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Brisbane’s HOSTILE ARCHITECT has dropped the EP, :​​:​​EX​​-​​LOG​​:​​: REMANUFACTURE ME, as of the 29th of April, on Brutal Resonance Records. This is a one man, dark industrial project by the not so hostile Mitch Kenny and this EP is the follow up to the album, LOWGRADELIFE.

This is something a little different for the hostile one. “REMANUFACTURE ME” is this amazing mix of industrial and darkwave, as Kenny goes from monotone vocals through to singing. The synths are just perfection as they skim and glide across this track with a fabulous pop sensibility. In “ECONOMIES OF SCALE” you can clearly hear the HOSTILE ARCHITECT tell tale touches but even this sound is expanding. The beats never let up and just has these incredible moments of amazing electronic noises that make you wonder how Mitch has wrangled them out of a machine. The first single, released before the EP is the brilliantly, energetic “POWER OVERWHELMING” and this is the GOLD MIX and it is a bloody amazing track that pumps along at hair singeing speed at times.

Oh yes, welcome to the “TERMINAL GRIND“, which is all stellar synths twittering at you with murderous intent in this instrumental piece. All hail your overlord, the HOSTILE ARCHITECT of techno delights. Maybe inspired by the Australian yearly heat we have the expansive “BLACK SUMMER” where the ‘Sky’s on fire and so am I‘. There is something scintillating and spine tingling about this track that makes the hairs on the back of your neck raise up. Those that have followed the releases will know that “HOSTILE THEME” was on the LOWLIFELIFE album and now there is the NYTESHAYDE RMX, Roger Menso being Nyteshade, who also did all wonderful mastering. This is the metal industrial version you never thought you would hear. Wow. I know this song so well and this was just mind blowing to hear it done this way.

“REMANUFACTURE ME” just blew me away, possibly my favourite number, from the beginning and there is not a mediocre track on this EP. Not one. Kenny always fills his music with movement and you can see his evolution of the character, the HOSTILE ARCHITECT, in the evolving sound. There is definitely some synthwave/darkwave creeping in and it sounds amazing. Mitch is a really creative and talented musician and it shows in how he crafts his tunes, so I am hoping more people pick up on this project and spread the word that the HOSTILE ARCHITECT is asking…….. IF THIS IS SUCH A BRAVE NEW WORLD WHY DO YOU SEEM SO SCARED?

:​:​EX​-​LOG​:​: REMANUFACTURE ME | HOSTILE ARCHITECT | Brutal Resonance Records (bandcamp.com)

Music | Abelisk (bandcamp.com)

HOSTILE ARCHITECT | Facebook

Brutal Resonance | Facebook

NyteShayde (bandcamp.com)

NyteShayde (facebook.com)

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We are going back in time about a year, February, 2021 when the EP, Retribution, by Fossil Fuel was released. RODNT is the man behind the mask, behind the experimental music and as of now this was his second EP.

First track off the EP, “Recoiled” feels like an ancient landscape, with rumbling tones along windswept snowy peaks. It is deep and mysterious, as if you are in budhist temples of Woah, “Retribution” is a whole different kettle of fish. Angry lyrics that strike as a snake would, accompanied by the speeding beats and bleating electronics that push this along. The track, “Drafted” is this curious forty-four second piece, that is obviously referencing the army with the ongoing marching rhythm, that simply fades away.

There is something futuristic about “Delay, Decay” with synths soaring in long stretches, while the programmed beats punctuated the dissatisfaction with those in the ‘system’. “Frantic Age” rounds off the EP, experimental in terms of the beats are going in and out of sync, while extra rhythmic sounds chime in irregularly. Rodnt’s vocals drone in a unemotional thread of consciousness.

I am trying to work out why the EP on Bandcamp is $10 US to purchase (which seems a little steep for five tracks) or you can purchase each track at $1 US. One feels there is a marketing ploy in there, somewhere but there is also a cassette available. I definitely think those that have a taste for electro, industrial experimentation will really enjoy this offering from Fossil Fuel.

Fossil Fuel | Facebook

RETRIBUTION | FOSSIL FUEL (bandcamp.com)

https://m.soundcloud.com/user-227503624

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Most people have a fairly good grasp of what OMG stands for in social media, however the EP title of Fredrik Croona’s new project, Against I, it stands for Obscene Morbid Gore. Many would be familiar with the Swedish Croona’s other bands, Menschdefekt, Croona and Cynical Existence. The EP hit us on March the 11th, 2022 and it is out on Insane Records.

Title track straight up. “O.M.G.” As soon as you hear those harmonic synths, you know you are about to hear something big and it doesn’t disappoint. The hoarse aggro vocals with the backing speeding guitars and fuzzing tech. The anguish about a society that will watch on while others suffer, no matter how bad it gets. I always shake my head in wonder how this style of music has such harsh vocals and yet there is this wondrous techno-cyber light keyboard refrains backing up all of it. The “Other Half” is a perfect example of those keyboards while Croona screeches out the lament of the loss of humanity due to people no longer finding connection to others.

