Michigan based Lazer Station, released the album Skies Of Rust on the 25th of March, 2022 which is out on the Brutal Resonance record label. According to what is on Bandcamp, ‘all songs written, performed, produced, mixed, and mastered by Lazer Station in The Void’. Where is this Void and how do we get there plus most importantly, if you are in this Void, can anyone hear you scream?

The beginning of the title track, “Skies Of Rust“, is like floating on synths before the guitars pull you back, to something that seems a little more serious, though, it does still doesn’t feel bound to the earth. “Corruption Of Society” kicks in and now we are going somewhere, with that flow of electronics that passes though from ear to ears and makes you bob your head in time to the music. Such an 80s tone to “Watching The End” which features UFO Witness…. a bit like the original Terminator soundtrack, where not all is well in the world. There is the desolation and urgency of “Jackals” that leads into the guitar distortion of “Circuits Of Life“, that ebbs and flows.

The techno influenced “Technocracy” seems above everything and so clean, while “Population” is a track that is tenuous, with the impression it is slipping away. A seething undercurrent of guitar is the base for “No Respect For The Deadly“, “State Of The Art” which features UFO Witness again, forges ahead in a futuristic manner and the oddly named, “Skulljacker” definitely is a track to get the blood moving. The last two tracks are bonuses with the first being “No Hope” which does have a certain desperation to it as it valiantly goes on and the original mix of “Skies Of Rust” that is more like a dream, waiting to take flight and that guitar kicks in much later.

For those not offay with Lazer Station, they are a purely instrumental project in the cyber industrial genre and they use electronic music to invoke science fiction story lines. They give the synopsis for Skies Of Rust as basically a world where greed and corruption has poisoned the planet, killing off swathes of the population and those that are left are huddled in cities, awaiting what might be their doom. A sci-fi story for now, that may become fact in the future. Even if you don’t know the premise, there is nothing stopping you from simply listening and absorbing the flow of music, admiring the musicianship and enjoying it.

Skies of Rust | Lazer Station | Brutal Resonance Records (bandcamp.com)

Brutal Resonance | Facebook

Well….apart from some stellar remixes, we haven’t heard anything new from HOSTILE ARCHITECT since the debut album and what a debut it was. After speaking to Mitch Kenny (he whom is hostile), I have been told that the new single. “POWER OVERWHELMING (ALPHA MIX)“, is heralding the soon to be launched EP. You can find the single on the Bandcamp page of Brutal Resonance as it was released on March 18th, 2022.

Yep those dance beats just get to you and the wonderful thing is that Kenny always keeps certain tones and sounds consistently in his tracks, like a fingerprint. Oh yes, the ARCHITECT is all about the destruction with the idea that destruction and eradication causes two of whatever to become one. Intense and amazing.

It is a great dance floor single and if this is any inkling of what is to come, well then, damn it the EP is going to be stonkingly good. What also is really cool about this release is that Brutal Resonance in their wisdom, give you the opportunity to purchase this single on postcard vinyl. When I was a kid, you could get magazines with a floppy freebie and this is pretty much the same idea, as it can be sent to you via the post for free rather than a tape, CD or full vinyl, which is really neat and a bit of a collectors item. Sure the quality might be a little lo-fi but that’s half the fun and you still get to download it as well.

POWER OVERWHELMING (ALPHA MIX) | HOSTILE ARCHITECT | Brutal Resonance Records (bandcamp.com)

HOSTILE ARCHITECT | Facebook

Electro Industrial Music Magazine | Brutal Resonance

Brutal Resonance | Facebook

Psyklon Industries | Facebook

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)

We are going back in time but also forward if that makes any sense. Greek industrial band, Pre-Emptive Strike 0.1 dropped Declaration Of War (2006-2015), a six track release on download or collector’s nuclear slime green tape (most attractive). There is one new track, though not actually new but rather written in that era but never released, while the other five tracks are classics that have all been reworked. Founder, Jim Blaster (D. Argyrakis) and Yiannis Dseq (Yiannis Chatzakis) are the current members.

The Base Was Overrun” is the first track and it is also the track that was never released due to the band finding at the time that it didn’t quite fit into the tempo of Epos V when written in 2014. It is definitely slower and deliberately in the contemplative mode that all hope is lost to an unknown foe. It is the track “Lethal Defense Systems” that propelled Pre-Emptive Strike 0.1 into the industrial light for fans though this version is based far more closely on the 2005 demo version. This is a actually a little more stripped down and not as harsh as the original but works so well and it will still make you want to dance. A fan favourite is “Preeemptive Strike (2021 Version)” and this revamped version has lost none of its aggression.

