Burning Building” is the latest single from Lucy Kruger & The Lost Boys, out on Unique Records / Schubert Music Europe GmbH. Kruger was born and raised in South Africa but now calls Berlin home, and the creation of the single is a very international affair with the recording done in Berlin, the mixing in Cape Town and the mastering in Brussels.

Photo by Holger Nitschke

The music very much gives you the impression of a stalking cat on the prowl, looking for a cat’s paw, a plaything, while everything around them perishes, but that isn’t their concern. The angular guitars and jaunty rhythm with super sultry vocals make for a very bad-arse track.

If you will, imagine Siouxsie’s Creatures, fused with Sonic Youth and that might give you an idea of the grandiose sound of “Burning Building“. A post-punk aesthetic, married to grungy pop and Kruger’s delightful vocals definitely make this track both sexy and fun. This is the second single to be released off the next Lucy Kruger & The Lost Boys’ album, due in April and we are pretty sure that it is going to be hot.

https://lucykruger.bandcamp.com/track/burning-building

https://www.facebook.com/LucyKrugerOfficial

https://linktr.ee/lucykruger

https://www.instagram.com/lucy_kruger

Non-Bio is the most excellent industrial project of the rather busy Howard Gardner, whom is based in London and is also in the projects Pillars of Golden Misery and Decommissioned Forests. Halloween was the release date for his latest album, Monkey Feather.

The first track is also the first single/video, “Island In A Lake Of Spinal Fluid“, and the electronic reverberations are already tingling under your skin. Low and intense with Gardner’s voice adding to the noise, the screaming metal sounds, causing ripples to send those tingles down your back. Rhythmic noise is the order of the day, so with that in mind “Monkey Feather” will not disappoint. The crunchy beats fall over each other with sharp agitation, the vocals almost inconsequential in the scheme of things, as all that matters is the pile driver pushing into your head.

Primal is one way to describe “The Melting Man“, not only with the beats but with what sounds like horns bellowing, before the ancient warriors storm the palisades of their foe. “Pressure” is a slower beast, like an iron lung life support, giving the needed air to a patient who cannot fend for themselves. Inhale and exhale with the pressure of accumulated shadows, death is waiting as the life stutters under the heavy odds. It is almost like a chopped up classical piece, gurgling in the background at times.

The grinding electronics vibrate and buzz, consuming the human you are. This is “Amputate Product“, as each bit of the body is replaced by cybernetics… bringing you closer to being part of the machine. The screeching beats chomp away incessantly. Down in “The God Factory” they are busy, twiddling knobs and generating those miracles of life. Making things to keep you alive for longer, glitching and oscillating, usurping the laws of natural order.

Now one is more cyborg than man, here comes the “Imbalance“. The memories of a life lived different or seemingly flashbacks of another person’s previous existence, which is surely not yours. The synapse pulse within the electrical stream trying to reconcile the loss of what was so readily given up. A sharpness and a metal tinged pain. The last track is an absolute treat. When you get two very capable artists of rhythmic noise….well hold onto your pants. “Amputate Product” the STAHSCHLAG remix, has Sebastian Sünkler taking an already heavy track, winding it up and amping up the existential dread. A monster lurks below the surface wanting to escape.

Yep. I hate to tell you but I think this might be the best Non-Bio album to date. It fair pummels the senses, raw and brooding with Howard’s discombobulated vocals filtering through, a comment on the desire to enhance the body and live longer, though, then is it truly considered living? A Monkey Feather is an incongruous thing when talking of playing God but damn it, so good when Non-Bio pushes that electronic noise.

Monkey Feather | Non-Bio (bandcamp.com)

Non-Bio | Facebook

When things go bump in the night, you are sure to get music to remind you not all is known or seen. October 31st or All Hallows Eve, saw the new EP, Avernus, be unleashed by In Tenebris, upon the world while the veil between the living and the dead was at its thinnest. This is the more ambient product of German electronic musician, Sebastian Sünkler, whom is better know for his power noise project, STAHLSCHLAG.

Something unnatural this way comes, in the form of an ancient “Relic“. The synths waver in high pitch warning and the clash of tones signal there is something that feeds on the darkness, an aberration has become unbound. Sinister electronic overtones, coalesce with slow rhythmic beats… a heartbeat from a demonic being, in the cathodic noise, casting a foreboding shadow for this is the “Dynastic Cult“.