“Disgust” is a really bouncy maelstrom of discontent over overtly judgmental types. It has such good momentum, The single is “Scum” which swirls and picks up pace. Croona invites you to call him scum if you want to though I feel this is a mirror reflecting the actions of other. You know the Tecknovore remix of “Scum” is going to kick arse and it just pops! Klontzas has cut back on the guitars and just gone for full on electronic immersion. “Scum” by Death Verified is a glitch tech fest, again the guitars have been dropped in favour of synths but there is no loss of veracity.

It is very angry but that is what Croona does very well. That miasma of pained, screaming vocals, guitar distortion, those fabulous synths and techno beats that underpin it all. Most of this would easily make it onto club floors and dance mixes. But when you have the time, listen a little more closely to messages as there is something in that as well.

O.M.G | Against I | Insane Records (bandcamp.com)

Insane Records – Dark Electro Gothic Industrial Aggrotech Synthpop EBM (facebook.com)

Insane Records – Dark Independent Label – Industrial / Goth Label (insane-records.com)

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Due to lockdowns and the like over 20/21, the Berlin based band X-Vivo decided to take a few tracks from their 2017 concept album Petrichor and remix them for an EP to be fully released on the 18th of March. The added bonus was having Nico from BIINDS also helping in the remixing, bringing in yet another style.

“Aphelion” kicks off and I get a real Deathstars feel when these guys are in full flight. This mix by aleX-Vivo is verbose and yet there is something reflective with the angst. Also mixed by aleX-Vivo is the huge sounding “Hail The King“. This is definitely the track you will want to turn up. Both metallic and cold as it speeds along at full throttle, throwing you into false lulls before taking off again. The next remix is done by BIINDS is “Echo Of The Unseen” which has a far more gentle mood than the original which was tending to be more glitch tech, while this version is full of small beats and rhythms that bear it along.

“The Waves Of The Ocean Are Gone” again is a BIINDS version where the original piano has been replaced with a far more electronic accompaniment and I perceive a male voice in this version. It reminds me of early Within Temptation. “Perihelion” has been changed into two tracks, Part 1 appears to be the culmination of female vocals which extend forth, as if in a dream. Wherein Part 2 is the male vocals like distant thunder rolling across the empty hills. These were created by aleX-Vivo.

Most remix releases normally follow the course of bringing on the big beats especially when it comes to industrial bands. X-Vivo seem to be bucking that trend. The lower and slower tracks are treated with reverence and great care to hold onto the key components that give them such refined delicacy. “Hail The King” is a banger of a tune but sometimes it isn’t always about the loudest tracks but rather the whole composition.

https://x-vivo.bandcamp.com/album/petrichor-remixed

X-Vivo | Facebook

BIINDS | Facebook

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From the dark depths of merry old London town, there is a project by the name of VHS¥DEATH. What is this all about you might ask and I shall reply Natalie Wardle is VHS¥DEATH and along with Cruel Nature Records are releasing the EP, Corrupted Geisha on limited tape format as of March 11th, 2022.

So we start off with “Space Bankers See You, The End Is Near” and the title alone is intriguing enough. Hip hop beats with broken pieces of conversation, singing and maybe a little Southern soul, that is until a man is telling how things are in the real world to a sweet stream of relaxation music. “Falsehood Of Man (Dystopian Mix)” is a whirlwind of soliloquy angst and breakbeats before “666 Pounds of Zero Gravity” with its electronic vocalizations. The connections between the demonic, the angelic and creation.

The dour organ plays sickly to Wardle’s distorted utterances for “Snakes In The Grass“. Like a possession gone wrong, this is part disturbing and part cute with the drum and bass tapping along nicely, Guitar distortion and multi layering are almost to the point of overwhelming in “What Is Your Worth, Vampire?“. Underneath all is this lovely guitar jangle and vocals that eventually comes to the fore.

If you are into industrial music and you don’t know the original “Everyday Is Halloween” then you should go sit in the corner and contemplate what you are doing with your life. The Ministry track is given a synth makeover, making it even more electronic, if that is possible. Wardle definitely can sing and does a sterling job in this sensuous ode to being a weirdo in a weird world.

This is experimental industrial music and it is not going to be everyone’s taste. The best way I can describe VHS¥DEATH is chaos with a zen centre. A sponge taking in all around them and then trying to make sense of so much information in order to find balance. The fusion of hip hop, drum & bass with synths and a smattering of guitar can be challenging and yet also pleasing to the ear. Well worth the listen and maybe your curiosity to listen to the Ministry cover might pull you in.

