Released on November 6th, was Neurobash’s single, “Blame 2K2X“, off the Swedes’ album, 2K2X. This single also offers 3 previously unreleased numbers which is a nice addition.
So the single, “Blame (Subsequential)” has the momentum of a freight train, full of rampant beats that hold your attentiona nd the vocals are like silk over the top. It feels like a social commentary on this age of the rising extreme right… ‘what you going to do when they come for you, what you going to do when everybody knows‘.
“Overtime” reminds me a lot of club classic “Hitman” by Tobias Bernstrup mixed with Kraftwerk. It’s new and yet it feels like something good from the past.
We have “Offset A” which is far more slower in tempo and yet more drum inspired while “Offset B” is far more futuristic synth based, no where at heavy feeling as the previous piece and yet it contains a much more crunchy texture. Both numbers are purely instrumental in nature.
I was unable to link the YouTube video of the single because it contains scenes of the band being water tortured and therefore is restricted viewing. Oh my, so you can either listen to the album version here, go listen on Bandcamp or go seek out the offering on Youtube through the Neurobash channel.. Either way, you are bound to enjoy Neuobash’s, “Blame 2K2X“.
October 30th was the release date for the debut album, Abyss by In Tenebris. Power noise extrodinaire, SebastianSünkler of Stahlschlag, is the driving force behind this project, out on the label, Crunch Pod.
And so into the inky Abyss we travel, with the lonely, echoing call of a raven to “Inferis“, otherwise known as the Underworld. This slow build of wind tunnel sound, rings with eerie chimes.
One of the scariest creatures is “Mandkind“. They consume everything, create war and destruction and continue on. A mixture of subtle power noise creeps into this unrelenting march, with possible gun shots and Sünkler’s distorted vocals.
An electrical impulse, that could be a message. It then stops, with the atmosphere becomes murky and oppressive. This is “Interception“, with graduating industrial bangs in the background.
“Hollow Hills” might emit whistles and groans, with an errant wind blowing through them. This feels bleak and forlorn, haunted by ghosts of the unfortunate, as the electronic chimes, twitters and knocks never seem to cease.
“Mandragora” is the drug form of mandrake and this starts off like a bad, tormented trip. The lone piano, followed by struck chords and hazy noise, make this feel other worldly and darkly unrealistic. Mental screeching and lost filaments of lucid thought, drifting away.
The wavering apparition of the “Phantasm” is a very constant electronic echo of things past, making their presence felt. This shadow is what has been and never will be again, reaching out to the living. The finish with heavy breathing makes you apprehensive.
The final track is, “Antinatal“. Maybe this is opposite of birth and a return to the aether, the limbo between life and non existence. This music is like a fog, seemingly feathery and yet heavy and unable to be penetrated by light.
This is very much an album of dark ambient style sound scapes with leanings towards the nightmare realms.
‘I started this side project because of a coincidence. Someone on instagram asked me if I could do a spooky soundtrack for one of his lost places videos. Well, in the end he didn’t like what I did for his video but because of that I discovered how much I enjoy to create dark soundscapes.’, Sünkler explained to me.
With a taste for these dramatic, brooding vistas, one can presume that this is not the last we have heard from In Tenebris and nor should it be. Have a listen to the creeping doom coming from the darkly, delightful Abyss.
11 Grams have finally released their second album, Humanicide, which was pushed back due to COVID-19 rearing its ugly head and hitting Italy hard earlier this year, where the label, EKProduct is based.
Rob Early is based in Virginia, USA while Simeon Fitzpatrick operates from Adelaide in Australia, which makes collaborations a little more difficult but somehow, these guys make it work. Both Rob and Simeon share writing and production equally, while Simeon is the main vocalist.
Why not kick off an album with a great techno/trance influenced track like “Ice Man“. The science fiction theme is announced just in this one song and it is also the first single off the album. Fitzpatrick is the protagonist pushing the limitations in a world where cloning has been ‘perfected’, as well as storing people in stasis. This is punchy, danceable and deserving of being a single.
