but equally skilled musicians whom are on the rise. It is nice to see the industrial/electronic scene supporting each other this way. The music is red hot, cutting edge and will probably blow your mind…. in the best possible way.

HYBRID BLAK | Facebook https://hybridblak.bandcamp.com/album/hybrid-blak-blaktracks-ii

MORIS BLAK | Facebook https://morisblakngp.bandcamp.com/

KALCYFR | Facebook

Biomechanimal | Facebook https://biomechanimal.bandcamp.com/music

Sinister Souls | Facebook https://bandcamp.prspct.nl/

Mechanical Vein | Facebook https://mechanicalvein.bandcamp.com/

SO CALLED | Facebook https://socalled.bandcamp.com/releases

Sentinel Complex | Facebook https://sentinelcomplex.bandcamp.com/

Saltee | Facebook https://saltee.bandcamp.com/

TriS | Facebook https://trisedm.bandcamp.com/

Static Starlight | Facebook https://officialstaticstarlight.bandcamp.com/

Kofin | Facebook https://kofin.bandcamp.com/

Prophectical | Facebook https://prophectical.bandcamp.com/releases

Truly Significant | Facebook https://trulysigni.bandcamp.com/

ER4SE | Facebook https://oaktopus.bandcamp.com/

by on

Some bands are pivotally important to certain scenes and for myself, Red Lorry, Yellow Lorry (The Lorries) is definitely one of those bands. Leeds was a hotbed of post-punk acts which included the likes of Sister Of Mercy, The March Violets and in 1981, The Lorries. Though they have never claimed the mantel of goth, they are well beloved by the scene and highly influential. Between ’81 and ’92, The Lorries released five studio albums with Chris Reed (lead singer) and David “Wolfie” Wolfenden (guitar) as the longest serving members, Reed being a founding member and lead songwriter with Wolfie as his co-writer.

RED LORRY, YELLOW LORRY

In 1992, the band decided to call it a day and did one last tour which according to some, was the best The Lorries had ever played. Their show at Batschkapp in Frankfurt, was recorded from the mixing desk but remained unreleased with the band. In 2015, when a very limited amount of CDs were sold at two exclusive concerts, they contained four rare studio recorded tracks. Fans have tried to track these down and there have been incomplete bootlegs of the live show, so with the consent of all the band members, GENERATE has been created for all fans, released on November the 1st, 2021.

For those who know and love Red Lorry, Yellow Lorry, this is going to be a walk down memory lane to a time when music was defining us as a sub genre and music was an escape from the worries of the world. Those that that may be unfamiliar, these guys helped define the genre that is post-punk, from the deep bass to the distinctive guitar jangles to the serious vocal tones.

There are all up twenty-three tracks on this album and I don’t think I want to pull them apart but rather invite you to enjoy such tracks as “Talk About The Weather” which is possibly their most famous track, strained with the insistent short guitar strokes while Reed sings about talking to someone who wants to small talk while he is soaked to the skin. Or “Monkeys On Juice” with those warm, undulating guitars, the gunfire drums and deep resounding vocals.

The quality of the recording is really brilliant and in all honesty, this album is so worth listening to. Yes, there is a little nostalgia but the music is still fresh and doesn’t feel like it has aged. So load up on some Lorries because this is something magical.

https://redlorryyellowlorry.bandcamp.com/releases

https://www.facebook.com/RedLorryYellowLorryOfficial/?ti=as

by on

When the title of an album is You Are Happy, they aren’t asking but rather telling you. Non-Bio have this new album out called just that and it is a harsh industrial look at the modern age. Howard Gardner is the man behind Non-Bio, resident of London and this is the first album release since 2018.

This is your “Induction“. You will obey, you will fear, you won’t question and accept what is given to you. There is no resistance because it is not in your interest… or that is what you are told and that is solidified with “Death To The Beat“, an angry litany of how people have been led astray with false promises and fears. It is heavy and brutal in it’s criticism. “Create Problems” has that great experimental feel with the off beats, adding to the idea that not all is well in the world.

Fourth track is “Crush” and it is full of rhythmic noise, lambasting your senses under it’s weight to push you down. Not as insistent but sludgy and dark is “Collapse Noise” and I am not sure if it is me or are there electronic crows/raven in the background ready to pick over the bones? The instrumental title track, “You Are Happy” is a combination of static beats, hissing electronic modulated noise and verbal snippets taken from speeches, such as Gandhi and the alike on human happiness. I never knew the calorific count of the human body but I do now due to “Zombie Influencer“, so thank you Non-Bio if I ever should feel the need for some soylent green. Creepy and unsettling, Gardner quantifies how much you will satisfy the hungry zombie hordes.