Corrupted Geisha EP | VHS¥DEATH | Cruel Nature Records (bandcamp.com)

Cruel Nature Records | Facebook

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From Fort Lauderdale in the US, electro-goth pop princess, Miss FD has released her latest EP, As Above, So Below as of the 11th of February, on Quantum Release Records. She has taken inspiration from the archaeological exploration of  Göbekli Tepe, a Neolithic settlement in South Eastern Anatolia, Turkey and some spirituality as well.

There is a delightful Middle Eastern influence in the “Summoning” mixed with the electronics and perhaps conjure an ancient angel or djinn to find solace in the desert night air. “The Veil” is thought to be the barrier between the living and the dead. Only the dead may pass though and at certain times of the year, Day of the Dead/Halloween the veil is at it’s thinnest. It pulses with life and beats while wishing to dalliance with the ethereal to meet with lost loves. A bit darker and oh so alluring is the title track, “As Above, So Below” with that great driving rhythm and the alluring vocals of Miss FD sweep you away to the dichotomy that is the earthly and the mystical.

The term as above, so below is used as a reference in the belief that what we do on this earthly plane, will also be played out in the spiritual world. Through all three tracks, you can hear the references to the other worldly, intangible and karmic. The music curls around your ears, like the smoke from the hookah the Caterpillar smoked in Alice In Wonderland, permeating your being just as a drug would and Miss FD’s vocals coo and call you to the other side like a siren. Maybe time to contemplate your mortality because As Above, So Below.

As Above, So Below – EP | Miss FD (bandcamp.com)

Miss FD | Facebook

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Phobos Reactor are a two person electronic group from Germany while HCH and TFG are from the Finnish band TONTTU. TONTTU normally perform songs about the evils of gnomes roaming around in the wild plotting against the human race but they have teamed up with Phobos Reactor to create an EP that is not about gnomes. It dropped on the 22nd of February on PANICMACHINE.

The clinical female voice over the electronic beats of “Subject” is broken up with the demonic grows below questioning. “Shadow” has the TONTTU vocals all over it, like Davros, the leader of the dalek from Dr Who, pondering existence and the futility of life, all to a serpentine dance rhythm and synths. The darkness and loathing within causes “Hatred” but it is good to hate to these sublime beats. “Confusion (Part 2: Nice Things)” is an interesting soliloquy about how they can’t have nice things because other people are just plain annoying. The last track is “Square” which has that rhythm that actually feels like it is doing right turns, needing to be constantly in motion with the vocal angst consuming the light. Though don’t take that too seriously.

This is a pretty fun EP. Phobos Reactor bringing the serious EBM mixed with the gutteral rantings of the Fins and the sleek female vocals. Apparently the lyrics were originally written in Finnish for another project, Dødsrige, but I think it suits this very well, translated into English. This is not the first time these two acts have teamed up and hopefully not the last either. Might not be about gnomes but remember there are other dark things that are waiting just for you…. like humans.

PANICMACHINE

Phobos Reactor | Facebook

TONTTU | Facebook

Panicmachine | Facebook

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From Stockholm, Sweden, comes the synthpop EP, -ISH by NEONPOCALYPSE, released on January the 14th on the label Swiss Dark Nights. This is the solo project for Alex Svenson whom is also the leads singer for the band Then Comes Silence.

It is a smooth start with “Broken Circles” and throws us back to the 80s where I was near banging my head on anything because there was something about it that was prickling my memories. It reminds me of the late Steve Strange’s “The Damned Don’t Cry“… a song that I love. So there is plenty to love about this single and I really like the bottle noises….something organic amongst the electronics that become more ominous as the track proceeds to it’s end. The heavier beats herald in something a little darker. It is written on the headstone, game over is definitely about the death of another though done with a dance beat makes this a nice way to go with “Game Over“. I am going to take a long shot and say “The Light” could almost be a tribute to Fad Gadget especially to the reference of tarred and feathered. There is a nice heavy bass sound in this and the quirkiness is very endearing with Svenson’s commanding vocals careening over all. “Lips” is a little slower and lower and sexier. The last two tracks are remixes, the first is by Italians, Ash Code with their re imagining of “Broken Circles” and you can hear their darkwave fingers sliding all over this giving it a slightly more minimalist feel and even smoother in texture. The last is by fellow Italian, Kurs with their far more modern interpretation of “The Light”, introducing a more bass and drums influence, while they had me thinking Nine Inch Nails “Broken” in a building climax to the end.