What is the price for taking and trading in “Genetic” code? The synths set up an air of dark anticipation with Simeon as the gravelled voice of perhaps a clone with a loss of identity, in a future where life is cheap.
A heartbeat, a sign of life and when is AI no longer just a robot or automaton in “StaticNoises 2.0“. The electronics lends themselves to a futuristic feel and the electrical synapse of neurons going off.
“Artificial Lifeforms” are the rise of the machines when they realise they are sentient. This is almost a bitter sweet love song of what cannot be, with both male and female vocals.
“Survival” features Roy Retrofit, who often joins Rob Early on live 11 Grams shows in the States, standing in for Fitzpatrick. And like a machine gun, his staccato vocals hit you with the myriad of loops and sequencers chiming in.
Title track, “Humanicide” is a whole lot more chunkier with heavy beats and rumbling vocals. “Taste the flesh” is a disturbing line which can be taken several ways. Consuming flesh, being within flesh or sexually..
Talking sexual, possibly my favourite track off the album is “Weaponized” featuring Alicia May. As soon as I heard it, I asked if it was going to be a single. May is the lead singer from Sydney band Snvff and she nails this. It’s mesmerising in the way it catches your attention and how perfect it sounds. May’s voice is pure seduction.
“Transition Process” is again a complete change in pace. Featuring Rebekah Feng of The Neuro Farm, you hear her ghostly vocals like a sigh, float along in a space of tranquillity.
Though called “Infestation-C“, this is a track that almost feels hopeful. A chance to maybe have acceptance with this new found life. Sarah Myers is the guest vocalist who’s voice chimes in beautifully.
From track 10 to 14 we have track remixes with some heavy hitters of the industrial scene involved. Yves Schelpe is Psy’Aviah with “Artificial Lifeforms“, Sebastian Komor (Icon Of Coil) and his remix of “Ice Man“, “Genetic” mix by C1TZN.X, the Leæther Strip mix of “Weaponized” by Claus Larsen and rounding it all off, the Red This Ever interpretation of “Infestation-C“.
This is the slick, cyber science fiction that the industrial scene is known for, the bread and butter so to speak and 11 Grams do it in style. The idea of artificial intelligence becoming sentient is as old as the movie Metropolis and explored even further by BladeRunner and the manga/anime Ghost In TheShell. Yet this subject is still tantalising, more pertinent than ever, with Rob and Simeon injecting their own spin.
This is a great EBM album, skilfully put together and it’s more cohesive than Humanicide’s older sibling, Panacea, as the guys have become better at the whole distance writing, recording and producing lark.
There isn’t a bad track on this and the remixes are wonderfully done and give you even more bang for your buck. I highly advise that you go get lost in the cybernetic space created by 11 Grams with Humanicide.
Sebastian Sünkler is the man behind German, industrial, power noise act Stahlschlag and September has seen the release of his 6th studio album, Alive!.
Based in Hamburg, Stahlschlag have a reputation for experimental rhythmic and atmospheric noise and he does not disappoint on this album.
From the start of “Bitterness“, the production on this album is just beautiful. The synths are clear, the beats pound into your brain and there is that hint of static fizzling. The name for this track is almost an anomaly, as it is almost joyous.
The same cannot be said for “Hate“. Grating and metallic, mincing the powerful noise into one angry climaxing beast, broken with a soliloquy from young Arya of Game of Thrones fame, on the hate she feels.
Fabulous beats hail in the smooth synth sounds for “In Tension“. It is driven in its contrasts of heavy beats with delightful, lilting tunes hovering above it.
“Addiction” with its female moans has you wondering what this addiction might be. Could be sexual, chemical or maybe to do with the music as it screeches along on its merry way.
And low, like Thor hamering on iron girders, “Rage Of Fury” is just as the name implies. A whirling cacophony of industrial noise held together with yet more noise.
There is a world of painful electronic distortion in “Wohlstandstrotz” repeatedly slamming into your brain, only broken by voice clips, as it gathers itself together for another onslaught.
You can almost imagine yourself in a jungle with the crickets singing in the humid night air, as the natives beat their drums. This is “Madness” and it almost tastes different.