Declaration Of War” was released in 2010 on The Kosmokrator, originally all in German but now performed in English by Jim Blaster. It rolls smoothly and honestly it could be in Gaelic and it would still sound so good. Blaster replaces the vocals done by guest singer Deranged Psyche from NEBULA H/EX-ES in “Robotic Disintegrator” originally for The Kosmokrator. Angry and antagonistic, the lads throw you into a whirlwind of extreme electronics because the machines are coming to get you. The last track is “Epos Of The Argonauts (Dark Mix)” which was on the 2015 album Epos V. You really can’t get more Greek than telling the tale of Jason and The Argonauts. The original has almost traditional quality to it but this has been turned into a stellar, near science fiction version of a modern age tragedy.

The original version of Lethal Defense Systems

Those wandering highlighting synths are still as wonderful as ever and the gravelly vocals were/are their trademark. I really love “Lethal Defense Systems” with fond memories of listening to it when it first came out and forgotten how dance inducing Pre-Emptive Strike 0.1 can be. Would cyber industrial been as good without these guys,,, I don’t think so. These songs still hold up and it might be time to become reacquainted with the 2021 versions.

PREEMPTIVE STRIKE 0.1 – Redeclaration Of War (2006-2015) | Preemptive Strike 0.1 (bandcamp.com)

Pre-Emptive Strike 0.1 | Facebook

Dima Ilyin is one of the people trying to make industrial great again. You may have heard this Russian’s name connected to the project Nova State Machine with Australian Craig Saunders (NOVAkILL) however his original solo act, that has been around since 2009, ULTIMATE SOLDIER, dropped a new album in January of 2022 called Konstruktor (and you don’t get much more industrial sounding than that!)..

The album’s title is also the first song and you will be hit by the waves of static and the female over-voice saying “Konstruktor“. The fusion of bleeps with rhythm that brings you to the angry vocals as the Konsruktor (Ilyin), konstrukts and creates konstruktion. “Control” is success or is it? From the electronic whirs comes the synths and Ilyin’s vocals, stealthily subverting you. A comfortable pace that never lets up nor ever feels out of control…..

The beginning of “Power” almost feels overwhelming in its verbosity. A cyber techno sound with a big ground swell on an industrial level. The more laid back “Lies” is a far more insidious affair as it crawls into your ears, unlike the “Selfdestruction” which is more like a drill to the head with those sharp beats. It is still bristling with angst but “U Gonna Die” is a smooth piece with those synths breaking through like futuristic sunshine.

There is a retro feel to the track “Reload“, as if the sparkling synths had come from the early 80s but the vocals growl over the top to remind you that not is all as it seems in the cyber world. It was Edward Teller who created the hydrogen bomb, who also wished to create a “10 000 Megaton” nuclear bomb which would have yielded 166 666 times more explosive power than the one dropped on Hiroshima. The track is a slightly trap influenced bleak soundscape instrumental, that travels outwards from point zero.

Love from the beginning “Cold Connected” as it is so clean and bright next to the fuzz and vocals. The techno waves within it are easy on the ears and extend to the primal. The space like “Final Mission” is a thing of beauty. Synths layer like falling stars in this bridging, short instrumental before we hit the final track, “Futuresoldier“. This is a great dance track from the ULTIMATE SOLDIER as it races ahead with no fear and no surrender to embrace the oncoming apocalyptic world order.

Reload” and “Power” were released together, middle of last year as a remix package, which I highly suggest you check out as well. The track “Selfdestruction” reminds me a little of HOSTILE ARCHITECT and I started imagining the whole ULTIMATE SOLDIER vs HOSTILE ARCHITECT de-Konstruktor style…. I can dream! Konstruktor is gritty and grating, yet the keyboards also give this album that beautiful polish and make it fly. A mixture of cyber-industrial with the futuristic synth and techno to offset it, creating the nightmarish new world order.