The beginning of “Traits” is almost transcendental, though almost immediately drenched in a claustrophobic pall of dank noises. The ringing, instead of being enlightening, joins the overbearing build up of portent. The final track is “Iconoclast” and the beast waits, no longer in torpor, as the music oozes with sharp edges, stalking so that you can almost feel the fetid breath on the back of your neck, though nothing can be seen through the mists. How long do you have?

Avernus strikes a chord somewhere in your brain that stores your animal ability to sense danger. Something dark and threatening lurks within, nothing like us and with evil intent. The music conjures a myriad of feelings and visions, like a good horror movie, never showing you the monster but rather letting your imagination run away with the subtle suggestion simply in the tone or noises within each track. And each listen will reveal more than you previously heard. Sünkler’s famous crunch is bleeding through a little into this EP, giving the ambient tracks a rather delightful texture and most definitely increasing the menace.

Avernus | In Tenebris | STAHLSCHLAG (bandcamp.com)

In Tenebris | Facebook

UNFEELING is one of Derek Rush’s projects, a New York electronic artist who has recently been on the road touring. His latest ambient album, VERTICAL SLEEP, is out on the CHTHONIC STREAMS label, created between June to October 2022, on the previously mentioned US tour.

Ever been so tired that you drag yourself around while everything and everyone is conspiring against your ability to shut down? This is the premise behind VERTICAL SLEEP, where one’s sleep cycle is so contaminated, nothing seems real. The music is slow like being caught in a nightmare, every movement laboured.

Even the names of the tracks conveys the near death like state of the subject due to the trauma of not being able to rest. There is “PAROXYSMAL” which is at such a low level of noise, that when there is a change it actually seems like a big deal, to “BAROTRAUMA” slowly pulsates and grows in seeming pressure, from the void, that slowly dissolves into the state of near nothingness.

The burbling and twittering of “SURRENDER” definitely conveys the loss of one’s senses, as the conscious stream goes for a wander due to the inability to turn off, or in other words that unhinged feeling and spacing out. The whole point of this electronic quest is to express how the mind reacts once it has passed the limits of regular sleep patterns, into the realms of mental torture and numbness. UNFEELING might be not as unfeeling as they pass into VERTICAL SLEEP.

VERTICAL SLEEP | UNFEELING (bandcamp.com)

HXGNL Sounds is where the single “Saturn” was recorded in Barcelona, by 6ymo. Is it is single? It goes for over 17 minutes but there is only the one track, but this is an album. So, with that in mind we should delve into space and see what this track, released on the 2nd of September, has to offer.

This is an electronic, instrumental, noise track and the beginning loops and pulsates like a cosmic life force. As you travel, there is monumental interference that reverberates and clashes, swooping the flight. This is the music representation of the heart beats of the solar system, solar winds and things we have yet to experience.

Juan Pablo Egúsquiza is 6ymo and he has created this opus experimenting with both analog machines, effects pedals and electronic instruments. The more you listen, the more immersed you become in his world of “Saturn“.

Saturn | 6ymo | HXGNL Sounds (bandcamp.com)

HXGNL Sounds | Facebook

@6_y_m_o • Instagram photos and videos

Machina ad Noctem are a fairly new label and their area of expertise lay in electronic music. With this in mind, as of the 11th of July, their first release ever, was in the form of a compilation, titled Dreams Out Of Joint: A Tribute To Philip K. Dick, Yes, this is 26 tracks, inspired by the science fiction genius of Philip K. Dick, who penned many classics including Do Androids Dream Of Electric Sheep?, which of course became the movie Bladerunner, that has been a huge catalyst of inspiration for many electronic/industrial musicians. Of special note is the fact that the first half is dedicated to Dick’s short stories and the second to the novels.

With so many tracks, we thought maybe we could give you a taste of this. Edge of Decipher with their track “Frolix 8“, is a cyber journey through realms of space and light, mysterious and a constantly evolving adventure or Chrono 87 doing “2 Weeks On Mars“, light, delicate and with changing rhythm signatures. There is “A.M.O.D” by beepeater with tis tortured experimental electronics, Ran Kirlian unveiling the ambient track “Time Out Of Joint” which is like the final cooling death of a star or ∑V∑RYTHING with “Ubik Opening Credits” that has a wonderful soundtrack feel to it that suddenly falters in the middle to then pick itself up again.

There are tracks that play for nearly thirty minutes, tracks with beeps and whistles to give you the impression aliens are trying to communicate and other tracks with music so quiet, nearly imperceptible at first until you start to really listen. Soundscapes and beats and everything in between. If you enjoy experimental ambient music or just love old fashion sci fi movies to the more modern, then I think Dreams Out Of Joint might just feed your imagination. The beauty is not always human and we dream of Philip K. Dick.