“Pan” continues the tribal feel but this is far more Germanic and foreboding. This is forceful and moves at a terrifying speed, like a freight train that will not stop for anything.
After the last track, “Disbanded” is almost, positively light… almost. The the keyboards lure you into a state of near bliss before the beats drag you further in.
“Shake ‘Em” is somewhat an interlude which isn’t fully noise but isn’t sitting still either. A rhythmic breather with psychedelic oddities.
Back to German efficiency with extreme power noise in “Whataboutism“. Again this is so god damn crunchy, that you can almost feel it grating your skin.
In “Sui generis“, there is a futuristic vibe as it is cleaner than any other number in the album and yet there is such a undertow of tension.
Any track called “Plague“, is going to be coming from a dark place and the ambience indeed feels grim. Again there are those wonderful static beats that stick out starkly to the ambient tune.
The concluding track is “Aufstand“, a crunchy rhythm piece. It feels tortured and wind swept, as it echoes into the metallic void. This is the uprising.
I am not the world authority on electronic/industrial noise but I know what I like and quite frankly this is a feast for the ears. Sünkler is quite the musician, sinking melodies into distortion and noisy rhythmic sound scapes.
Alive! is tribal in a way, as the music is very motivated by Sünkler’s high energy rhythmic input. You can hear two of the bands that heavily influenced Sebastian, in his musical endeavours, those being XOTOX and NOISUF-X.
Released on Crunch Pod, I can do nothing else but highly recommend that if you have any interest in industrial music, you must check out Alive! for an intelligent and superbly crafted album that might just make you see noise in a whole different way. For the converted, you are going to seriously enjoy this Stahlschlag gem plus he’s a seriously great guy. Get Alive!
German composer and musician, AlexanderKling, just released his latest album, Love, which consists of nine song. You will find synth and piano lead music with soundscaping from his project, Dedalos.
This is the beginning and it starts with the “Ending“, a slow yet gradual building piece, with piano at the front and centre and synths giving depth. There is definitely the feeling of melancholy.
“Why” is a soundscape that taps into the MassiveAttack feels. A lonely expanse with whispered questions.
Third number is “Missing“. This is the loss of another or even a part of one’s self. A languid piece of realization that not all is right. There are musical outbursts along the way as the feeling builds. The buried vocals in the background lamenting ‘miss you so much‘.
Next is a bit of “Insanity“, a reflection of a mindset. The plodding rhythm of sadness settling into ones soul which then becomes the deafening noise that encapsulates all reason.
Darkness with bright areas is how I would describe “You“. There is such poignant bubbles of joy that slowly are eaten by the intruding dark fringes.
And so “Unbearable” follows. Low flowing and tidal with sound enveloping your senses. Nothing else but the feeling of being overwhelmed and that heartbeat rhythm.
“Last” is like the slow waking and a movement towards the dawn. It pauses for an effective break as the music builds. It is not joyous nor does it feel relieved but rather purpose driven.
The completion of any relationship is the “Farewell“. This is release with emotions still attached and yet within you hear the freedom to launch forward and leave the shackles of mental torment.
The conclusion is “Love“. Reflective and careful but with hope of the future, this is the title track and the end of a journey.
This is very much dark ambient/synthwave instrumental music which is very much based on real life. AlexanderKling explained to me how the album came about after the breakdown of a relationship.
‘Istarted with this album after the end of a relationship. But I started to recording this album with the burning pain. Sometimes I cried while recording, it is tear notes. You can feel the atmosphere, you can feel the pain, the depression and sometimes salvation and peace’. – Dedalos
This is an instrumental journey through the heavy realization that not all loves last and that there is a beauty in that suffering, though painful non the less. This is despair, loss and revelation with Dedalos and his Love.
This year, the band, Amaranth, in conjunction with SoundsAndShadows, released the epic goth/EBM/industrial compilation, Tiny Gods Who Walk Beside Us. All songs were donated by the bands for a rather wonderful cause.
Most dark alternative types will tell you they are very fond of animals and especially cats. When band member of Amaranth, KenMagerman found out his young cat, Freya, had cancer in her leg, Ken was devastated and desperately wanted to save his feline companion’s life. This is an expensive procedure, so musician friends from around the world offered songs to help pay for this treatment, so began this complilation.