Ultimate Soldier (bandcamp.com)

Ultimate Soldier | Facebook

The 17th of January sees the release of the single “Decimate” from Matt Hart. This is from his Below The Terra PT.1 album, which is due this year. If you have been following Hart, you will know that he has been building up a story with his music. It is the tale of the Earth that has been visited by alien machines, who are hell bent on changing the surface of the planet to something much colder that suits them while also eradicating the humans. Though the humans have held on in small numbers burrowing down into the soil, looking for sanctuary.

MATT HART

A menacing start, that suddenly knocks the breath out of you and the voices of the mechanical overlords can be heard reporting control. The humans find the world so cold and no opportunity of reclaiming what has been destroyed. There is a wonderful layering of textures, between the driving guitar, the stellar synths and the pounding rhythm.

Decimate” is possibly the point where the last of humanity looked at their planet and thought, we can’t stay anymore, it’s time to go. You cannot mistake the anger and loss the Hart expresses on the behalf of the survivors. As always, Hart gives us a dance floor track with instant appeal and one other appealing thing worth mentioning is that it was mastered by Krischan Wesenberg of Rotersand. So we watch and wait to see what happens is this apocalyptic cyber world of man verses machine.

https://matthart.bandcamp.com/

MATT HART | Facebook

Plastic Assault Network (PAN) is a new super group to hit the scene. Founded by singer/songwriter Robert Andrew Bowman (Randolph’s Grin) who has pulled talent from across three continents, including fifteen musicians into his cyberpunk collaboration. Their second single was released in November called “Wall Breaker“.

Walls are funny things. They have been built to keep people safe while keeping others out, then others have been built to hold humans in so they cannot escape. Those are the physical walls but even when they crumble the mental ones remain. “Wall Breaker” is about overcoming all barriers that cause conflict, hatred and bias. The vocals are passionate about the fear used to control the masses. This gets nice and bass heavy, with the electronics swirling and filling every space with sound, making the song come crashing down on your senses.

As you would expect from a project with several studios involved, the sound is seamless and crystal clear production. Have to say it is always satisfying hearing a real drummer smashing it in the rhythm section and this is Jörn Schwarzburger (Randolph’s Grin). Co-producer is Per-Anders Kurenbach (ex Psyche, The Eternal Afflict, Shock Therapy, Dark State, reADJUST, Nine Circles) who is well known for his mixing skills and keyboard wizardry, while on backing vocals duty as well as drums and guitar is Reyka Osburn of Death Valley High fame. So what is next for Plastic Assault Network? I guess we watch this space but it is a rather exciting prospect where they take this. Industrial music is the beating heart of resistance, speaking for those who that cannot.

https://plasticassaultnetwork.bandcamp.com/track/wall-breaker

Plastic Assault Network | Facebook

It has been about a year since we were first introduced to the HOSTILE ARCHITECT, who is also known as Mitch Kenny. The first single, “HOSTILE THEME“, was released in June 2020 and seems ever since then, he has continued to grow into this persona, gathering fans, airplay and signing with Brutal Resonance Records. Now Brisbane based Kenny, has his first full album to unleash onto the converted and the yet to be. This is LOWGRADELIFE.

MITCH KENNY – HOSTILE ARCHITECT

Kicking off is “MEASURE TWICE” and the ARCHITECT is judging you and the mistakes you make more than once, If you have never heard HOSTILE ARCHITECT before then I can guarantee this mix of gravelly vocals, infectious beats and scintillating keyboards is going to beguile. Originally released as the b-side to “LOWGRADELIFE“, we have the beat heavy, “EVERY FOLLOWER A BOT“. It is a nice static crunchy instrumental piece and yet there is time for a serene, almost Japanese inspired interlude. The fourth single to be released this year was the wonderful “SEMTEX“, and I dare you to not find yourself bobbing to the beat of this. The futuristic theme that you are not not the decaying flesh that holds your spirit is backed up by the science fiction feel of the music.

The title track for the album, “LOWGRADELIFE VER.FINAL” was also the second single and as it may imply, has been further reworked for the album. From the near disco start that launches into the infectious rhythm, there is so much to listen to and still it is utterly cohesive. Speaking of reworked songs, there is also “WAGESLAVE VER.FINAL“, again was another b-side, a delightfully beat filled instrumental that flows along in a trance like way. The brilliant “DAWN OV“, yet another single, body slams you with it anguished vocals and electronics almost mimicking blaring horns, while the instrumental b-side to this single follows it up. And like all the others, “PROSCRIPT” won’t disappoint you as it winds it’s way into your ears. The single that started everything, “HOSTILE THEME“, introduces us to the ARCHITECT and soon you will be singing along I’m hostile!

