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HOSTILE ARCHITECT is Brisbane based Mitch Kenny and he is quite the busy industrial bee, with his second release on Brutal Resonance Records, out on the 28th of February. The single/EP is called “:LOG. 3:: SEMTEX“, which comprises of the single, an extra song and a remix of the single.

HOSTILE ARCHITECT – MITCH KENNY

“SEMTEX” is a type of plastic explosive to give this number context. The concept ‘your body is a collapsing temple, your body is not yours to give‘, seems to imply that to become free, you must destroy that which holds you to this plane. As always, there are the nice full body beats that are guaranteed to get you moving and that signature sound Kenny has incorporated.

The instrumental piece, “MACHINEGUNCONTROL” goes for over seven minutes and yet you won’t notice the length of this number as it belts along. There is something quite delightful in listening to crystal clear, percussion lead music.

The Null Cell remix of “SEMTEX” is smoother and yet seems to end up swirling in a mind blowing vortex of ominous tone. It is reminiscent of old school industrial with those rhythms but still ultra modern.

The production is great, nice and crisp, a perfect mix by Null Cell and another great release from the HOSTILE ARCHITECT who is soon to unleash an album. In the meantime there is “:LOG.3:: SEMTEX” to keep you keen and whet your appetite.

https://brutalresonance.bandcamp.com/album/log-3-semtex

https://www.facebook.com/HosArchitect/

https://www.facebook.com/nullcell/

https://www.facebook.com/brutalresonance/

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Fancy a little gothic Christmas? Nothing says cheer like a carol and Vazum have released for those that aren’t inclined to listening to the regular fare, an EP of dark, tormented odes to the Yuletide, Vazumnacht. If you are unfamiliar with Vazum, they are a gothic/deathrock/shoe gaze, two piece made up of Zach Pliska and Emily Sturm, who are based in Detroit.

VAZUM – ZACH PLISKA & EMILY STURM

There are three numbers on this EP, starting with “Carol Of The Witch“. This is a parody of the traditional song “Carol Of The Bells“, which is instantly striking from the start, done as guitar riffs but after the beginning, this become a gothic dirge of pagan proportions. Discordant guitars sit with Pliska’s almost groaned vocals, while Sturm’s singing, storm through like light breaking through darkness. There are resurgences of the original tune but it just ties it all in.

Me thinks a bit of devil may care is a foot in “Unholy Nite“. Like a chant to summons the dark lord, this shadows “Holy Night” with references to the dark saviour and sulphur.

The synths almost feel off beat in comparison to the guitar, giving an off kilter sensation to “Bark The Hellhounds” and yes this is a nod to “Hark The Herald Angels” but done in the creepy, hurdy gurdy style that Vazum excels in.

In essence, Vazum have taken the bones of three highly favoured carols and not only putting their spin on those songs but for the most part, created new songs. So darklings, get your gothic finest on and celebrate the doomed side of Christmas with Vazumnacht.

https://vazum.bandcamp.com/

https://www.facebook.com/VAZUMROCKS/

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2020 has brought in big changes for many bands and this includes Minneapolis based band, Zwaremachine. After a dalliance with Brutal Resonance Records, releasing their last EP the band has expanded to now include the live crew as fully fledged recording members and released a single/ remix EP.

The single “Conquest 3000” is the first off the soon to be released album and features Zwaremachine stalwart, visionary & lead singer, Mach Fox, Dbot on bass plus vocals and Dein Officer brutalising the drums.

ZWAREMACHINE

The very nature of industrial music lends itself to political protest and the voice of the underdog, so “Conquest 3000” is a prime example. Especially in this currently climate of fear, disease and corporate avarice, angry dissent voices are needed more than ever. This has a cleaner sound compared to Zwaremachine’s previous singles. With a hard hitting electronic and drum rhythm, this powers along and the synth lines created a smooth juxtaposition. Fox’s vocals are the fired salvos destructively hitting their mark.

The “Conquest 3000” X1L3 remix is harsher and in a Ministry vein, yet it has this cyber swirling, wonderous feel to it within the brusqueness.

The near disco beat at the beginning made me smile. The Floridians, Batavia, remix of “Conquest 3000“, shows a gossamer touch, air light keyboards and that damn beat that had me wiggling in delight from the beginning.

Final mix is by Australian act, HOSTILE ARCHITECT., Mitch Kenny knows how to push a song into a new realm. Cyber punk, futuristic and high energy, that keeps you guessing where he’ll take it next.