“Nerve Market” has an industrialized, militarized timing and it is about the mechanization of humans and the loss of their ties to what makes them human. Pounding pounding into the ground as you become the dust, as you “Worship Dust” because you are a part of the industrial machine. The instrumental, “Are You Still Listening?” creates the impression of unease by being slightly off as it chirps at you, which leads you into “Positron Pill” and it is abrasively trying to pry your head open and wants you to burn everything. “Really Existing People” could be called the crunch dance track and herein lays the juxtaposition between the gritty sounds and the clinical words.

Such an odd title for a song, “Oppressor, She Loves You” and the lyrics could be from a science fiction and yet this is based in the current world. The drone and constant rhythm lull you into obedience, so you give your all before your disintegration. The theme continues in “Docile Thunder” that does indeed thunder on, wending its way into your ears. Last track, “Taint Of Tomorrow” is driving rhythmic noise that nails home the intent of the album… the expectation that you accept and don’t question.

if you haven’t guessed by now, this is an album with an agenda, inspired by the current policies and political landscape of the United Kingdom and watching others further afield. A commentary on society, where those who have little, also have the most to lose. It may also be a reflection that the population had been cowed into general acceptance unlike the civil unrest of the 70s and 80s which spawned industrial experimental artists like Test Dept, Cabaret Voltaire and Clock DVA. Non-Bio is following in their footsteps, under their own flag of angst ridden, fervour because in times of social injustice and inequality, industrial music seems to come to the forefront. You Are Happy is a great album with a lot of heart and soul and just maybe, Non-Bio will be part of the revolution!

https://non-bio.bandcamp.com/album/you-are-happy

https://www.facebook.com/nonbiomusic/

by on

Anyone who is familiar with Alexander Donat’s project, Vlimmer, might be be surprised to find that after eighteen EPs releases (yes you read right, 18!!!) , he has unleashed his debut album, Nebenkörper. The literal translation of Nebenkörper is secondary body or auxiliary body and maybe a part of this title refers to the fact that this is a full length album which was released on the 24th of September, 2021.

The dreamy, instrumental, “Farbenmüde” is the prequel to the album and in no way prepares you for the onslaught that is the angst filled “Fensteraus” and it is a bit like a Faustian epic in sensory overload. It has a wicked life of its own. Blasts of electronic beats mixed with tribal rhythms is “Mutem“. A sublime mix of metal shoegaze with industrial. There is a constant drone behind the “Restfall” as Donat’s vocals tether you to this reality and the guitars jangle and wail while it climaxes in a maelstrom. We have the single “Meter” which actually reminds me of Oomph! a little, if they had been more post-punk and it definitely deserved to be a single. “Minusgesicht” is full of foreboding atmosphere, a pall of darkness that is trying to drag everything into it and a sense of falling or fading away.

ALEXANDER DONAT – VLIMMER

“I.P.A.” is truly a post-punk hybrid beast. Dark and brooding with just the right amount of noise to mix with the discordant voices while “Ad Astra” is like a wild ride of ecstasy and screaming insanity that bears you along, occasionally drops you, just you pick you up for the next part of the ride. The insistent “Wangendruck” is absolutely a gothic/EBM hybrid of beauty. It gloriously powers on with bursts of beats. There is a subtle change with “Kartenwarten“, slowing down things, a mellow shoegaze vibe before we vere off into noise inspired “Kron“. It is crunchy and sounds rather unhinged, though in a good way, as it ramps up. The last song on the album is “Nebenbei“. It is the wind down, giving a sense of introspectiveness and grief in a way, possibly full of longing. It is a lovely way to end.

Vlimmer is on Blackjack Illuminist Records and had the much-in-demand, Pete Burns of Kill Shelter handling the mastering. As a native English speaker, I am unable to tell you what the German lyrics are about and it is far more about the impression it gives and in the end, this is exactly what music is supposed to do. Expression in any language that still resonates with those who listen. Nebenkörper for the most part is a swirling amalgamation of gothic darkwave with shoegaze and a big helping of industrial. It is raw and at times won’t let you stop hearing new and unique things in the musical aether. At times you can almost swear you can hear a choir in the mix backing up Donat but this is an illusion and a rather masterful one. After eighteen EPs, Vlimmer have unleashed a beast of an album, so it was worth the wait.

https://blackjackilluministrecords.bandcamp.com/album/nebenk-rper

https://www.facebook.com/VlimmerMusic

https://www.facebook.com/Blackjack.Illuminist/

by on

My first experience of October Noir, is via this new album, Fate, Wine And Wisteria, that was released on September the 22nd. It is rather confronting at first to think of a band actively trying to take up where Type O Negative sadly could not due to the untimely death of lead singer Pete Steele, especially when the band themselves could not find the heart to continue without him and followed with other projects such as A Pale Horse Called Death.