The first two remixes are done by fellow Brisbane dwellers of the industrial scene. Dirt Factory with their stellar remix of “SEMTEX“, in which Michael Gillman makes the song even more angry plus a little dirtier, highlighted by those bright synths. Zane Seymour is Dream Of Machines and he gives the treatment to “DAWN OV“. Seymour has brought the vocals to the fore and yet still the synths dance beneath, threatening to overtake at some point from their zen interlude. “LOWGRADELIFE” remix is by Wollongong act Cheap Coffins and it feels electronically gritty and heavy. Then the guitars just chime in gloriously as the song wends it’s way skyward.

The Null Cell remix of “PROSCRIPT” just sparkles and is unearthly with how light it feels. Nebraska based Isabella Chains really makes this instrumental piece a rhythmic delight. The last two remixes are from Black Hole Zion and Mach Fox, the former residing in West Virginia and later in Minnesota. Second remix of “LOWGRADELIFE” by Black Hole Zion and it definitely has Ministry inspired guitars and then again a near jazz influence which would seem an odd combination but it works. Zwaremachine’s Mach Fox gives his remix of “DAWN OV” which pops and carries the Fox signature of substantial and searing electronic noise.

First off, have you ever known an act that is exceptionally talented and then when you have met them in real life, they are as nice in person as well? This is Mitch Kenny, completely. He is self effacing and has this enormous gift for music which shines through in this debut album.The mastering done by Roger Menso of Nyteshayde Music is first class, with beautiful clean tones and delicately balanced. The acts chosen to do the remixes have been equally up to the task. It would be easy to rant on with superlatives but in the end you just need to go hear it. If you appreciate good electronic music, then I think you will love HOSTILE ARCHITECT and his LOWGRADELIFE.

LOWGRADELIFE | HOSTILE ARCHITECT | Brutal Resonance Records (bandcamp.com)

HOSTILE ARCHITECT | Facebook

https://dirtfactory.bandcamp.com/music

Dream Of Machines | Facebook

https://cheapcoffins.bandcamp.com/music

https://nullcell.bandcamp.com/music

https://blackholezion.bandcamp.com/

https://zwaremachine.bandcamp.com/

https://www.facebook.com/nyteshaydepdm/

We are delighted to bring you Onyx Music Review’s first interview and we are lucky to have Mach Fox of the industrial band, Zwaremachine, give us some of his time for a Q &A to talk about the new album Conquest 3000, the changes in the band and how current events are affecting them. Zwaremachine describe their style as minimal hypnotic industrial body music, which is raw, hard edged and rhythm filled with cyber punk themes.

ZWAREMACHINE

Mach, congratulations on the new album, Conquest 3000.

This new album sees Zwaremachine now as a three piece, where as previously it was a one man solo project. How did this come about?

Hi and thank you for interview and helping us get the word out about Zwaremachine and the new album. I had always intended to present Zwaremachine as a live trio with myself on vocals/synthesizer and 2 other members on electronic percussion and additional synth. Since I was using sequencers and drum machines to program and write the songs in the studio I also made sure that I could perform solo if others were not available so that is when the solo shows would happen. Over the years Zwaremachine was able to perform as duo or trio when friends were available and we could do minimal rehearsals since many of the parts were sequenced for live performances. This was great as no one had to commit to my band full time and I could have rotating members of my favorite musician friends fill in. Basically I would just need some musicians to help bring the studio recordings to life on stage. I was only booking a few shows each year from 2012-2016 and not very active with the project.

In 2017 I decided I wanted to write and record the “Be a light” album and find permanent members to
tour and record with so over a couple years I was able to try out many members while writing, arranging and performing songs that became the first full length album for Zwaremachine. At first it was difficult to find others committed to rehearsing and learning arrangements for live shows…I was able to record all parts in the studio but I had the goal of having the instrumental arrangements performed as on the record. At this point my main goal for the band was a s a live performance vehicle for these songs and I felt the album should sound like the live versions. In 2019 I finally solidified the line up I’m thrilled to have Dbot on bass guitar and Dein Offizier on drums/percussion.

