October the 1st, saw the release of a new Mach FoX single, “Hollow Moons“. Zwaremachine is Mach”s main project but he has always maintained his own musical outlet since 2005. “Hollow Moons” was written with Dbot and also recorded with Dein Offizier, whom both are members of Zwaremachine.

Mach FoX

There are feather light synths that delicately highlight the darker edge to this number. Mach’s singing fits perfect with the textures and beats which gives us a science fiction future where the world has been used up and only those with enough wealth will be able to afford to live in the new, lush settlements in the hollowed out moons.

Originally meant to be on the latest Zwaremachine album, I can hear why they decided to not add it. Not because this in any way a bad song, to the contrary, but rather it does not fit the more hard industrial sound cultivated by the band. “Hollow Moons” has a far more pop industrial feel, smoother and no growled out vocals. Really enjoyed the more synth/future pop vibe and hopefully we will hear more of this side of FoX’s musical endeavours.

https://machfox.bandcamp.com/album/hollow-moons

https://www.facebook.com/machfoxband

A new industrial project has hit the scene, with the debut single, “Pews In A Panic“. They are called The Royal Ritual, a solo act featuring the talented David Lawrie. Fans of London After Midnight might recognise his name from being a live tour member, however Lawrie also works as a sound designer for films as well as being a composer/producer in his own right.

DAVID LAWRIE- THE ROYAL RITUAL

From the beginning of the single, the beats are harsh and ring clean, insistent for your attention. Commercial religion is the focus, with its constant demands for money and blind obedience, using and abusing followers until there is nothing left because in the end everything belongs to you, but you belong to me. “Pews In A Panic” is just a really great industrial song that has something to say. The b-side is a cover of fellow Brit and singer/composer Phildel’sGlide Dog“, that originally was released in 2019, This so different musically to “Pews In A Panic” and yet there is this tone of something brutal under the seemingly smooth surface. Lawrie gives “Glide Dog” the electronic cool treatment and it slips along giving one the feeling you shouldn’t dwell on what lays beneath the surface.

It is really amazing when you listen to “Pews In A Pandemic” and every time you heard a new or unusual sound that isn’t necessarily a traditional electronic one. More than likely and due to his profession, Laurie has more than a passing interest in incorporating left of field recordings to accentuate his music. This creativity only points to the looming album being anticipated as a corker and we are looking forward to hearing more of The Royal Ritual.

https://theroyalritual.bandcamp.com/releases

https://www.facebook.com/theroyalritualmusic/

The latest single from the Boston lads, Cristian Carver and Johnny E. Veil, aka MAN1K1N, hit us on October the first. Cryptically named “Don’t Let Me Try” is their attempt to put into words and music how the pandemic has affected them and others, both mentally and personally.

The heavy solitude of this past year during quarantine was a poignant influence in the moment this song exists in. Too often, suicidal ideation is regarded as a trope. But the anguish felt in those private moments is threatening and devastatingly lonely.

From the start, the music has a weight to it, oppressive and even a little bitter-sweet. The desperation is in the groaned and growled out lyrics, as the synths swirl and pulsate in a menacing manner. The lyrics speak to the frustration and a hollowness of the drudgery that life has become, taking a toll of one’s mental health.

Definitely a powerful piece that builds and diminishes just as waves of hope and despair do. The anguish in Veil’s voice is palpable and Carter’s rhythms mix so well with the searing electronics. Interestingly, Tom Baker was brought in to master engineer this single and for those in the know, Baker has been involved with mastering Nine Inch Nail’s Downward Spiral and Ministry’s Psalm 69. Having this craftsman onboard has lifted the number and given it extra polish, so you should have a listen to “Don’t Let Me Try” by MAN1K1N.

https://man1k1n.bandcamp.com/

https://www.facebook.com/MAN1K1N/

What sort of music do you get if you mix David Wolfenden aka Wolfie of Red Lorry, Yellow Lorry and Caroline Blind? A band called Voidant and perhaps a style you were not expecting. With an illustrious roll call of contributing artists, on baritone guitars Rich Witherspoon (The Wake), bass guitars Simon Ding Archer (Red Lorry Yellow Lorry, 1919) and Ade Clark (Black Chapel) and pianist David Gregory.