The new members bring a new and exciting dimension to the direction Zwaremachine is heading. The single is great and is pointing to an even greater album, meanwhile all the remixes are noteworthy in their own right and I don’t think I could pick a favourite. Name your price on Bandcamp so there is nothing stopping you checking out Zwaremachine’s “Conquest 3000“.

https://zwaremachine.bandcamp.com/album/conquest-3000-single-remix-ep

https://www.facebook.com/zwaremachine

https://www.facebook.com/brutalresonance/

https://brutalresonance.com/

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Congratulations has to go out to Australian act, Hostile Architect, not only for releasing his current single/EP, ::LOG.2:: DAWN OV, but also being signed to Brutal Resonance Records.

Not going to lie, I’ve heard this a few times and it’s angry music for an angry time. “DAWN OV” is a reaction to the current climate of distrust in governments, a virus pulling apart people and communities with the vision of a bleak future, filled with cybernetics and where life is cheap. Mitch Kenny’s anguished, distorted vocals ride the wave of this synth assault. It is heavy and hard hitting industrial noise.

“PROSCRIPT” I would describe if The Art Of Noise had been far more aggressive and militant, this is what they could have sounded like. Eclectic and yet it works so well in an epic conglomeration of structured electronic beats.

HOSTILE ARCHITECT- MITCH KENNY

Mach Fox of Zwaremachine and fellow stablemate on Brutal Resonance, remixes “DAWN OV“. He peels back the vocal distortion and gives this remix, almost, a simpler feel but by doing so, Fox has also made this version even more raw and bitter.

The Brisbane electronic scene is very strong and Hostile Architect is definitely a reflection of this. Not to mention that Mitch Kenny (Hostile Architect) and Mach Fox are some of the nicest guys in the industrial scene as well as being very talented.

This is another strong single from an act taking no prisoners and the more you listen, you more it gets under your skin. So check out ::LOG.2:: DAWN OV and keep your attention on the Hostile Architect.

https://brutalresonance.bandcamp.com/album/log-2-dawn-ov

https://brutalresonance.bandcamp.com/

https://www.facebook.com/HosArchitect/

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

https://www.facebook.com/brutalresonance/

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British act, Analogue Blood released on November the 9th, their second EP, “Kill Those Beats”, following in the wake of 2019’s Advanced Weapon Systems Activated EP. Ian Hanratty and Lee Teasdale make up the core of the band.

The first tantalising beats of “Until The Sun“, it will catch your attention, from the middle eastern influence to the relentless rhythm. This drives as we are introduced to guest vocalist, Alice Hour from the band, In Evil Hour and she kills it.

“Frozen” brings it, with a fast techno beat, Hour cooing to our ears and thawing us with a bouncing synth guitar mix.

The influence of the techno music scene can be felt on “E.B.S.” and is mostly instrumental with vocals cut into it.

The eastern influence and vocals of “Awakening“, are spinetingling and work so well with the swirling guitar work.

Yeah ok… love the start to “Insomnia” as it reminds me of how most electro music, just makes you feel exhilarated. This is the more aggressive, modern version of Berlin, from the early 80s, ever so perverse and sexually charged.

Title song for the EP, “Kill Those Beats“, is a noisy, slightly aggrotech/rap inspired number with Nathen Miller, also known as hip hop act Endem, another guest vocalist on the microphone, verbally attacking your senses.

Chris Davison is the vocal talent on the single “Never Fall Down” and it’s smooth like silk with harmonies yet has that hard edge of the electronics. Davison specialises in vocals and guitars as both a solo artist and with three bands.

The most influential thing this year has been the outbreak of COVID-19. It has changed the world currently and how we interact in these days. “Virus 2020” is a reminder of this impact, so therefore it is brooding and darker. Yet the vocal loops give it such a rich texture

The end of the EP is the Inertia remix of “Never Fall Down“. This album isn’t breaking any new ground in the EBM scene but those that love to bounce around to a good beat are going to enjoy this.

https://analogueblood.bandcamp.com/album/kill-those-beats

https://www.facebook.com/analogueblood/

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Brixton Alley are three lads, Alex, Ben and Jonny, from the UK, who somehow ended up in Brisbane, Australia. This punk/pop/rap fusion band also released this year a new EP called, “Nevermore“.

Alex Wells is the drummer for the band with his brother, Ben Wells, playing bass and contributing backing vocals, as well as Jonny Magro as lead singer and on guitar.

BRIXTON ALLEY

There are vibrant highs, through to staccato vocal punctuations in the first track, “Headache“. The frustration of finding work and trying to escape the hometown/village and its sad populace, in order to find something better.

The guitars sing out to you in “Voices” and it is a bit of an indie pop anthem to the youth of the day… the daily struggle with moments of beauty. The girl in the song might be hearing voices but maybe we need to hear those inner voices.

The brit pop influenced guitar lines bring us “Owl“. This is a cheeky observation on men out on the town, ogling girls to the point, their heads swivel around like the feathered night predators, as they greedily look for pretty prey. This has a really nice, catchy hook which you will hear in your head after the song has finished.

