Zwaremachine are from Minneapolis and on the 20th of May , will release their latest EP, Ripping At The Fabric. Over the years, they have become a three piece with original member, singer/synths and writer, Mach Fox at the helm, Dbot on bass/vocals and Dein Offizer creating the rhythm on drums/percussion. They describe their sound as ‘minimal, hypnotic, industrial bodymusic‘.

This is also one of the first releases on the new label, Brutal Resonance Records and if that name sounds familiar, it might be as it is the same group that have been responsible for the long running music Zine of the name.

Mach Fox is a rather interesting fellow who has been heavily involved in the industrial scene since the 90’s and has a healthy respect for Gary Numan and John Foxx.

Can you “Resist” the 80’s feel of the first song on the EP? This pays homage to Skinny Puppy in its vicious simplicity. The synths are understated and this makes it feel even more in your face.

Time to feel the groove flowing through you with a “New Design“, guaranteed to get your body moving. The beat is like something from old Front 242 as it angrily stomps into your head.

The first single off this EP is also the title track, “Ripping At The Fabric“. It sort of reminds me a little of those science fiction movies with the electronic soundtracks except this is more full on blunt force trauma. Fox growls that this is not the beginning of the end and we certainly hope not. There is no surrender!!

The assault to your ears doesn’t stop there. “International Hero” belts you over the head. This is like electronic overload with distortion and delightful synth tones which keeps making me thinking back to Ministry’sStigmata“.

MACH FOX
photo by Roger Op Den Camp

Last track is “What We Are” and is feels fresh and fast, with a high energy rhythm. This is a great number that really shows Mach’s writing ability, even though he’s snarling lyrics, the music in the background is almost ethereal in its delicacy.

The energy is aggressive and definitely punchy throughout the whole EP. It is hypnotic and will suck you in. I hear so much of the timeless, classical industrial sounds with Zwaremachine, who are smashing their own apocalyptic, minimalistic, agrotech noise into the mix, doing exactly what makes industrial music so interesting…. experimenting with whatever gets a great a sound.

Zwaremachine’s Ripping At The Fabric isn’t re-inventing the wheel but rather, taking said wheel running you down with it and you’ll enjoy every bone crunching moment of it.

http://www.zwaremachine.band/

http://www.zwaremachine.bandcamp.com/

https://www.facebook.com/zwaremachine/

Last year, Matt Hart brought out the concept album Terra 3808, based on a post apocalyptic Earth where humanity scratches away, trying to just survive.

So in March, came the release of his new EP, Tales Of Terra: Triolith, which is a continuation of this storyline, as the last stragglers called The Outlaws in their struggle with the Machines, find a large three tower structure coined Triolith.

Chaos Rising” throught to “Mechanical Dominion” are off previous releases, most now remixed by various artists and given a new lease of life.

The first number is the title track, “Triolith” and an alien voice rumbles forth to be accompanied by a beat as it rolls across the futuristic landscape. This is the single off the EP and it instantly gets your attention.

The song, “Requiem” has a wonderfully off kilter sense to it. Though not an overly fast number, it gives the impression of being relentless and constant. Xavier Swafford from 3Teeth is no stranger to the remix and you can tell.

Chaos Rising” is the Nitronoise remix which is about the survivors of apocalypse. Gritty and angry with power guitars in the chorus that builds this up. This isn’t a new remix but what the hell… it’s still bloody good and fits in well.

The dub of a club DJ is strong in “Mechanical Dominion” (MXD_BLD remix). This power noise inspired piece just oozes with static as the machine rule and destroy all that does not fit the new world order.

There is a spooky remix of “Mercury Flow” by Witch Of The Vale and it’s low and smooth like quick silver and similar to the poison, it’s going to get under your skin.

MATT HART

Unlock the level “Chaos Achieved” (metalogue remix). Like repetitive fire comes the rhythm, thick and fast as if a massive metal colossus is whirring away with purpose and intent.

The remix by monomorte, is a lovely drone sludge in the second retelling of “Mechanical Dominion” and it sounds so completely different yet so perfect, finishes off this EP.

I am starting to wonder if Matt is, or ever has been a player of Warhammer 40K. It’s that style of enthusiastically enjoying putting together a story of light versus dark and humanity hanging on by a thread, becoming less human due to circumstance.

So far, it seems to be that the machines are going to extinguish the light of man and if a collapsing futuristic world of trauma with fabulous remixes is your bag, then you need to listen to Tales of Terra: Triolith and support Matt Hart so we can see how this all ends.

https://matthart.bandcamp.com/album/tales-of-terra-triolith

https://www.facebook.com/djmatthartuk/

Previously we heard recently remixes from Australian and Russian duo of SiK aka Craig Saunders and Dima Ilyin, who make up Nova State Machine. We just had to let you know that on March the 24th, there was a third EP released called TCM RMXS-003 Drugs and Drums.