The first track, “Heart/Feather” has a tribal taste to it and the reference is rooted in Egyptian mythology. When you die, your heart that holds your sins, will be weighed against the feather that is Maat (goddess of truth and justice), watched by Anubis and if found unworthy, eaten by Ammit the Devourer. Hence there is an Eastern flare in the guitar work.

The single “La Loba” is an ode to the wolf. An implored request for the wolf to finish the remains after Blind has sung that she could not continue and succumbed to the snow. A slow love song to be one with the wilderness.

Whispers and an insistent synth line that wanders through your head in “Phantom Ex“. The shadow of a previous relationship, that took a toll on someone whom you dearly want to see you as a potential healing lover. “Ghosted” has a great incongruity between the piano lines and guitar work, giving a slightly unhinged atmosphere.

SG Truth” has a trip hop feel fused with a modern jazz sensibility. It keeps you off balance as it weaves it’s way. Dreams of the “Summer78“, of Irish migrants fleeing across the sea, which for some would be their last journey. A story of memories perhaps stored in your DNA and like all good stories it is sung in a tone to lure you in and feels as delicate as a woven spiderweb.

There are two cover on this album and they sit side by side. “7 And 7 Is” was originally performed by Love in 1966 and also covered by Alice Cooper in 1981 and The Ramones in 1993. There is this wonderful juxtoposition of Blind’s punk vocals and the surreal electronics. It’s a great cover of this proto-punk classic.

In 1964, Buffy Saint Marie wrote and released “Universal Soldier“, which later became a hit for both Donovan and Glenn Campbell. A song about seeing things from another perspective and ultimately an anti-war piece. This is so tranquil with Blind near singing a cappella, if it wasn’t for the percussion and low grade whirring beneath.

Vortex” is the last track and it is a little transcendental with the hypnotic beat and guitar transitioning from a bit country, then a bit funky and then wailing. It is a rather groovy way to finish the album because as we all know, the eye of the storm is the calmest place to be.

Recorded between Leeds in the UK and New Jersey, USA, this is not the normal gothic fare but rather a darker form of storytelling which is sometimes trance inducing in its beats and minimalism. Some things can be better felt in the spaces that aren’t filled in. Voidant do this so well as well as also breathing new life into classics and I encourage you to have a listen.

https://voidantmusic.bandcamp.com/album/voidant

Voidant | Facebook

Based in Calgary, Eva X is soon to be be dropping the newest album titled I Dream Of A Reality, but before that happens, she is giving us a taste with the single “Machine“, released in September. Added bonus is the remix done by Erik Gustafson who is best known for Grendel and Adoration Destroy.

EVA X

Would you change yourself to fit a style, become someone else to suit a trend, a part of the machine to suit the views of others through make up or even surgery? Eva X asks if this would make them happy but more to the point, would she be happy in this fantasy world that can’t last. The music has a very futuristic feel with Eva X’s vocals ringing over all, at times plaintive and at other times playful. The remix by Gustafson has these sparkling synths that highlight the track even further and guitars that push the music into a stellar realm.

It’s a good song and the Grendel remix really compliments Eva’s singing. I could definitely see this doing well on dance floors and live gigs, with people bouncing all over the place. Maybe that is the beauty of being in the alternative scene, you do as you please for yourself because not fitting in, is fitting in. Don’t become a part of the “Machine“.

https://eva-x.bandcamp.com/album/machine

https://www.facebook.com/evaxband

SpankTheNun have definitely been blazing a trail through the industrial scene. Texan, Eric Hanes has been rather prolific not only with his own recordings but also becoming rather well known for his great remixes. His latest single, “Off Beatings“, features Claus Larsen of legendary Leæther Strip/Klutæ fame, on vocals. This is paired with remixes done by 5 very different industrial acts.

