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One might wonder what Fundustrial is, and the only answer can be, STAHLSCHLAG! I have been rather slack covering the new releases from Sebastian Sünkler, but every time I think he’s going to take a hiatus due to work commitments…. BOOM, there is another album/EP. The man is almost as much machine as the computers and synths that he uses, with the exception that he is one of the nicest guys in the industrial scene, though he does have the Terminator haircut. I’m just saying.

So, I have compiled the three Fundustrial EPs, Alpha!, Beta! and Gamma! into a bouncy castle, filled with clowns and glow sticks to give you an idea of what you need in your life. The Alpha! EP is just full of aggrotech dance with noise and it really smokes, like with the track “This Is Fundustrial,” being the prefect example of flesh pounding rhythms to make even the most tired cybergoth, want to stomp their New Rocks. “Whatever You Say” will make your blood pressure rise as a swirling dance floor filler, or the more rhythmic noise influenced “Dance Of Doom.” Honestly, who doesn’t like a bit of doom dancing?!

The second EP, Beta! does rather seem to be where Sünkler may have contemplated he needed a break, then thought ‘nah, it is all good,’ and so we have gotten something very much more off the wall. Glitching fast paced beats follow you through the EP, poking you with the feather of no mercy, so you can be cyber romanced by “My Generation,” or enjoy the wonderment of how potatoes and tomatoes are very entertaining with a huge techno helping of “Something Different.” Kill or be killed in the style of Tron, in the track “Get Ready,” or get lost in “I Have A Dream.”

‘Fundustrial is back, it’s fast, it’s hard and will make you crack,’ proclaims the female voice, about Gamma!, in the first track, “Make you Crack,” or how about being lost in the trance inducing “Anthem,” that might have been instigated the secretive lizard people. The track “Milk” could be the first industrial track I have ever heard with mooing cows and some animated voice threatening to make you drink the creamy white stuff. How can you go wrong with a titles like “Let’s Get Goth,” or a revamping of “Popular Slut Club,” which, by the way, has has the treatment Singery[Cdio], creating a echoing mind fuck, pushing you over the edge with its wonderous layers of noise.

Are these EPs fun? Yes. Are they industrial. Absolutely. So there is no doubt in my mind that this is indeed Fundustrial at its very best. It is nice to see a kooky side to STAHLSCHLAG, and it is really interesting to see the progression of this series. Party hearty with Fundustrial and for the people with clown phobias…. sorry but you’ll get over it.

Alpha! | Fundustrial | STAHLSCHLAG (bandcamp.com)

Beta! | Fundustrial | STAHLSCHLAG (bandcamp.com)

Gamma! | Fundustrial | STAHLSCHLAG (bandcamp.com)

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

https://www.instagram.com/stahlschlag_official/

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Drawing a spotlight onto music that might have gone under your radar is something we relish at Onyx. So, if you haven’t heard the EP Intimacy from France’s Distance H, then we are here to tell you that you might just be missing out. ManuH is a producer and man behind the darkwave/post-punk project and he invites different female vocalists to write the lyrics that they then perform for their track. Intimacy is the debut EP release for Distance H, that came out in January of 2023.

There are two tracks featuring Blue Saigon’s delightful vocalist, Ophelia. The sassy single “Bitch 16” with it’s pealing guitar work, and the dark, dirge like wonder that is the last track “Leaden Skies.” Ophelia goes from oozing seduction, to an emotional outpouring so pure and haunting.

“Waters Of Woe” is another single that features the vocal talents of Marita Volodina. It both surges and spirals down with the guitar, powerful and evocative with Volodina stirring those pools of sadness.

Liset Alea makes up the triumvirate with the ultra smooth ode to lover’s promises “Time To Rush,” that lilts and caresses your ears. The last track is “Twilight” and it is glorious both with it’s female vocals and musically with the effusive shoegaze ephemera.

I have to say that it is rather brilliant concept to collaborate with female vocalists, because not only is there some damn fine singing, but also the lyrics are written by them and are therefor so much more pertinent and poignant, giving the listener a glimpse into fragments of fragility, passion, longing, sadness and a core iron inner strength that runs throughout. ManuH (guitar, synths), is the music mastermind creating swirling, jangly accompaniments, however the icing is the fact that he even has women leading the way on drums and bass, this being Amélie G and Zoé H respectively. There is a lot of reverence in Intimacy, and maybe this is because ManuH, and in turn Distance H listen to the feminine heart.