If you weren’t awake before you started listening you soon will be as SiK (Saunders) growls into your ear with a barrage of rhythm with “War Is A Drug Ephedrine mixby SEXGUN. This definitely reminds me of Ministry/Revolting Cocks both vocally and the melody syncopation.

For the rest of this EP you will be graced with the scintelating deep vocals of Dima. “Do or Die – BZP remix” by SEXGUN has a techno vibe and this feels like old style Front 242/Nitzer Ebb, which is never a bad thing with that fast feverish pace.

Back to a previously remixed number, however it’s easy to see why someone would want to do another version of “Harsh Reality” as it is such a strong song. SiK brings Rx Singular Obsession remix to bear down on your ears. He had made “Harsh Reality” sleek and clean while Dima’s distorted vocals rip through.

I get images of Judge Dredd, listening to “Total Control – MKUltra Mix” by FILTHmachine. It screams science fiction war games to me. Brutal vocals bellowing ‘total control, total control‘ and bouncy synths chirping in.

No Pain – Codeine Mix by nOvAsLuG who are the artists ToMsLuG from Vancouver and Craig Saunders, starts like a sound scape as it builds and swells. This becomes an industrial cacophony of noise. Dima sounds like he’s trying to convince himself he’s alright and yet it all reflects body or mind wounds.

Electronic burbles bring in “Destroy All Hope – krocodil mix” by Evil Against Evil. This starts off slow and dirty whilst it creaks and groans along. The minimalistic nature conveys the drudgery of a world bereft of all love, hope or joy.. just grey.

Most of this is not so much danceable but definitely more experimenting with the music at hand to see where it can be taken. Which is exactly what you need from a third part of a trilogy.

When all is said and done, this is another solid remix and there is everything to gain as this is pay what you want on Bandcamp. So be where the cool kids are before Nova State Machine unleash the next new album but for now lock and load some TCM RMXS-003 Drugs and Drums.

https://novastatemachine.bandcamp.com

https://m.facebook.com/NovaStateMachine

https://shoknova.bandcamp.com

https://evilagainstevil.bandcamp.com/releases

https://tomslug.bandcamp.com

What do you get if you cross Australian and Russian industrial music? Nova State Machine and they are going to be releasing their back catalogue in the form of EPs, as spanking new remixes.

Nova State Machine is the collaborative brainchild of Sydney sider Craig Saunders who is also know as SiK from the band Novakill and moscovite Dima Ilyn who is best known for his band, Ultimate Soldier.

The first EP to get the treatment is TCZ RMXs 001: Harsh Reality, which is made up of four songs off the Total Control Zone album, from 2019 on the lads own label, Shoknova.

Teaser for Harsh Reality

Harsh RealityShokhammer remix 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 “Hard Targetinsurgent mix” 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 “Never More” is the Ultimate Soldier RMX. 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. Ultimate Soldier is the Russian project for Dima Ilyn.

The Future” has the Uncertainty mix 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. “Harsh Reality” is the current view, “Hard Target” is what is required to survive, “Never More” is what is desired and “The Future” is the unknown.

TCZ RMXs 001: Harsh Reality 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. Nova State Machine 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!

https://novastatemachine.bandcamp.com/

https://www.facebook.com/NovaStateMachine/

https://shoknova.bandcamp.com

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 “The Gallows“. 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 Death With Machines.

https://www.facebook.com/DeathWithMachines/

https://deathwithmachines.bandcamp.com/

January saw the bandcamp release of Dirt Factory’s debut EP, Random Songs For The End Of The World. This electro industrial band is comprised of two brothers, Michael Gillman (programming and synths) and Daniel Allen (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 “Unseen Tragedy“. 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, “Give Me The Drugs“. 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 “Digital Consciousness“? 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 “Error Delete” with undulating electronics with such a catchy rhythm and breakout synths. This definitely brings visions of Bladerunner or Ghost In the Machine.

Slaughterhouse Shutdown” 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 “Corporate Greed” which brings to mind another song, “Corporate Slave” 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 “Error Delete” by Digital Anodyne (DJ Wolf Aud) and Vargil (Camilla Astrid Strand) 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 Wax Trax era and the burgeoning onslaught of the Belgium and German bands such as Frontline Assembly 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.

https://dirtfactory.bandcamp.com/releases

https://www.facebook.com/Dirt-Factory-1924745841101379/

End of November, 2019 saw the release of goth rockers, Her Despair’s latest EP, Exorcisms of Eroticism. 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, John Milton, wrote the novel, Paradise Lost 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 “The Exorcism“. Again you hear the wonderfully crafted lyrics with the musical sensibilities of Ville Valo (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, Paradise Lost 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 Her Despair, 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, Fields of the Nephilim and honestly you can hear touchs of these 80’s iconic goth bands but also more recent acts like The 69 Eyes, Lacrimosa Profundere 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 Sisters of Mercy 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 Her Despair.

https://herdespair.bandcamp.com/

https://www.facebook.com/herdespair

https://m.soundcloud.com/herdespair

Neon Tzigane are a London based duo, comprised of vocalists Howling Mina, who also handles percussion and Samson Deluxe on guitars and programming. They have released a third EP, Paramisha.