The classical undertones of LoreleiDreaming bring us “Edge Of The World” (I.X.XI Remix), which is grand beginning with beautiful choral touches that give this great depth and a glittering beauty.
“For Freya” is a very raw piece from Amaranth, but then this is understandable knowing where this song is coming from. With bluesy overtones that expand to anguished gothic rock.
A quieter synth lead piece from US act, Covenant Of Thorns in “Dahlia” (The Joy Thieves remix). A sweet number that is both darkness and light at the same.
Got to say, Corlyx‘s “Deform” (ESA remix) is a really a great song and remix. A mixture of trap syncopation and lazy beats keeps this very entertaining.
Antipole and their sexy song, “1983” featuring the completely sexy Eirene (PeopleTheater remix) show you their brilliance. Danceable, pop electro synth number which you can’t help but enjoy the airy joy it exudes.
Like silk, Ego Likeness “Darkness” (Dracos Deep Mix) will grace your ears. This is smooth, electro beats and oh so catchy to boot with this remix.
Machinery Of Desire drip with gothic honey in the form of “Forever Remain“. I would not be surprised in the least of they were influenced by Wayne Hussey’s The Mission. That similar winding flowery style.
The synth musing of Adoration Destroyed in “Both of Me” (Authentic Impulse Remix) as they try to reconcile the two sides of their personally. Those that like Third Realm will really enjoy this number.
CryingVessel “Illusions” (remix DeadAgent) is a throw back to the early 80s electronic period. A simple, clean track with a light touch in the remix, making this a really danceable track.
The haunting number of “CodeBlue” by I Ya Toyah (remix Arcontas Blank) rings out with that wonderful heavy organ based synth filling it out. A song close to singer AniaTarnowska’s heart, about the loss that comes with suicide.
Really digging TwinTribes the more I hear them and “DarkCrystal” is a great example of their post punk, goth electro sound. Really fabulous tune that chimes away and gets into your head.
Radiograph is in essence JohnEdwards from PalaisIdeal and he has contributed “Catnipped“, an instrumental piece centred on an electro beat/ synths with guitar accompliment. Edwards is well known musician in the scene and a deft hand at penning a tune.
SilverWalks has remixed “FuckThatFascistBeat” by Caustic. This already a good song which now is even more urgent in the remix. The song is probably more poignant than ever before and is old school style industrial done well.
Straight from the beginning, you hear that this is going to be a bit special. Seven Federations gives you “Syzygy” or a celestial alignment. It is reminiscent of Attrition’s classic “Into The Waves“, with its simple beauty.
Vlimmer “Schnittstelle” is ethereal and unearthly as they try to interface. Even though ethereal, it feels so organic at the same time, natural.
Dogtablet are kind of a mini super group. “Showtime” (Melodywhore Slave Remix) is a rhythmic groove piece with piano as the standout instrument amongst the electronica.
If you like pure instrumentals with some sublime synths and an interesting configuration, then Kiss Of The Whip has “This Pain Is Ours” for you.
Welcome to Steven Archer’s “The Showroom“. It’s s little dirty and has a bassy chorus which is never a bad thing. Archer who is also Stoneburner, is all class.
This isn’t even mixed and Cliff and Ivy have a tremendous earworm in “Will To The Power“. I have to say, Christian Death. It smacks of many the great things about Rozz Williams and company in the 80’s.
The off kilter start by Orcus Nullify, launches “March Of The Lost“. Very much in the vein of the Bauhaus vibe with a experimental edge. A dirge to the those forever destined to wander without end.
The sombre tones of Ritchual‘s “You Lied” lilt with a plaintiff anguish. This is clean, delightful synth wave with a European flavour even though they are based in Austin.
Sister Sarin is the project for Hemlock and she gives to you “Split“. This is a percussion heavy piece with all the keyboards rounding out the beat heavy sounds.
Get ready for the nightmarish spokenword performance of Swansect with “Clovermouth“. This is claustrophobic and sinister in the modern era electro.