Intimacy | Distance H (bandcamp.com)

https://www.facebook.com/DistanceH

https://instagram.com/distanceh.music

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It has been two years since a project called Voidant took flight, with the release of their self titled album. A deep love of music and experimentation, as well as a friendship across an ocean, brought about an electronic gem. UK based David ‘Wolfie‘ Wolfenden, guitarist of the iconic Red Lorry, Yellow Lorry and Caroline Blind, from the USA, solo artist and lead singer of Sunshine Blind, are celebrating their debut album with a remix EP, featuring other extraordinary musicians, fiddling with those delicate stems.

Kicking off with “Vortex,” this is Elenor Rayner, front woman of New Zealand’s Robots In Love, who has a knack of drawing beautiful, dark sweetness out of her remix projects and she does not fail to cause a quickening of your heart, as the barbed tendrils hook into your skin. CWHK is from Sunshine Blind, and he has taken on the ephemeral “Ghosted” with the Brave or Silent Remix, upping the tempo and adding a very exotic feel to the track. The one cover on the EP is Love’s “7 and 7 is” and has been given the treatment by Danny C from 2 Forks, a member of yet another famous US goth rock band, The Wake. The remix rocks harder than ever and yet has developed this disco/dance orientation.

https://www.side-line.com/voidant-uk-us-team-up-with-londons-decommissioned-forests-and-new-york-filmmakerhttps://www.side-line.com/voidant-uk-us-team-up-with-londons-decommissioned-forests-and-new-york-filmmaker-tintin/-tintin/https://youtu.be/gVu7jgcilbY?si=su4PNJkAjTI5hWNf

I cannot think of a better bunch than the UK’s Decommissioned Forests, who have taken the shamanistic “La Loba,” into a cosmic realm, swirling and mystical, centred around Blind’s vocals. Max Rael of Decommissioned Forests and History Of Guns, has truly put the funk into “SG Truth,” and it is nearly trance inducing. The original “Phantom Ex” was a very free form piece, that Wolfie has taken, creating the Birch remix, adding more guitar and rhythm, giving the bass filled track a heavier air.

“Writing these lyrics and vocal melodies was a cathartic practice of embracing sadness and grief. It’s all in there. There was no return. It’s terminal. There are no hopeful bits, it’s all goodbye. The vocals stand on their own, and those who have remixed the songs have understood that, in perfect alignment. That’s why I called it ‘Abandon Hope’, from Dante’s Divine Comedy: “Abandon hope, all ye who enter here” Give up and give in. Join with the heedless infinite.” – Caroline Blind

Abandon Hope is a wonderful way to relive some great tracks, or if you are new to the music of Voidant, then submerge your ears in the myriad of styles and talented artists which could lead you to finding even more favourites.

Abandon Hope | Voidant (bandcamp.com)

https://www.facebook.com/voidantmusic

http://www.voidantmusic.com/

https://www.facebook.com/robotsinlovemusic

https://www.facebook.com/2forksmusic

https://www.facebook.com/sunshineblind

https://www.facebook.com/decommissionedforests

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Tyler Burgee, from Maryland, is a young man with a huge amount of talent, creating his own version of dark alt rock, crossed with trap. His EP, Leave The Line was an independent release in July, consisting of three tracks.

You can taste the darkwave rolling off the first track and single “Four Fools“, between the programmed drum machine and the understated guitar, that echoes in this shadow place. Burgee’s vocals then add to the swirling, almost shoegaze feel. Yearning for that which has passed or can never be, seems to be the theme of “First A wall, Then A Maze“. There is an all consuming melancholy imbuing this track, with the single finger key playing and strumming guitar. “Something I Did” has a heavy guitar dancing between vocals. The vocals almost sound garbled or distorted on purpose, giving them an eerie quality, like something is not right with the status quo.

Darkwave elements mixed with the more modern emo aesthetic, and flirting with shoegaze is how I might describe the EP. Tyler Burgee has a sound that is evolving with each track and you can hear the experimentation in Leave The Line.

Leave the Line | Tyler Burgee (bandcamp.com)

Instagram:https://www.instagram.com/tylerjburgee/

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As a kid, were you enchanted by movies such as Blade Runner, Tron and John Carpenter’s The Thing, and their futuristic soundtracks? Then the music of Nikk Fail might be for you. Milan based Fail has also found inspiration in this genre, and has released his debut EP Futuro Presente.