“The Lost Cities” has tried to incorporate a middle eastern sound which weaves through the song as this duo sing us a tale of civilizations gone forever beneath the shifting sands of mysterious desert climes.

You can hear the old 80’s goth wave jangly guitars on “lost without you”. Deluxe takes the reigns on this track vocally, with Mina doing a fine job backing him. This is a really good pop tune, though short, rather upbeat and quite unlike any other track on the EP.

“Nothing Is Forever” begins with a guitar riff that Pete Steele from Type O Negative would be proud of. Howling Mina and Deluxe harken back to parts of 60’s psychedelia mixed with Black Sabbath.

The last track on this EP is the title, “Paramisha” with its slow build up before the guitars chime in, laced with synths as the sound winds up. This is a purely instrumental piece, that we are confronted with, which leaves you wondering if there is more to come.

All four tracks are fairly different from each other, which isn’t always a bad thing if you like variety and hearing how a band can challenge themselves. Should be interesting to watch Neon Tzigane develop and anticipate what they will release next.

https://neontzigane.bandcamp.com/

http://open.spotify.com/album/15j4tBUh 

http://www.deezer.com/artist/55951002

Pablo Zumarraga is the man behind the act known as Trust In None. He hails from the capital of Argentina, Buenos Aires and this year released his EP, Inhale, with five tracks in all on it.

“The Law of the Weak” is the intro track with a near imperceptible beat before a sudden explosion of guitar. I feel like I’m listening to some lost Trent Reznor track from the Pretty Hate Machine era.

A nice piece of guitar work and the second track that seems to be nameless brings in the drum machine. The whispers become musical screams that say “I never, never trust you!”. This has an extremely bluesy feel even though it is also very industrial at the same time.

pablo Z
Trust In None (photo – Zoe gouzene / @zoilandia)

“Inhale” has echos of White Zombie/Rob Zombie with the drum machine having little metal blast beats and is quite a heavy number. Lots of distortion and feedback with a revisitation at the end just to remind you of where you have just been.

The rather interesting named “Squirt”. Pablo mixes his violent whispers whilst dueling with his guitar work. This is full on rock and roll and you could roll on down the highway with this blaring out. The guitar riffs just keep on coming and persistent, spiraling out of control.

Last is the single, “The Circle of Shame”. Again you here Zumarraga’s love of the blues coming through. Heavy and dirty. The vocals are distorted and pain filled. The guitar work here reminds me of the old Soundgarden sound from BadMotorFinger

Not kidding when I say it reminds me very much of the early industrial days of Nine Inch Nails, especially vocally. This is brooding and dark and with the distorted guitar work, is indeed heavily blues influenced and yet this adds to the sinister heaviness of it all.

So if you are looking for something that ignites your blood with punk attitude and industrial smarts, then check out Trust In None.

http://www.trustinnone.com

https://www.facebook.com/tinpunks/

 

Adam Majdecki-Janicki is an artist from Darlowo, Poland, who creates ambient/experimental industrial music and he has a new album out on Bandcamp called Next Bardo.

Distortion, static and grinding/high-pitched squealing industrial is the basis of “Work, Consume, Die, Become Cremated”. A commentary of what daily life as an adult in the modern world is really like. A drudgery of endless monochrome, until the human machine fails and is no longer of use.

“The Flower Thief” is an ethereal floating experience. The almost sound of bells tolling in a strange ambient world that feels not quite in focus and drifting. What could be strings can be heard in the distance, trying to call your attention.

A slight 1950’s science fiction feel mixed with Hammer Horror style pipe organ music heralds “Melancholy Baby Dies from an Overdose of Time”. Dark gothic overtones with a pounding beat that never slows or stops but just when you are used to that beat, it disappears into the dirge, though later reprised without its former strength..

“A Thunder of Eternal Music” is like a hypnotic drone trying to lull you. The drum machine keeps time while the distortion wends it way into your brain. Most definitely almost tribal and ancient, a calling to our primitive past.

It has the avant-garde feel of Cabaret Voltaire. Being experimental means that in the end, everything is up for interpretation and reinterpretation, so what you perceive this time may not be the same on a second listen. So get a bit old school dark/ambient/electro.

http://adammajdeckijanicki.bandcamp.com/album/next-bardo