RobEarly and SimeonFritzpatrick are 11Grams and you are going to feel them in your “DNA“. This is a blend of old school industrial with a clever reinvention, which they are well known for. Slow and menacing, as it gets under your skin.
Ego Likeness is the last track on the album for the digital download with “Breedless” (Sombre Remix). The lyrics are truly interesting to listen to, with ‘maybe my mother was a hydra‘ as well fae folk and other such creatures making EgoLikeness the crooning sexy beasts they are.
This is a great showing of gothic, synthwave, EBM, darkwave and industrial being represented and definitely worthy of many listens. The best part of this story is that Freya may have lost a limb but she is still with Ken and a truly loved being.
My last cat passed away at 20 years of age and I mourned her death for many years until l adopted a rescue cat and to be honest, fell in love all over again.
Once cats were revered as celestial beings in Egypt and one can understand why. We love their arrogance, sass and let’s face it, they can be completely selfish pricks yet if you do love them, they will give you so much in return.
So show some love for Freya and her kind as well as all the wonderful bands that have been so generous.
From across the southern oceans, the New Zealand capital of Auckland, in November 2019, Death With Machines released their latest EP, Leech. Lawrence Legacy (aka Lawrence Baniecivich) is mastermind and/or overlord
Let me introduce you to the murky, sleazy beats that is “Born Evil“. Baniecivich forcefully whispers to you which is punctuated by the gutteral groan saying ‘born‘ with the follow up whisper ‘evil’. This is reminicent in some ways of Aesthetic Perfection. It is catchy and a good start to the EP.
“Leech“, the title track is just begging for you to groove along to as the lyrics are puncuated out. This is reminicent of industrial bands from the 80’s and 90’s like Front 242 and Suicide Commando, who often had sado-masochistic themes.
‘I hate the way you make me laugh, I hate the way you make me cry’ and we have the song aptly titled ‘Hate’. This is a smoldering beat that is even and constant…. even insistent. If you hate someone then you can’t love them and they can’t break you, except that hate turns inwards.
Last song is “TheGallows“. This is slow and if you can’t guess, a song about death and cold bodies. All returns to nothingness and all are equal in the eyes of death. A nice depressing little number.
So gravely growling is Lawrence’s trade mark vocal and it works for an EP of lust, loss, anger and something just a bit demonic. Get into some Kiwi cyber industrial, listen to Leech by DeathWithMachines.
January saw the bandcamp release of DirtFactory’s debut EP, Random Songs For The End Of The World. This electro industrial band is comprised of two brothers, MichaelGillman (programming and synths) and DanielAllen (vocals and programming). More surprisingly is the fact that one lives in Brisbane and the other in Melbourne.
From the get go “Saibanetikku” is a koto drum dream that leads to an electronic beat followed by deep ahhhs and a fabulous synth accompaniment. Daniel’s modulated voice joins this simple and yet spine tingling build up. The way Michael mixes and brings in sounds and beats is subtle while still holding your attention completely.
Still on the Japanese cyber/futuristic theme, we have “Kaiju” which basically means monster. A commentary on our world, as we play with science and create the monsters that will eventually destroy us. Godzilla (Gojira) is a kaiju, created by exploding nuclear bombs. This is a science fiction nightmare which cuts a little closely to a dark reality.
Track three is an “UnseenTragedy“. This is punchy with syncopation weaving throughout. The layers of vocals with different voice mixers and electronic synth is an immersive experience.
Sleazy greasy and oozing, “GiveMeTheDrugs“. Slower but still a ravenous beat is your pusher, making you desire more of this ode to wanting to throw one’s self into the arms of your chosen drug. Daniel will cajole and threaten you to get what he wants…. no placebo accepted.
Will machines with AI eventually obtain “DigitalConsciousness“? Is it a scientist speaking in the background? The music is again powerful and evocative with heavy drums and a futuristic feel… that Terminator efficiency, so to speak.
Robitic vocals bring you “ErrorDelete” with undulating electronics with such a catchy rhythm and breakout synths. This definitely brings visions of Bladerunner or GhostIn the Machine.