“Animals” has a reggae sensibility with rap incursions. It is feels joyous and yet laments that we have forgotten our primal instincts. A good laid back rock number.

BRIXTON ALLEY

The acoustic beginning of “Outsider” shows a slower and more romantic piece. This is a modern ode to love, including cigarettes and a can of cider. This is laconic and slightly darker that it admits to, with the pleads to over look mental struggles.

The tunes are fun to listen to and yet are observations on modern existence in this age of excess. In some ways they remind me of one of my favourite post punk bands, New Model Army, with their swagger and revelations. It’s all about the journey, so it might be time time join Brixton Alley and have a listen to Nevermore.

https://m.facebook.com/brixtonalleyband/

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This year has been a big one for Jacksonville based duo, Batavia. Earlier in 2020 was the release of their first EP, Graveyard and since then, they have been signed to Tigersquawk Records with the new EP, Quite Mean Spirited.

Terri and Ed Cripps tell true historical tales of the grotesque through their music, bringing them to life. With this in mind, this EP is the story of a young woman who was taken away to an island, somewhere in Russia, a prison that she never deserved to be incarcerated in. She was assaulted and raped by the guards and then her fellow prisoners did not offer help nor comfort but rather murdered her and cannibalised the corpse.

The title track is also the first cab off the ranks. “Quite Mean Spirited” thumps in with one Charles Bukowski’s spoken word soliloquy about ‘people are not good to people‘ before Terri brings forth her sweet vocals.

“Upside Down” hits you full on with its up beat rhythm and grungy guitar plus distorted vocals. This is a cover of the Jesus and Mary Chain song and it is a rollicking, industrial interpretation.

The water and the waves flow with the acoustic guitar and lilting synths giving “Ab Initio” a near dream like quality. A reality skewed with Terri whispering to you to be aware that not all is that peaceful.

With heavy gothic over tones, “Finis” is the beginning of the end for our heroine. Russian can be heard after the frightened breathing of the young woman. The dominant piano with the organ beneath, create a feeling of madness. A litany of the terror issues, as the noise builds on a maelstrom of desperation.

ED & TERRI CRIPPS – BATAVIA

For a awful way to go, “The Absinthian” seems so light and free… maybe it is when the flesh is no long the cage of the soul and the pain cannot be felt any more. Angels to take her away to a better place than she was.

“Quite Mean Spirited” (Leæther Strip remix) finishes up the EP, which brings you full circle of the horror humans will put other humans through. Claus Larsen was very impressed with Batavia’s previous release, so he came on board to do this remix and it has the Leæther Strip lead’s finger prints all over it. It’s a beautiful and thoughtful enhancement with that industrial harshness running deep under it. Such a brilliant way to conclude.

Batavia know how to blend gothic horror with intelligent rock and industrial blends. They have created an EP with a darkness that makes the the breakout tracks shine even brighter. The Leæther Strip remix is like the icing on the tasty, gothic- industrial cake that is Quite Mean Spirited.

https://batavia.bandcamp.com/

https://m.facebook.com/officialbatavia/

https://m.facebook.com/tigersquawkrecords/

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Welcome to the era of big brother is watching you and using your fears to control you. This is the theme explored in the latest Vexillary EP, SurViolence which was released at the end of July.

New York based musician and chemist, Reza Seirafi, is Vexillary, who has four previous EP’s under his belt and his style is dark electro/techno/industrial.

Kicking off with the single “Maritime Panic“, which is the current single from the EP and this sets the tone for Seirafi’s very electronic style which feels at times clinically modern… almost futuristic and yet there are lapses of stability. The music quivers and becomes almost uneasy feeling and slightly oppressive.

“Annihilation” at first feels very upbeat and light with its techno heart beating. But this just seems to be the cover for what is in store. The complacent move to the ordered beat of the hierarchy.

VEXILLARY – REZA SEIRAFI

With technology, authority figures can feed the populace information, track them and even surveil them from a far. “Forged Skies” has a cold feel about it, the imperial rise of the machines as the synths bleat at us like we need them.

The starting beats are like the ticking of an overwound watch. In “The Geneticist“, we finally get to hear Reza and implores us to see how humans are becoming more computerised and that even sexual voyeurism is being used to control people through fear. ‘A snap of his fingers, and the beast is in your land‘.

This could be science fiction but then looking at today’s current global geo-political climate, this could be very much reality.