As the title of the EP infers, the instrumental “Futuro Presente,” is the now futuristic sounds building your anticipation, as the blatting bleeps mix with the tinkling synths, giving a sense of foreboding in the current climb. You have the “Supervillain” given a voice by Fail. Like a modern day Pink Panther with only evil intent. This alter ego however does his villainy in plain sight with the acclaim of the people. Can someone say politician.

There really is something very old school industrial about “Sirens“. Possibly the anguished vocals or the stalking rhythms and swirling electronics, but this is possibly my favourite off the EP. The last track is haunting instrumental “Serial K.G.“, that winds its way uncomfortably through your subconscious.

The premise behind Futuro Presente is the fact that so much of our subculture science fiction made in the 80s, had their future timelines set in what is, now, our present day. Did some of it come true? I will that leave thought with you, but if you need a soundtrack for those inner thoughts, or just damn well enjoy retro electronic music, then you really can’t go past Nikk Fail.

Futuro Presente | Nikk Fail (bandcamp.com)

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Nikk Nokk Blackstarfuries (@nikkfail) • Instagram photos and videos

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Murmurs in Space is the rough translation for the new Eleventh Fear EP, Murmeln im Raum. Out on Neris Records, Eleventh Fear is the electro-goth child of Frenchman, Ludovic Dhenry. We last heard from this project in 2022 with the release of the first EP, Waldhexen.

“Drachenblut” or dragon blood, hears Dhenry hissing like the very mystical creature itself, over an amazing, minimalistic electronic dance piece, with grand swirls. The bass reverberates through your chest and the keyboard playing shines through the top of your head in “Hexen des Meeres“. The music is about the watery wenches, the witches of the sea, whom want to steal away sailors and bathe in their blood. There is definitely a chill down the spine with the first serpentine words whispered on a seething tongue for “Wir werden leben“. Low fuzzing tones and vocals are offset by the angelic lighter keys, making the track feel expansive and cavernous all at the same time.

Dhenry’s persona is Eleventh Fear, and he pulls on those primaeval superstitions of what lays in the shadows, awaiting the unsuspecting victims, triggering the imagination. You can almost feel the dankness of the witches, or the greedy harbingers, rubbing together their hands, watching other’s untimely deaths, as they, themselves will never die. The music of Murmeln im Raum is evocative and darkly pleasing, so go check out Eleventh Fear.

Murmeln im Raum (EP) | Eleventh Fear (bandcamp.com)

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https://linktr.ee/eleventhfear

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I have been assured that the New Zealand band, After The Flesh, is not named after the My Life With The Thrill Kill Cult track, though that track still lurks in the back of my mind. This four piece, from Wellington, have been around since 2019, and their Bandcamp page also contains demo versions but released their debut, self-titled EP in May.

‘After The Flesh comprises the talents of Slovenian-born vocalist and keyboardist Maruša Sagadin (“Marusha”); veteran local bassist Duncan Nairn; guitarist and vocalist Alec Morris; and drummer Sam Leamy‘. – UTM Music

There is a languid melancholy within “Cold Glory“. The bass is the main instrument of focus, with the jangling guitar and synths backing up. The vocals are intertwined, sinuous, and reaching for the starry skies. “Changeling” has an electronic funk, with off beat syncopation, leaving you feeling unsure and out of step. The idea that one never really changes, as what we are, is always inside us. The track, “Perpetual Midnight“, was originally released as a single in 2021 and has been updated for the EP. It hangs in the air, delicate and sensual, the perfect balance of sorrow versus uplifting. The last song is the ode to love called “Daisychain“. The track builds on the premise that when the significant other has left, there is only bleak loneliness. There is an uncluttered feeling throughout that is saturated in want and resignation.

I really enjoyed the vocal harmonisations within the tracks, playing between female and male, capturing your ears.. The mixing by Bryan Tabuteau is glorious and subtle, allowing each voice and instrument to be heard. So, After The Flesh is a beautiful thing to hear, and the group are growing into their sound, with sonorous and lugubrious gothic melodies.

After The Flesh | After The Flesh (bandcamp.com)

https://www.facebook.com/AfterTheFleshMusic?mibextid=ZbWKwL

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The wizard of techno-industrial dance, Simon Carter, is inviting you to join your weird brothers and sisters in the mystical coven through the latest EP, Initiation. Released at the end of May, Simon has said that these four tracks were cut from the up coming 2nd album with collaborator Fabsi, because they didn’t quite fit the overall sound but gelled well together for the EP.