With one of your band mates, Dein Offizier in Europe and then the virus bringing travel to a halt, it must have been quite an effort to write and record Conquest 3000. How did you get around these obstacles?

Digital recording technology, sampling and being able to record ourselves in home studios and rehearsal rooms played a big part in the recording sessions on this album.

Luckily I was able to travel to the Netherlands in January 2020 to record Dein Offizier drum parts on the demos that Dbot (bassist) and I had worked up in the summer of 2019.. I would have loved to get Dein Offizier into a proper studio with an engineer to record his drum parts but it just was not possible at that time and with our schedule for album. I must say that he worked so very hard on that session and we were able to record 12 songs in 6 hours in a rehearsal room that we rented at Popschool Parkstad in Heerlen,NL {Netherlands).

The 2 other producers we worked with on the Conquest 3000 album tracks were Planktoon (Sweden) and D.Corri (Ireland). We were sharing tracks via internet which is fairly common these days but also means the collaboration process is much different than being in same studio together. This also added to the longer time to produce this album as everyone has busy lifes outside of the band project. Overall I feel that it gave the album sound a uniqueness we may not have got if I was the only producer involved and I very much love what both Planktoon and D.Corri contributed.

How did you end up incorporating Dein Offizier and D-Bot into the band?

I had performed some solo Zwaremachine shows early 2019 in Europe and Dein Offizier was a mutual
friend of Kitty Sommer who does management/booking for the band so he was at one of those shows
since they are both located in the Netherlands. We later met online and I was intrigued by some of his
pictures where he was playing drums and performing in festivals with his underground percussion group at the time. We had many of the same musical tastes and he looked like a complete badass with his big metal brazillian surdo drum so I asked if he would like to join Zwaremachine on electronic percussion. He agreed to play with us and thru some discussion he expressed he would rather play his own drums instead of samples on an electronic drum pad which was an idea I had never considered but made sense as I had already added a live bassist and felt it could be another way to present our “electronic rock band” differently than so many in the current industrial/ebm genre.

In the fall of 2019 we finally met in person and had our first rehearsal where I knew he was a perfect fit when I saw him aggressively pounding his drum and mouthing the words to our songs from the set…and just hours after that first rehearsal we were in France for our first show of the Zwaremachine & Vuduvox ElektroTanz Tour. Dein Offizier and I did that tour and those shows as a duo since Dbot could not make it and it was a pleasure and honor to share the stage with him every night. It was just like he had always been in the band and I really appreciate his hard work and confidence for that tour. That is really trial by fire and he has only become a great friend and bandmate every day since then.

I did not ever anticipate to have a live bass guitar in Zwaremachine but Dbot had already been a member of early Zwaremachine live line ups on synth and electronic percussion and had also played bass in Mach Fox band from 2006-2010. I was considering a Mach Fox band reunion and we were talking about getting that band back together in late 2018 when I decided to ask him instead to play bass for Zwaremachine. He agreed to join and we released our first recording together as Zwaremachine in December 2019. It’s great to be on stage and write music with him again and I want to point out that half of the songs on Conquest 3000 were from instrumental tracks originally written by him. He is such an excellent musician and brings influences from other genres which is always welcome when we can blend that into our expanding sound.

We know for you, Zwaremachine is very much a live act with a huge accent on the visual aspect. Are there plans for live gigs again with your fellow bandmates or will you lean towards using platforms like twitch currently?

I do love the idea of presenting a visual that compliments or contrasts the music whether it is bringing
some old CRT monitors in road cases to glow on stage or building custom microphones and other stage dressing/set elements. I originally got into video art and VJ work as I wanted Zwaremachine to be strong audiovisual band in the style of Severed Heads, Skinny Puppy, Clock DVA and many from that period that matched the visuals with the music to give the audience a bit more of an experience live. We do plan to perform live again and the visuals and stage dressings/sets will depend on whether we travel to Europe or U.S. for first tour and shows since it is not always easy to bring that extra gear.

When shows and tours were first cancelled and I would get requests for online festivals and streaming
sets I originally turned those down as I wanted our live shows to be experienced in dark venues with
large and loud sound systems with a crowd…but as time went on I accepted that this could be a cool way to present our show without having to haul all the gear! Since I am also a VJ and video artist I was able to use multiple cameras, video mixers, hardware effects to present something special that I hadn’t seen others doing and with a bit of editing and post-production we ended up presenting about 10 unique livestream sets which I am proud of. The only downside to that was we were not able to have Dein Offizier with us live but we managed to record footage and he can be seen on the screens behind us for portions of the set.