OCTOBER NOIR

Down in Pensacola, Florida, the weather is warm and the wisteria grows wild in the lost places, so to the album has thirteen tracks, though to be fair the tracks “Fate“, “Wine” and “Wisteria” are kind bridging instrumental pieces and maybe a minute long at the most. “Windows” is the first track with vocals and the single off the album. Fairly taken aback how much this actually sounds like a Type O number, There is the longing in the deep vocals and the long guitar riffs that drift away to then crash back in a revisit.

This is indeed a strange experience. It pays to read the lyrics at times as well. “Effigy” almost seems to be based on one of those teenage horror movies where they go down to the lake and the main character is lured away with the promise of carnal delights, only to find all their friends have been murdered and being Halloween, did they do it?! Equal parts defeat and howling anger in the Greek inspired “Persephone” and “Wanderlust” really reminds me of the iconic “Everything Dies” in places.

Really liked “Sistinas” with the moody harpsichord and the extremely low vocal range that was being plumbed. Anyone that ever listened to Type O Negative, would know that often Steele would firmly have his tongue placed in cheek and liked to create songs about forbidden encounters or the nitty gritty of sexual lust and October Noir have followed post haste in their footsteps with the tracks “Reverence (Make You Love)” and “Proverbs“. Whatever the theme, there is always that underlying darkness that humans are fallible and prone to causing great pain and misery as well as picking others up from the deepest pits of despair in this album.

It was the first time hearing their sound which floored me a little to hear a band that sounded so like Type O Negative, from the bass lines, to the guitar chords and unmissably the vocals so hauntingly like Pete Steele’s. Now some will say they are copy artists and that often happens a lot, ie all the bands that want to be Sisters Of Mercy, though unfortunately they are flawed and normally unable to do this well. October Noir don’t hide the fact they are standing in Type O Negative’s shadow but rather embrace the fact and actually create new music I think that even Steele would have been impressed by.

https://octobernoir.bandcamp.com/album/fate-wine-wisteria

October Noir | Facebook

by on

What sort of music do you get if you mix David Wolfenden aka Wolfie of Red Lorry, Yellow Lorry and Caroline Blind? A band called Voidant and perhaps a style you were not expecting. With an illustrious roll call of contributing artists, on baritone guitars Rich Witherspoon (The Wake), bass guitars Simon Ding Archer (Red Lorry Yellow Lorry, 1919) and Ade Clark (Black Chapel) and pianist David Gregory.

The first track, “Heart/Feather” has a tribal taste to it and the reference is rooted in Egyptian mythology. When you die, your heart that holds your sins, will be weighed against the feather that is Maat (goddess of truth and justice), watched by Anubis and if found unworthy, eaten by Ammit the Devourer. Hence there is an Eastern flare in the guitar work.

The single “La Loba” is an ode to the wolf. An implored request for the wolf to finish the remains after Blind has sung that she could not continue and succumbed to the snow. A slow love song to be one with the wilderness.

Whispers and an insistent synth line that wanders through your head in “Phantom Ex“. The shadow of a previous relationship, that took a toll on someone whom you dearly want to see you as a potential healing lover. “Ghosted” has a great incongruity between the piano lines and guitar work, giving a slightly unhinged atmosphere.

“SG Truth” has a trip hop feel fused with a modern jazz sensibility. It keeps you off balance as it weaves it’s way. Dreams of the “Summer ‘78“, of Irish migrants fleeing across the sea, which for some would be their last journey. A story of memories perhaps stored in your DNA and like all good stories it is sung in a tone to lure you in and feels as delicate as a woven spiderweb.

There are two cover on this album and they sit side by side. “7 And 7 Is” was originally performed by Love in 1966 and also covered by Alice Cooper in 1981 and The Ramones in 1993. There is this wonderful juxtoposition of Blind’s punk vocals and the surreal electronics. It’s a great cover of this proto-punk classic.

In 1964, Buffy Saint Marie wrote and released “Universal Soldier“, which later became a hit for both Donovan and Glenn Campbell. A song about seeing things from another perspective and ultimately an anti-war piece. This is so tranquil with Blind near singing a cappella, if it wasn’t for the percussion and low grade whirring beneath.

“Vortex” is the last track and it is a little transcendental with the hypnotic beat and guitar transitioning from a bit country, then a bit funky and then wailing. It is a rather groovy way to finish the album because as we all know, the eye of the storm is the calmest place to be.