D reams Out of Joint: A Tribute to Philip K. Dick | Machina ad Noctem | machina ad noctem (bandcamp.com)

Edge Of Decipher (@edgeofdecipher) / Twitter

Just when you thought is was safe to get back into mother nature, a single is carelessly discarded by the lads in DECOMMISSIONED FORESTS and low it was called “Drop Brick“. It was released in January, on the 14th of 2022, ahead of the soon to be unleashed Industry album. I, your humble reviewer decided to cheekily nick this description from their bio…..

Formed around the creative axis of Howard Gardner (Non-Bio, Pillars Of Golden Misery), Max Rael (History Of Guns, Spucktute, Raelism), and Daniel Vincent (The Resonance Association), DECOMMISSIONED FORESTS create music that is dark in outlook and electronic in nature.

Not going to lie, the keys from the beginning bring forth memories of Tubular Bells, but the vocals of Max Rael save us. For the initiated, Rael very well could be channeling Coil’s John Balance, it is truly uncanny and very lucky that Coil is a band that the group are very much into. On much more serious note “Drop Brick” is empathising with a monster. The thoughts that they might go through, pain, loss, anger, loneliness and the hunger to have to what is kept from them. In the end there is no end and only the exhaustion of reality. The synths peal over and over again, cementing the ground hog perception and you feel the heaviness of wanting to pass away.

The more murky sounding “I Can Stop The Noise” is kind of the b-side, filled with a story told in a matter of fact way about a nurse in a psychiatric hospital, whom hates her husband and plans something diabolical. The electronics are so low, you strain to hear them as they dwindle to a slowing heartbeat.

There are no less than four remixes of “Drop Brick” and one deconstructed mix which I think I can safely say where done by all the band mates. The Pillars Of Golden Misery is is all prickly and angry while the Safety Deposit Box version feels like a much more lighter version with it’s cute electronics, that is until the sped up vocals join in like that mantra. The Raelism remix is like a lads night down the pub with the boys that gets thrown into the Twilight Zone. Talking about the weird and wonderful is The DOMH Deconstructed version, giving you Twin Peaks vibes with the vocals running backwards, the swell of electronics in the background that just seem out of reach yet full of promise to swallow you in the noise. The Non-Bio remix is full of the noise and cacophony of buzzing electronics trying to crawl under your skin, as they are pushed to the limit and we wouldn’t expect anything less.

The guys have also included the original demo version of the song which was originally named “Halt Program“. It is a far more keyboard friendly version, the bare bones so to speak, without the vocals but it is still a very compelling piece of music and it is interesting to see how it developed into “Drop Brick”. DECOMMISSIONED FORESTS manage to find the quirk in things and bring them to the fore. The ability to make you listen to what is almost most there or the subtle yet sudden change in direction that takes on a completely different journey. Call it experimental post-industrial or dark electro-ambient or whatever but in the end it is about that journey you take with them and in that process, the visions they can bestow.

https://decommissionedforests.bandcamp.com/album/drop-brick-2

Decommissioned Forests | Facebook

Industrial music actually covers a lot of scope, from heavy dance music to experimental, ambient noise and this is where we introduce British band, Decommissioned Forests. So far there have only been singles released by the three men behind the project, though the latest single, “Ants Part 1” will be on their debut album Industry.

DECOMMISSIONED FORESTS

From the start you can hear the undeniable homage to Coil in their spoken word phase and Rael’s utterances are uncannily like the late John Balance. Ants Part 1 (Our Last Supper) is just over nine minutes long and is like a dissonant journey that seems pleasant, yet the lyrics are the disembodied oddities of strange and disturbing sequences. The one running thread is the ants running riot over the picnic as they transcend the existence of this plane it seems. The band agreed the track “Functional Programming For Humans” was their favourite to play in the studio.The low tones almost could the far off church organ while the quirky sounds could be firing synapses while the commentary is how not feel any emotion like an automaton unless it is turned on. Grand soundscape with cold barren wept vistas. The last song is “Base” and the first bars start like a droning sea shanty though this drone is sinister and full of loathing as the piano enforces it’s disappointment.

