MeaFisher may no longer be a vocalist for LordsOfAcid, but she is back with her new project Me And My Nightmare, and what better way to celebrate than by dropping the single, “DevilInside” featuring the vocals of EnEsch (Slick Idiot, <PIG>, Pigface, ex-KMFDM) Just when you thought your industrial dreams were fulfilled, DannyLohner, guitarist for Nine Inch Nails just happens to be on the track as well.
Techno inspired synths and rhythms complement the purring vocals of Fisher, when she isn’t letting that devil out in the chorus. Esch brings the demonic to Fisher’s fallen angelic, with his gravelled vocals, and Lohner’s guitar work drives home the grittiness below the sheen of the electronics.
There are also two remixes that go with the single, including one by SebastianKomor (Icon Of Coil, Strategic Command, Zombie Girl). I can see Fisher going from strength to strength, if this is the calibre she is serving up. Have to admit I did first first think of the INXS song of the same name at first, though no fear as this is a completely different beast or should that be devil? Come join Me And My Nightmare and find the sensual “DevilInside.”
Swedes Hatif have released a new single called “BrokenBucket,” which is the first track off the next to be dropped album, on the Town And Towers Records label.
The lilting guitar swaps at will with the intense synths, which sprinkle everything with their illumination. The vocals are sonorous and call us to the lyrics, where you can hear a message that is about broken systems and the turmoil that follows, destroying all before it.
The line ‘from the thought to the pull of in your index finger, from the plan to the act never stop to linger‘ in the chorus is exceptionally powerful. That act of pulling the trigger on a weapon has ripple effects that can be far reaching. The more I hear Hatif, the more they feel like a really exotic reincarnation of fellow Swedes, Covenant, and I think their stance in using music to take a stand is both compelling and wholly enjoyable. Don’t be the “Broken Bucket” for it holds nothing and this song means everything.
MetropolisRecords have welcomed Texas based electro-rock project SINE on-board, with the first single on the label released at the end of September, called “TraumaBondage.”. RonaRougeheart (vocals/drums) is the nucleus of the group and this single has CurseMackey (Pigface, My Life With The Thrill Kill Kult) contributing musically, mastered by JurgenEngler of DieKrupps, and cowritten/coproduced by producer AwareNess with Rougeheart.
The rhythms are a guarantee that this is taking you to the dance floor to strut your sexy stuff. The synths are a mixture of techno nostalgia and cocktail noir, which are divine and work so very well with the mostly spoken lyrics by Rougeheart, which she imparts her intention to make her target undergo great anguish.
“TraumaBondage” works so very well. It has this very classy sound and you really cannot pick anything bad about this track as it flows in perfection. You don’t need to suffer to enjoy “TraumaBondage” by SINE….unless you really want to.
From the wilds of ÅŒtepoti (Dunedin), in Aotearoa (New Zealand), Robots In Love have crept on us, and then slapped us with a new single “The Sequel.” Elenor Rayner (vocals, production), Alex Burchell (drums, production) and Tony Lumsden (bass) are now the core of the group, which was begun a year ago by Rayner.
You are lulled into a false sense that this is another electronics only track. That is until the guitar strikes in. Robots In Love are finely balanced between punchy vocals, soaring synths and pounding rhythms, fuelled by the metal inspired guitar work. The chorus just hits me like a nursery rhyme, with its slightly sing song rhythm. but also for mentioning people and steeples, which makes me think of Here Is The Church.
Robots In Love are evolving with every single, growing in confidence as a group and it really shows. “TheSequel” absolutely kicks arse. It is heavy and ballsy, and it kind of reminds me of the 90s when you could mosh to your favourite industrial rock bands. Rayner’s vocals run the gauntlet of sweet to full on dark and brooding rock goddess. Those chords reverberate with the energy of Pop Will Eat Itself and yet…. it is modern and speaks of this generation, the children of the digitally programmed age. Buckle up people because it is about to get intense in here with “TheSequel.”
Cicadas could be the rock stars of the insect world. They are the loudest, live two to seventeen years, shed their carapace and come out in Summer to mate and spent most of their lives hibernating. “Cicada” is also the latest single from LunarPaths‘ DianeDubois and KevinHunter.
Kevin has recorded live drums and it just adds to the dramatic tribal timelessness. There are samples of traditional Greek (Cretan) instruments that Diane has fiddled with and the electronics dominate the track, often matching the sounds of cicadas. They have incorporated live recordings of our little insect friends.
Diane graces us with her vocals as well as her lyrics that pay homage to the sound that marks the feel of Summer in the outdoors. The whirring and heat can be felt, often heralding in a storm after a day of building humidity and “Cicada” takes on a mystical ambience for a creature that spends most of it’s life growing up underground, to come forth for a finite period of time. Lunar Paths are going to entrance you.
We are going to touch the dark musical mire that is the harsh, ambient electronics of German based VERFÜHRERVERGELTER, in the new EP From the Void​:​ Silicon Signals to a Dead Brain.
“Aschewüste” is the ash desert and that wasteland is present in your ears. Abrasive and sand blasted by storms, echoing with the past where something abominable happened. The looping electronics grate and gouge at your psyche. Next is the lurking “Deathpile,” which slowly consumes the will to live and the Reaper could be knocking on that door. The music vibrates and rolls with the death throes, in anticipation of a painful cellular end. Starting to to get saggy skin due to a lack of collagen? No worries for there is a “Siliciumsale,” and in truth I involuntarily shivered a little as it has a sharp cruelty to the tone. Behold the unbridled electric guitar as it brings you into the “Untitled Abstract Void.” Shards of light try to penetrate but this is pure darkness that will break the mind of the strongest if you ponder it too long. A yawning abyss of terror echoing the fear endlessly. Maybe there is nothing more terrifying than the thought of never reaching a weekend, perpetual groundhog day for the whole week, over and over again. “Bonus: Monday, Tuesday, Wednesday, Thursday, Friday, Monday Tuesday…..” drones on without joy or meaning, only with the intense ticking letting you know that there is no rest.