Recorded between Leeds in the UK and New Jersey, USA, this is not the normal gothic fare but rather a darker form of storytelling which is sometimes trance inducing in its beats and minimalism. Some things can be better felt in the spaces that aren’t filled in. Voidant do this so well as well as also breathing new life into classics and I encourage you to have a listen.

https://voidantmusic.bandcamp.com/album/voidant

Voidant | Facebook

by on

It has been about a year since we were first introduced to the HOSTILE ARCHITECT, who is also known as Mitch Kenny. The first single, “HOSTILE THEME“, was released in June 2020 and seems ever since then, he has continued to grow into this persona, gathering fans, airplay and signing with Brutal Resonance Records. Now Brisbane based Kenny, has his first full album to unleash onto the converted and the yet to be. This is LOWGRADELIFE.

MITCH KENNY – HOSTILE ARCHITECT

Kicking off is “MEASURE TWICE” and the ARCHITECT is judging you and the mistakes you make more than once, If you have never heard HOSTILE ARCHITECT before then I can guarantee this mix of gravelly vocals, infectious beats and scintillating keyboards is going to beguile. Originally released as the b-side to “LOWGRADELIFE“, we have the beat heavy, “EVERY FOLLOWER A BOT“. It is a nice static crunchy instrumental piece and yet there is time for a serene, almost Japanese inspired interlude. The fourth single to be released this year was the wonderful “SEMTEX“, and I dare you to not find yourself bobbing to the beat of this. The futuristic theme that you are not not the decaying flesh that holds your spirit is backed up by the science fiction feel of the music.

The title track for the album, “LOWGRADELIFE VER.FINAL” was also the second single and as it may imply, has been further reworked for the album. From the near disco start that launches into the infectious rhythm, there is so much to listen to and still it is utterly cohesive. Speaking of reworked songs, there is also “WAGESLAVE VER.FINAL“, again was another b-side, a delightfully beat filled instrumental that flows along in a trance like way. The brilliant “DAWN OV“, yet another single, body slams you with it anguished vocals and electronics almost mimicking blaring horns, while the instrumental b-side to this single follows it up. And like all the others, “PROSCRIPT” won’t disappoint you as it winds it’s way into your ears. The single that started everything, “HOSTILE THEME“, introduces us to the ARCHITECT and soon you will be singing along I’m hostile!

The first two remixes are done by fellow Brisbane dwellers of the industrial scene. Dirt Factory with their stellar remix of “SEMTEX“, in which Michael Gillman makes the song even more angry plus a little dirtier, highlighted by those bright synths. Zane Seymour is Dream Of Machines and he gives the treatment to “DAWN OV“. Seymour has brought the vocals to the fore and yet still the synths dance beneath, threatening to overtake at some point from their zen interlude. “LOWGRADELIFE” remix is by Wollongong act Cheap Coffins and it feels electronically gritty and heavy. Then the guitars just chime in gloriously as the song wends it’s way skyward.

The Null Cell remix of “PROSCRIPT” just sparkles and is unearthly with how light it feels. Nebraska based Isabella Chains really makes this instrumental piece a rhythmic delight. The last two remixes are from Black Hole Zion and Mach Fox, the former residing in West Virginia and later in Minnesota. Second remix of “LOWGRADELIFE” by Black Hole Zion and it definitely has Ministry inspired guitars and then again a near jazz influence which would seem an odd combination but it works. Zwaremachine’s Mach Fox gives his remix of “DAWN OV” which pops and carries the Fox signature of substantial and searing electronic noise.

First off, have you ever known an act that is exceptionally talented and then when you have met them in real life, they are as nice in person as well? This is Mitch Kenny, completely. He is self effacing and has this enormous gift for music which shines through in this debut album.The mastering done by Roger Menso of Nyteshayde Music is first class, with beautiful clean tones and delicately balanced. The acts chosen to do the remixes have been equally up to the task. It would be easy to rant on with superlatives but in the end you just need to go hear it. If you appreciate good electronic music, then I think you will love HOSTILE ARCHITECT and his LOWGRADELIFE.

LOWGRADELIFE | HOSTILE ARCHITECT | Brutal Resonance Records (bandcamp.com)

HOSTILE ARCHITECT | Facebook

https://dirtfactory.bandcamp.com/music

Dream Of Machines | Facebook

https://cheapcoffins.bandcamp.com/music

https://nullcell.bandcamp.com/music

https://blackholezion.bandcamp.com/

https://zwaremachine.bandcamp.com/

https://www.facebook.com/nyteshaydepdm/