Decommissioned Forests (is) the result of friendships going back to the beginnings of this century and a shared love of the darker post-industrial world of Coil, Current 93, Cabaret Voltaire and Nurse With Wound. In this collaboration, Daniel Vincent (of cult space rockers The Resonance Association) handles the music, ably abetted by Howard Gardner (the multi-media artist behind Non-Bio, Pillars of Golden Misery and Down With Freedom), whilst the vocals are channeled by Max Rael (the lynch pin of post-industrial noiseniks History of Guns) – Decommissioned Forests bio says it better than I can. You can hear those influences so clearly in the music these guys create and there is definitely a passion for the genre. There is a timelessness in a way to Decommissioned Forests, not only the themes but expressions of love, loss, life and always the ants.

https://decommissionedforests.bandcamp.com/album/ants-part-1

Decommissioned Forests | Facebook

We are going to go back to December of 2017 to revisit the electronic EP, Wavelets. Released by Secant Prime, a US based artist who’s first release was in 2010 with the Wavelets EP that is made up of 5 tracks ranging in length.

Imagine a sound of impending doom. It could be “Jacobi Elliptic Function“, a sonic dirge of undulating pandemonium of both electronic noise and human. Named after the mathematical equation that describes the swinging of a pendulum and also the design of electronic elliptic filters. There is always this low, one could almost say near feeling of dread and as the piece continues, it develops that crunchy experimental texture before becoming nearly atonal again.

Dirichlet Convolution” is a mathematical function using binary operation as well as the title of the next track. It is metallic and sharp with no room to be otherwise. The machine in its computations will churn out its screeching answers that it rhythmically hums to itself. You hear a child lost in the noise, maybe a victim of the problem solving.

The next concept is slightly beyond my understanding but ‘Montgomery’s Pair Correlation Conjecture” is about equations that include the possibilities of finding zeros. The music has a sense of being out of touch, much like my understanding of the maths. Echoes, whispers and perhaps the intermittent ticking of a clock, all completely out of sync with a buzzing sonar like beat. At seventeen and a half minutes, this is the EP’s longest track but the lulls and build ups will keep your attention.

Hankel Transform” is the fourth track and I can’t even describe this therorum but I can tell you the music swirls, as if in a vortex, sucking everything towards it, mixing it all as it flies past. The garbled voices add to the sense of imminent implosion at any moment.

I looked up “Fourier Bessel Series” and saw the words an infinite series expansion on a finite interval…..pursed my lips and exhaled. A slow build up of soundscape and rhythmic nose, more ticking like time is getting away from us and a growing feeling of claustrophobia. Constant, infinite and yet finite

in some ways this is my nightmare music, based on high level maths, however this works for Secant Prime. Maths is clinical and exact, with no grey areas. And many like myself find the idea of working out these therorum terrifying. The music is not comforting, stark and bleak, devoid of human warmth. A clever use of experimental noise to create ambient, nightmarish soundscapes. Wavelet is available on Bandcamp currently for name your price and other forums.

https://secantprime.bandcamp.com/album/wavelets

http://www.secantprime.com

Long The Night is the project of UK based, multi instrumentalist, Derrick Stembridge, who released his album, Illusion, in the beginning of April. Stembridge is most well known for his main act, Drifting In Silence.

Divided Souls” is a sonorous blanket of sound, unwavering and deep like an ocean, bereft of a spark to ignite a soul torn asunder. The beginning of “Untold Mind” is in a similar vein, however distinguishes itself, with a generic buzzing, that belies the calm as it slowly builds in strength. The introduction of Gregorian style monks chanting is a sublime touch.

An unearthly sense to “Divine Symmetry” as it almost hovers, imperceptibly, at a distance, while “Transparent” is smooth and, for the want of a better word, breathy, like air being inhaled and exhaled at an ever so slow rate.

A sombre darkness from “Through Blind Eyes” and through the ambient drone, it almost seems as if there is much going on, in an near overwhelming nature. Then there is “A Forgotten Time“, where the electronics gradually swirl to conjour a dream like memory.

But is it real and are these monks luring you into the piece. “Altered State Of Conciousness“? It vibrates under the skin until it reaches the point of calm. The longest track is “The Myth Of Now“. It sounds like an electronic orchestra, warming up at first, with fingers of ethereal tendrils wriggling between, growing and stretching.

Immaculate Perception” does feel like you are sitting in a cathedral with an organ playing, where something heinous may have occurred. Last track to grace us, is “Illusion“, that growls in its being restricted, trying to push at its confines and yet, like an illusion, cannot be touched, ephemeral as a phantasm.

This is an evocative album of musical sounds describing the dark without words and yet there can be no darkness without some light that gives depth. Really love the Gregorian styled monks which make this even more special. This is the first release under the moniker Long The Night, on the label Kalpamantra and if you love electronic droning sounds that evoke your mind’s eye then I highly recommend Illusion.

https://kalpamantra.bandcamp.com/album/illusion

https://www.facebook.com/longthenight/