What does it all mean? Hmmm, I might take a guess that this could be about a body on life support. The brain no longer present but the nerves keep trying to contact central control with no response. VERFÜHRERVERGELTER has unleashed another release of infernal doom that can drag its cold fingers and nails across your soul and make you ponder From the Void​:​ Silicon Signals to a Dead Brain.
DirtFactory are a pretty industrial lot, literally, bringing out their fourth album in just as many years, on the ViralRecords label in Australia. Brothers MichaelGillman and DanielAllen have brought forth the plague in the form of DyingPlanet, that has been mastered at AbeliskAudio by the HOSTILEARCHITECT himself, MitchKenny.
Callum Dodds from RAZRWHP is on guitar duty for the first track “Destroy It All,” bringing the grating metallic taste, as well as finesse, while the lads truly are upping the ante with an electronic onslaught. “Bones” is the single and the dance of the dead goes hard, laying bare the futility of flesh and belief for everything is going to become dust. We are now in the “Houses of Worship” and there is a palpable 80s feel to the music and Allen’s vocals only add to the disillusionment in commercial religion.
We are going to be visited by the siren called Brianna Smith, the lead singer of RAZRWHP and there is no disappointment here, with her delicate vocals in direct contrast to Daniel’s almost spoken word. She is the angel of death while he is the disease in the title track “Dying Planet.” It could be said that “IndustrialJesus” is a form of worship of KMFDM and NitzerEbb, irreverent and damning of broken religious systems and in that vein is the rather catchy “Antipope,” with it’s rapid fire electronic beats and a fantastic use of vocals.
Does “Mod Matrix” mean modified matrix? A throwback perhaps to the movie The Matrix and how you could download anything you wanted to learn straight into your brain…but then do you know what is real and what is not and the music does not spark any kind of hope for a good ending. “The Body is Dead” has this very cool rhythm that instantly grabs your attention, while the synths climb and fall in tale of cybernetics gone wrong. The calm before the “NuclearStrike,” as the track slowly builds towards midnight and ultimate fallout, taking out you out with extreme prejudice. Track ten is the last and it is the menacingly named and airless “Coathanger.” Why airless? The song has the atmosphere of smothering with its oppressiveness.
This, for me, is the best vocal outing for Daniel, as he seems to be settling more into the role and having guest musicians is a nice addition. I have to say I really enjoyed “TheBodyIs Dead” and my top choice would have to be the collaboration with Brianna on “DyingPlanet.” I already know the lads are already creating more music, and watch this space for a new project from Michael. All is doom and a Dying Planet from Dirt Factory.
When The Soft Moon’s Jose Luis Vasquez suddenly passed away, it sent a ripple of shock through the darkwave/industrial community worldwide due to the refreshing influence of his songs. LOVER/ABUSER is a relatively new band from Arizona and they have covered TheSoftMoon’s track “CHOKE.”
Though the time signature is the same, this new version is saturated with reverberating guitar, so not necessarily less electronic but with a more metallic taste. You can definitely recognise “CHOKE,” but it is nice to hear that it isn’t a carbon copy with the cleaner vocals from possibly more than one singer. A tribute to a lost icon from LOVER/ABUSER, and maybe check out their other track, “Star Nursery” with it’s classical piano lit with moonlight.
Out on the British label UtopianMechanics, Stockport based ThroughTheGloom have just released the new ambient electronic EP, DarkPatterns.
Opening track “PerfectDark” gives the atmosphere of an anti sunrise, as if the shadows are creeping forward, encroaching on all. Deep tonal aberrations escape from the virtual abyss, with a tribal electronic twist in “HostileArchitecture.” An ancient drone with a female vocalisation, almost Middle Eastern in sound, creating a mystical allure. There is a reverence in the beginning of “WhispersWithin” and indeed there are the hushed voices within the mix. The piano wanders, as if a lost train of thought, trapped in a slowly decaying cycle.
“Llanto” is gently laid before you, analogue sounding keys greeting you intermittently, which is nothing like the track “Cut Their Tongues.” Finely abrasively with foreboding, building with divine and ancient righteous portent, setting your teeth on edge. The vocals are strained and full of warning as the background is filled with tribal rhythms. Final track, “NostromosReckoning” is like a breath of fresh air after being compressed by the last track. It soars on gossamer wings, expansive and billowing into an infinite horizon
For me, this style of experimental and soundscape electronic music should fuel the imagination, taking you away from the mundane, inspiring joy, wonder and even fear of each new world opened to us. Through The Gloom has this in spades on Dark Patterns.
HeatherShore and KeganHeiss are the cool kids from Pittsburgh. Their cool factor lays in the fact they are duo behind the avant-garde post-punk project Hemlock For Socrates, who have a new single out, titled “You’re Not Here.”
Shore’s vocals are the focal point, lilting and mesmerising within the pulsating electronics. The guitar adds an air of experimental surrealism, as the track divulges a relationship where one never seems to get close enough to truly understand or know the other, as if they are hiding who they really are.
With “You’re Not Here,” you can almost taste the traces of sadness and frustration, while the static electronics give the impression of a glitch in the human. HemlockForSocrates always seems to pull off the coupling of ethereal and bohemian, creating something beautifully evocative.
Onyx Music Reviews 