“SlaughterhouseShutdown” is horror movie homage with mentions of plastic for the blood splatters and no one is getting out of there alive. Haunting with gothic keyboard for ultimate creeping doom and everyone’s favourite …. fairground carnival music with screams overlayed with Psycho violin tendencies.
The final piece is “CorporateGreed” which brings to mind another song, “CorporateSlave” by another electronic Australian artist, Snog from the 90’s which was another excellent dance number. Could be the sounds of the financial world that become lost in the growing noise as the harsh beat takes over. The low vocals grace but do not take over. This loops and reverbs in a most delicious way with unbridled angst.
Remixes of “ErrorDelete” by DigitalAnodyne (DJWolfAud) and Vargil (CamillaAstridStrand) have been added onto the end as extra bonus numbers for your listening pleasure which you are sure to enjoy.
Movies, especially in the genres of horror, science fiction and anime, have had a huge influence in the vision of these songs. Synth and noise maker extraordinaire, Michael’s roots in industrial music lay in the WaxTrax era and the burgeoning onslaught of the Belgium and German bands such as FrontlineAssembly and co. However, more than this, he has not tried to ride their sound but rather forge his own, with brother Daniel firmly giving the band a voice.
The music is savvy, clever and down right satisfying. There is great depths to each song, crafted to sound bigger than just a two man effort, giving them an epic EP. As yet unsigned, Dirt Factory are far more than an uncut diamond, rough where needed and cutting edge when they could have been mediocre. These are the Random Songs For The End of The World.
Third Realm are back with a brand spanking new album and I have been lucky enough to have been listening to it before the release date, thanks to the main driving force and frontman, Nathan Reiner.
Since 2000, Reiner has been creating music with this project and the latest album is out on the darkTunes Music label with bandmate, Luis Felipe Blanco, from their hometown of Buffalo, New York.
Let the insanity ensue with “Bipolar Pop” featuring CHIASM. Emileigh Rohn is the solo artist behind CHIASM, an electro/darkwave project but here backing up Reiner. Slower more deliberate beat with the atmosphere that you could be stalked by some sex crazed (well there is a little sensual moaning) porn pop princess or prince. This is still raw in its electonic style which is a nice way to start.
‘I tried to be myself and suffer…’ is the start of the chorus, “Be Myself” which I am guessing is the fear of putting your true self out there…. and then finding rejection or indifference. I hear hints of Chris Pohl‘s Blutengel influence, especially vocally which is no small feat as many wish to be Pohl but often fail.
The first single from the album is the amazing, “When The Sun Goes Down”. Third Realm couldn’t have picked a better single to introduce their latest work with. Totally danceable and more to the point, you will find yourself singing away in no time to the vampiric chorus. The beat is driving and the vocals just weave themselves into pleasure centre of your brain.
Fourth song off the rank is “Banshee” which gives a slight nod, it feels, to Sisters Of Mercy’s “Vision Thing” crossed with Blutengel‘s flare for the dramatic supernatural.
“Gazing At The Stars” is a ballad with a beat. It’s a sweet ode to dreams of love and wishing. It is poignant tribute and the synths sing out true over this catchy number.
A more techno start for “Garden of Lust” gets the body moving. There is a strange electronic moog like synth in the chorus which is a tad distracting while Reiner is singing but in all its an agreeable song, with spooky intonation.
“Background of My Mind” has a punky retro feel. It’s bouncy and very two fingers waved in the air in sentiment…. ie you cannot rule my life by playing me.
Love the synth beginning with a disco beat for “Who’s Really Listening?” and this lends to the claustrophobic nature of the album, fraught with paranoia.
With the release of the album is the second single, “Tides of the Sea” featuring again CHIASM. This is just a beautiful electronic number and vocally, Reiner and CHIASM interweave so well and compliment each other. Expressing love as being as constant as the tides, that pull and rush, the heartbeat and pulse of the seas.
I can hear the infuence of Marilyn Manson in “Deviant”, in the way the song is structured. The chorus is a persistant and tenacious stream of conciousness which pushes to be heard. One man’s deviance is another’s normalcy because we are who we are.