The curtain raiser is “Seher (Initiation Countdown),” a call to the floor for all the warriors of dance and a taste of what is to come. There is a mixture of psytrance with EBM in “Hexennacht Rave” that interchanges, giving the track ebb and flow, building the energy, bewitching your senses. Big bass beats wub into your chest cavity, cut by the voice speaking at you about reality versus dreams, and you are waiting for your next techno hit in “Dancefloor Delusion.” The last track, “The Magic Coven (Welcome To the Coven),” is slower and pulsating with power, hypnotic suggestion from Carter’s deep spoken words, that you join the witches circle.

May black cats and bats fill your dreams while Carter fills your ears with techno delights of the strange kind, bidding you to indulge in the Saint Vitus dance macabre. Welcome to the Initiation.

Initiation | Simon Carter (bandcamp.com)

https://www.facebook.com/HumansCantReboot

https://simoncarter.contactin.bio/

https://www.instagram.com/simon.carter_official/

http://www.twitch.tv/sy_carter

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Darkwave duo, producer Mario Del Rio and vocalist Rayne Lew, are Adore Me. They are based between Los Angeles and Mexico City, and their EP, Kira #1 came out on the 28th of May, on the Sublime Exile label.

Oh yes… first and title track is electronic bass heavy, with a dance floor savvy. “Kira #1” is sexy musically, lyrically and the vocals melt like molten wax on bare skin. The techno is unleashed in “MABH“, crossed with 80s synth and Lew’s singing is light, floating in the uncertain grimly electronics. There is even a quote from Shakespeare’s ‘Romeo and Juliette‘, which is in relation to the fairy Queen Mab or MAbh, whom the track is dedicated too.

The vocals echo within the cocoon of deranged synths of “Psyphon“, both beautiful and yet seemingly set on the edge of cliff, poised to fall into infinity. “Bruise” is the last track, not as fast paced but just as entrancing. It is delicate with a darker undertone. The imagery from the lyrics is coloured by red or rather the blood spilt by death.

Graceful darkwave sensuality oozes from Kira #1, but it is also has a bite about it. Lust, magic and death, create an aura of funereal delight which lures the listener to move to the rhythms. Adore Me or not to Adore Me, that is the question, but you should have a listen to Kira #1 so you might know thy self.

Kira #1 | Adore Me (bandcamp.com)

http://facebook.com/adoremeband

https://subexile.bandcamp.com/

https://www.instagram.com/adorememusic/

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NØIR is the electronic project for Athan Maroulis (vocals) and Erik Gustafson (synths/guitar/producer). joined for live events by keyboard players Jamie Parganos and Kai Irina Hahn. The new single/EP “Fallen” was something NØIR had been working on just as Covid was kicking in and then was put on hold after the unfortunate passing of Metropolis Records creator, Dave Heckman, but now it has now seen the watery light of evening, in May.

There is a euro cool chic glamour that coats the slick synths and Maroulis‘ vocals are, as always, wonderfully smooth, entrancing your senses into the dance that NØIR is bewitching you with. The Paradox Obscur remix is far more filled with thumping rhythms that has a disco like attitude, that is aimed straight for your pleasure zones. The darkwave retro fingers of Silver Walks caresses “Fallen“, giving it the feel as if the track could have come from the early 80s during the time of Midge Ure’s Ultravox, while the Femme Mix features the sensual vocals of Kai Irina Hahn, as she goes from backing singer to replacing Maroulis.

You also get the brand spanking new track “Death Is Easy“, which is going to haunt you in your sleep and you are going to believe that death really is easy in a sexy, stalking and lurid way. If you are as old enough, like some of us, the Psychedelic Furs song “Love My Way“, was an iconic dark love of many in the 80s, where we could all feel the words pull at our heart strings. NØIR have taken the track, playing it as an acoustic and the vocals actually remind me very much of Bowie’s.

The synths literally sing themselves, sparkling in “Fallen” and the vocals…. well, Maroulis proves his vocals are scintillating and beautiful as ever. The remixes have been wonderfully handled, and the extra tracks definitely show the depth of the musicianship of the members of NØIR.

Fallen | NOIR (bandcamp.com)

https://www.facebook.com/NOIRmetropolis

https://www.instagram.com/noir_nyc_official/

https://metropolis-records.com/artist/noir