This EP flows well with its electronic instrumentation without vocals until “The Geneticist“, which gives an extra punch of impact. If you like to close your eyes and have the music take you away or just love good synth based pieces, then Vexillary’s, “SurViolence” could be what the government never wanted you to hear.

https://vexillary.bandcamp.com/album/surviolence-blaq120

https://m.facebook.com/Vexillarymusic/

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July has seen the release of the EP, Unicorn Bones, by Chicago duo, Karen Righeimer and Ivan Russia, also known as Bellhead. I can definitely say the rhythm section for this band is tight. Both Righeimer and Russia both play bass, low and high respectively, both share vocal duties, though Ivan is very much the lead singer and are backed up by their dependable drum machine.

The band in their bio, make reference to their influences from goth rock legends, Bauhaus to the alternative rock royalty that is the White Stripes to the gothic/post punk stylings of She Wants Revenge, yet truthfully, they definitely have a sound that is very much their own.

BELLHEAD -KAREN RIGHEIMER & IVAN RUSSIA

“Snuff Film 1974” is straight off the bat with it’s thumping heavy rhythm that grabs your attention before dragging said attention to the graveled out vocals of Russia and the disturbing lyric content about a small female child murdered in film for others entertainment. This is the only track not written by Bellhead but rather penned by Sheriff Michael Scabs of the Sheriff Scabs band of which Russia has also been a member of. A thing of nightmares.

Really dig “Unicorn Bones” as it is a very nonchalant, grooving number that just has that keep on trucking feel. The vocals play tag as they paint a vision of glittering violence and sad demise of those that live in the shadowed, dangerous places. Sinister and sleazy.

A song about a conman or less than reputable fellow, trying to stay one step in front of oblivion but wanting to take to take one last stab of having the person they have always loved. A final last chance is of happiness is “Always (Running After The Sun)“. This is a far more poignant track, slower and thoughtful with intensity.

Annnd serial killer/psycho time. “Knife” is sexy whispers with the intent of maiming and destroying. Low and distorted noise backs the bass just for that extra creepy ambiance.

“Sidewinder” has a more rock flare about it, but it’s all the dirty bits of rock. The low and high bass building the sound up in such a manner that it feels angry and greasy, finishing off the EP.

The choice and use of high and low bass without any regular guitar is an interesting marriage of instruments but works well for Bellhead. Bass brings on the rhythm and produces a rich, big sound.

So if you fancy the darker, more nightmarish side of the industrial, gothic rock genre, then do catch up with Bellhead and their not so sparkly but equally intriguing, Unicorn Bones, with none of the guitar bull.

https://bellhead.bandcamp.com/album/unicorn-bones

https://www.facebook.com/bellheadband

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The Batavia, in the early 17th Century, was a ship of the Dutch East India Company and in less than a year after her maiden voyage, would find herself wrecked off the West Australian Coast. A tale of murder, mutiny, slavery and abandonment followed.

TERRI AND ED CRIPPS

Batavia are also a goth, industrial rock group, hailing from Jacksonville, Florida, consisting of Terri and Ed Cripps. This is the married couple’s debut E.P., Graveyard, under this moniker and was recorded in isolation. Keys and vocals are from Terri while Ed gives us guitar, programming and backing (spoken) vocals.

The wind swept feel is prominent in “Field Of Gray” as the synths grace their presence and breath into the intro piece while the angelic vocals hover just above the turbulence. Ed speaks to us, as from another time, perhaps as a marooned sailor who dreams of home as his life slips away.

TERRI “LUCRETIA JAN” CRIPPS

Now for something completely different as far as a cover goes. Not that someone would not cover Duran Duran, but rather the choice of their 1988 single, “All She Wants Is” kind of blew me away. It is raw and pulsating with sexuality and very feminine. Terri’s vocals really capture the fervour whilst being classy and the industrial styling of the guitar work, really lends itself to making this a cover that completely works for them.

“Scab Mask” is grating at the beginning, setting up for the vocals to resolve the disparity. This is the industrial machine, that pounds along and one can’t help but feel that this may be a commentary on the current political turmoil, that their country currently finds itself embroiled in. The anger seems to feed into the slowing, off kilter, loss of hope.

An orchestrated piece with no vocals, “Flyboy” is cuts of air chatter from ground personnel, Richard Russell, which burst through with accelerating urgency as a man losses his sanity while handling a multi million dollar plane. Meanwhile air control tries to talk him around and for historical content, he purposefully crashed in 2018l This is the futile end.

ED “JERONIMUS CORNELISZ” CRIPPS

This is a really neat little E.P. and Bartavia are proving themselves to be storytellers, connecting the past to present, even when that past was not so long ago, for as humans, we seem to have short memories.

We need those that write meaningful human tales with good tunes and a rollicking good cover every so often doesn’t hurt either. Get your education and entertainment with the delightful Batavia and open their Graveyard.

https://batavia.bandcamp.com/releases

https://www.facebook.com/officialbatavia/