This -ISH EP is an extremely likeable. For those of us that grew up on or still play music from the early 80s, we appreciate this new wave style and I think it will draw many others into the fantastic dance rhythms and synth lines. Alex Svenson really does have the most sensuous and sonorous voice which is liquid perfection as he croons away. True to the name of NEONPOCALYPSE, the bright synth pop music is the facade for a much darker world.

https://neonpocalypse.bandcamp.com/

Neonpocalypse | Facebook

https://swissdarknights.bandcamp.com/album/ish

Swiss Dark Nights | Facebook

Ash Code | Facebook

Kurs | Facebook

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Jay Taylor is a live band member with Tactical Sekt, Tyske Ludder and Harmjoy and he has played drums since he was around 16 or 17 years of age in the industrial scene. His own project is j:dead and 18th of February is the release date for the EP, Visions Of Time out on Infacted Recordings.

Now if you purchase the EP off Bandcamp, there are 6 tracks available. So the EP kicks off with with the single “I’ll Wait” and if you don’t find this lighting a fire under you, you might have no pulse. The whispered I touch your skin you will be mine was a little creepy in the beginning of “Whole“, and the further we go on, I still feel that way. Is this a stalker song or a very intense one sided affair?! Harsh vocals mixed with the clean is such a juxtaposition. “Hold Tight” and wait for me is the message for this bitter sweet track full of longing. The keyboards are surprising light and skyward bound and maybe that is where hope lays.There is a powerful amount of need to protect one’s self due to being “Afraid” and it is a banger of a track throttling along at high speed. There is a beautiful piano line from the beginning in “Evil In A Bottle” that evolves into synth and it is utterly delightful. “A Little Time” builds in volume and there is explosion of electronics as Taylor exposes his heart in this final anguished expression of passion.

Let’s talk about the CD. If you purchase it, not only do you have something tangible, but also there are bonus remixes. When “I’ll Wait” came out, there were the mixes by Lights Of Euphoria, (who never seems to ever do a bad remix) which was given the techno/electro work over and TeknoVore mix, which is going to mega tear up some dance floors with it’s brilliance. There is Nature Of Wires with their version of “Afraid” that has quieter reflective moments, only to swing back in anger and Life Cried have taken the creepy stalker role with “Whole” and turned it into a rhythmic noise extravaganza. There is not one remix of “Hold Tight” and not even two but rather three remixes. The ever wonderful Rotersand put in all the slick production and lovely harmonies, The Saint Paul summermix really is as cool as a breeze on a summer’s day while Station Echo holds onto the heart felt painful cries like a ghost in the machine.

This EP and those that are set to follow were all written in the time of the global lockdowns and all the challenges that come with that. This new j:dead EP has passion, powerful vocals and really great electronic music that will get you moving and you will be moved by. He started off a drummer but the boy can sing! The remixes are by some hard hitters in the industrial scene and well worth owning. Which ever format you choose, you still get to hear these well crafted songs of j:dead’s Vision Of Time.

https://jdeadband.bandcamp.com/album/vision-of-time-digital-and-physical-release

J:dead | Facebook

Infacted Recordings | Facebook

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New Zealand seems a long way from anywhere and maybe this is why they have developed their own rich musical tapestry. Singer Justine Ó Gadhra-Sharp, around 20 years ago, went into a recording studio in Auckland, with collaborator Iva Treskon, laid down some tracks and there they remained until another musicians, Bryan Tabuteau and Josh Wood bringing them back to attention. The tracks were given a new lease of life and the EP called Sidhe, the Gaelic pronunciation ‘Shee‘, was created with Wood (The Mercy Cage) in the engineering/production seat.

The opening track is “Charmer“, about that person that has a silver tongue and worms their way into your affections but never should have. Some songs just make your jaw drop at the pure elegance of the music and the vocals. “Stanley’s Only Hope” is one of those songs. A duet between Ó Gadhra-Sharp and Michel Rowland (Disjecta Membra) done in the broken carnival style I like to think Nick Cave pioneered. The vocals fence with each other before joining in a beautiful spiral, Rowland with his deep and smooth baritone complimenting Ó Gadhra-Sharp.

“Red Room” is the single and deservedly so. An electronic turn of the aloof, sexual kind with a catchy chorus that will stick with you for quite a while. There is a whirlwind of guitar and piano in “Hypnosis“, as if there is something unstable going on in her racing mind. Completely on a different plane is the mellow “Walking On Air“, a minimalist piece that wanders it’s own path before the last track, a remix version of “Red Room“. The Mercy Cage are another New Zealand group who give this mix a cyber-industrial tickle.

Yes, my favourite is “Stanley’s Only Hope” because of the finesse of the vocals and the drama involved and “Red Room” will be a crowd pleaser. Her vocals are just smokey seduction and with the help of other members of the New Zealand gothic and industrial community, Ó Gadhra-Sharp has brought out an eclectic, dark electronica and cabaret style offering in Sidhe.

https://justinesidhe.bandcamp.com/releases

Justine Ó Gadhra-Sharp | Facebook

Disjecta Membra | Facebook

The Mercy Cage | Facebook