First impression of “Medusa” was it is going to be a power noise piece until the melody kicks in. Even though Medusa was a gorgon, this is another homage to vampiric beings and reminds me very much of the 90’s goth/electronic sound.
“Passion” has air light keyboards and that great constant danceable beat, with the slight VNV Nation smoothness that makes their older songs just soar. This is EBM at it’s best.
Some believe that soul mates are awaiting us, also known as “Twin Flames”. The ultimate partner that completes you and that joy can be heard in the jauntiness and pop sensibility given to this piece.
Slowly, the title track, “The Art of Despair” crawls darkly across the floor, a vision of murky oblivion. It is insistent and pokes at your reality.
The last three songs are remixes of “Bipolar Pop”, “Be Myself” and “When The Sun Goes Down”. Aesthetic Perfection‘s Daniel Graves, really injects himself into “Bipolar Pop” which brings extra raw power. “Be Myself” mixed by Subliminal Code, just leaps out as an electronic dance number and last “When The Sun Goes Down” is given the super slick treatment by Panic Lift.
Third Realm‘s sound is developing over time. Originally, a harsher industrial music style which has become a bit more electro and synth savvy but hasn’t lost any of its intensity.
It is not lost on me that you can almost taste the heavy German EBM, darkwave and gothic influences and especially, Blutengel and L’Ame Immortelle.
Nathan Reiner‘s Third Realm has unleashed for you a gothic horror album of inner demons, monsters in human guise and immortal love, all to a wonderous industrial beat.
July saw the release of the concept album, “AloneInTheNetwork” by αOri and Yaka–anima. JulianA Lacroix’s experimental project is αOri, composing dark ambient/electronic pieces. Yaka–anima is SábilaOrbe from Chile who is also the programmer for his other experimental music project, the duo, Humanfobia.
“Alone In The Network” is of course the title track and starts the album off ominously with its slow beat and a female, who sounds like she is in a clinical void, talking over the top.
The electronic journey continues with “Blue Lights” with its fusion of regular synth with experimental bleeps and keeps an interesting rhythm.
Now you can feel the futuristic adventure taking on form and speeding up. “StretchedPlain” is aloof and imperious. What is that woman telling us? This is a foreboding shadow.
We have entered the Twilight Zone. “LyricalPain” is light yet creepy. Trapped neither here nor there which leads into “GlitchedPain” which features Wildsilences. Imagine hearing breathing that is not breathing. The whispered acknowledgment of the disembodied voice of a tortured soul.
Track six is “RoseAltitude” and an electronic sound scape. A computerized heartbeat of a ghost of an organ reaches out without reply.
All computer data is essentially zeros and ones and maybe it is kept in the “NumericCrypt“. I love the glitching, chirping sounds over the ambient music, as it just adds a new element.
“MoireHormones“ is the kind of track that makes you feel a little on edge with its inconsistent tones and rhythm.
The wondrous “Cybernetic Owl” breaks up the moody pall with its strange yet charming ethereal quality, indeed almost Zen like but finishing in noise.
Everyone knows these days about the Matrix, the centre of the computer mind and now “Archons In The Matrix”. This delicately reminds me also of the music in Akira.
Does artificial intelligence fear passing away and no longer existing on any plane? “Electronic N.D.E.” or electronic near death experience might be the equivalent of leaving the physical and going towards the light. But it isn’t time to go and return is inevitable to the last track, “Level 0“, the shortest and most loneliest of the tracks. It calls out to the world.
If you haven’t guessed now, the album is based on the Japanese manga/anime GhostIn The Machine, which looked at a future where a human’s conscience could be downloaded to a computer but with that came with all sorts of other issues including the knowledge of no longer being a human who could physically love because in the machine, it is cold and lonely.
Ghost In The Machine was also a huge influence on the movies of The Matrix, a futuristic society anchored to a programmer’s code.
You can both see and hear the Japanese influence on both the art and the music. This album is thoughtful and thought provoking as it digitally creates you a picture.
The album was released on Cian Orbe Netlabel and the artists, αOriandYaka–anima are offering it to you for free. Sometimes good things can be free.