There isn’t any one original version as all five are a remix which doesn’t happen all that often. The first mix is by Mirland also known as John R. Mirland, who is involved in other projects like Mirland/Larsen, Negant and Eisenwolf but to name a few. His remix is raw and the bleak imagery just adds to the overall impact with the Danish Mirland bringing the fuzzy/crunchy beats that the Europeans do so well.

The second mix is by Florida based Batávia, It definitely has a big 90s feel, with wonderful twiddly bits all throughout, such as the computer game sounding keyboards. Ed and Terri Cripps have left their prints on this version and speaking of noticeable style, the third mix is by Brisbane act, HOSTILE ARCHITECT. You are always guaranteed huge industrial beats with Mitch Kenny, as it pounds it’s way into your head.

Calgary’s Eva X has the fourth remix which is a more somber and dark affair, claustrophobic and dense. The final remix is by Rebel Empire which has that great Mexican, high energy synth/electro sound and I’m not just talking the counting in Spanish.Throughout all these mixes, Claus Larsen snarls at us. The voice of reason against a world where patriotism overrides human feelings and body bags pile up as most turn a blind eye in the name of not rocking the boat, the false ideology. A great mix of styles to please most industrial fans and a testament to SpankTheNun’s music to be reinterpreted. This is “Off Beatings” and we annticipate the soon to be released album, Bunker Tapes Vol 2.

https://spankthenun.bandcamp.com/album/off-beatings-2

(6) spankthenun | Facebook

http://www.spankthenun.com/

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/

Brisbane’s Dirt Factory released a new single in August called “Crash Landing” and we are here to let you know it’s of the little green men kind. This is the first single from the soon to be released, third album from brothers Daniel Allen and Michael Gillman who reside in Melbourne and Brisbane respectively.

DIRT FACTORY

You will be regaled by the story of making first contact as the beat pushes you along with a sense of urgency. It is raw and metallic, grating your nerves as you know that they are out there waiting for you. Apart from the person telling his story of a conspiracy to hide that aliens are here, there are really no other vocals to accompany, just the sound of Allen screaming into the void.

There are remixes from proponents of the thriving Brisbane industrial scene. Failed Assimilation guitarist, Cameron Rees gives us a explosive, metal coated version. There is the laid back, laconic remix by Cosmos Synthetics which will take you to a different state of mind. Nyteshade is Roger Menso, a mastering genius and member of the infamous Dogmachine and he brings us an almost experimental feel to “Crash Landing“, keeping us off balance with the changing beats. Exocult is Daniel Allen’s new solo project and also signed to Viral Records. His version has an 80s feel to it with a heavy guitar creeping up from behind.

Suddenly there is a shift in momentum with the HOSTILE ARCHITECT remix heading in a far more dance oriented direction. H.A.’s Mitch Kenny is a man who can do no wrong currently and this is a really glorious remix. Next is the newest band on the block but don’t let that fool you as members are not new to the scene. This is RAZRWHIP with their dream like offering, though this dream is more like a drug induced fantasy. The synth lines from Jethro Hilliard are sublime. Last is not the least. Vargil is the talented Camilla Astrid Strand and her take on this piece is a science fiction techno myriad. It pulsates and is simply joyous.

There is literally something different on every track which means there is going to be something to tickle the tastebubs of everyone that enjoys this genre and is a showcase of local talent. So if this is the “Crash Landing“, can’t wait for the invasion.

https://dirtfactory.bandcamp.com/album/crash-landing-single

https://www.facebook.com/FactoryOfDirt/

https://dirtfactory.wixsite.com/mysite

https://www.facebook.com/viralrecordsau/

https://viralrecords.com.au/

https://www.facebook.com/cosmossyntheticsofficial/

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

https://www.facebook.com/ExoKult/

https://www.facebook.com/HosArchitect

https://www.facebook.com/Razrwhip/

https://www.facebook.com/vargilar

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/