During a recent interview, you expressed that you would like to bring guitar into the Zwaremachine sound. What is the influence for this?

The guitar was my main instrument for my earliest bands and it’s an easy instrument for me to express melodies and texture. I still want Zwaremachine to be driven by heavy electronics but recently I have been using guitar for some remixes and on a new side-project so I feel it might become present on some new Zwaremachine songs. Most likely it would be loaded into a sampler for live shows as I can’t be fussed to keep tuning it!

The guitar I use is a Roland Gr707 that is also a “synth guitar” which allows me to play a synthesizer or
sampler via midi from the strings of the guitar so it can be blended with a synth or any sound desired.
I also love that the guitar can be placed in the mix with synthesized instruments to make this sound that can still seems futuristic today. This idea to make hybrid electro-industrial rock is probably influenced by my favorite Wax Trax label records and this sound was hinted at in our Ripping At The Fabric EP where the synths were often treated like guitars and there was plenty of sample editing in the production. I have also been making some awful sounds with modular synthesizers that could be looped and used in future
productions.

Your moniker, Fox, is a nod to the original singer of Ultravoxx!, John Foxx, who is also an inspirational figure for Gary Numan in the electronic scene. How do you feel that people like Foxx, Numan, Frank Tovey of Fad Gadget etc have influenced your sound and who currently do you find influences you now?

Those artist and many others were using electronic sounds blended with acoustic instruments and
experimenting with production and effects in a very creative way often due to the limitations of equipment or lack of rules. The whole DIY and punk music stuff happening the same time was what gave me the ideas to try things on my own and try to make sounds that I wanted to hear. Those bands mentioned also had strong images attached and really stood out for me first for the music and also for being great live performers.

A current influence would the industrial and dark sounding electronic music I hear being made and
especially when it’s done well with modular synthesizers. Modular synthesis can produce sounds that I
have never heard before and that really excites my inner circuits as a musician and a lifelong fan of sounds. Check out TL3SS – Murkwhip or ENDIF – Falling Into The Sky for good examples.

Thank you for your time and hoping to hear more from Zwaremachine in the future!

Thank you for the interview and we will stay in touch!

http://www.zwaremachine.bandcamp.com/album/conquest-3000

http://www.facebook.com/zwaremachine

Mach Fox for the last decade, has been the man behind Zwaremachine, however Conquest 3000 is the first album where the act has become a three piece. Fox (vocals, synths, programming), based in the United States, joined by D-Bot (bass guitar, vocals) whom is also based in Minnesota and Dein Offizier (drums, percussion), who hails from Europe. D-Bot had played previously with the Mach Fox band and for a number of years playing live with Zwaremachine.

Conquest 3000 is a mixture of re-recorded tracks that have appeared on previous EPs and singles, as well as four new tracks. The tracks like ‘International Hero“, that appeared originally on the Ripping At The Fabric EP, have had subtle changes to the sound. My focus however is on the four brand spanking new numbers.

ZWAREMACHINE

The cybernetic track, “Toymaker“, flows with hypnotic synth lines and gritty vocals. About, not only enhancing human bodies but also replacing everything that no longer works, creating a human like doll.

For my money, “Parasol” is the best of the new songs. It has this late 70s, early 80s inspired funk sound, mixed with with the more modern vision of Zwaremachine. It is a seamless dance number about a world, where the atmosphere has been destroyed and the population is protected by an umbrella. Science fiction or a portent of science fact?

A serious Suicide Commando vibe with “Zero Containment“. There is great energy and hooky synth lines that sparkle and drag you in. A song about one fire that can’t be stopped and it could be about the burning up the dance floor with this track.

There is one place that authority and corporations cannot control us.. our dreams. The last of these new tracks is “Until Tomorrow” and it is about the sovereignty of the mind. Love the chimes that ring out in this angry and punchy number.

Already, you can see the influence of the newest members in Zwaremachine, which are only going to push these guys into good places if the latest tracks are anything to go by. Zwaremachine was already a cutting edge, industrial act, experimenting in their sound. Would highly recommend listening to the new tracks from Conquest 3000, to get a taste of things to come!

https://zwaremachine.bandcamp.com/album/conquest-3000

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