Jamie Blacker is ESA, also known as Electronic Substance Abuse, and we are going to talk about the album, Designer Carnage that came out on February 14th of 2022, on Negative Gain Records. But I will digress with a little background information first. ESA is a UK project that was formed in 2002 after Blacker, who had been involved in the black/death metal scene, started to experiment in and became drawn to the sound of harsh, rhythmic industrial noise, which he has in all essence become a relative master of. The first album was released in 2006, Devotion, Discipline and Denial, then releasing albums very regularly ever since.

Straight off the bat, “Laudanum Dance” is like electrodes connected straight into the brain, sparking with glorious fuzz and beats. Like a fever dream, Blacker yells his discontent. Yet, hark it that a harpsichord? Classical piano which is a gorgeous oddity, played at a decent pace to be suddenly broken by the female vocal sample of Konstantina Buhalis and break beats, that descend into the stomach wrenching, bellowing tones. Those beautiful harpsichord keys again trill away, as they and the piano are played by Frederic Scarfone. Frustration and anger are swirling in the charged track “One Missed Called” which is about repression and fear stopping one from getting further in life. It is powerful with the female sample, of again, Konstantina Buhalis, screaming how much she fucking hates the person who puts her down. The rhythms circle and pounds down, enforcing the angst.

The use of noise and techno is near perfect in “I Detach“, when out of nowhere…ragtime music. Yes, weird and yes unexpected, but it works. The ticking of a clock, alien like electronic warbles, the ragtime and Blacker’s voice just culminate into this bizarre, dreamlike world of movement. The title track, “Designer Carnage” exudes electronic smut and grime. Fantastic! The music grinds while samples repeat the title. It speeds up towards the climax like there is no getting off this ride, only to drop you and drag you along again. Bara Hari is the guest vocalist for “Disruption Only” and it just pounds away. as a good, well lubricated industrial machine should. The rhythm is a drug that you can’t get enough of while in the static, you can hear angry voices. Bara Hari joins in and it becomes something otherworldly while those hammered beats carry on regardless, stuck in a groove.

Come And Find Me” again utilises that ragtime sound throughout in a myriad of stomping beats and electronics. A hallucination induced nightmare which translates to smashing yourself on a dancefloor. Curiously addictive and no we cannot get enough as it builds apon itself in a downward spiral. Saxaphone is by Matt ‘Chops’ Thompson and female vocals by Hellsea. For the track “Hyena“, all the vocals are credited to Pee Wee Pimpin, as he goes from cajoling to viciously snarling, the synths cackling as they track you down in your last moments, but what a way to go/ “Whom Then Shall I Fear?” features Pee Wee Pimpin, as he raps which works ever so well with the heavy electronics in the background. In fact, it is almost like listening to Public Enemy’s, “Bring On The Noise” but they were all industrialised and updated. It is an amazingly strong track.

There is something wicked and it comes this way in the track, “Vast Accept“. Off kilter and deranged, on a psychopathic mission only it knows. Do not be lulled into a false sense of security as it awaits to pounce while you are off guard with those techno beats. The final track is “Saturnalia“, which is full of blast beats, raging guitar and the deep, growling Blacker vocals, that start to fritz in and out. There are also these wonderful science fiction sounding synths and classic flamenco guitar by Frederic Scarfone, that lend themselves to a western touch, while Matt ‘Chops’ Thompson gives us that sleazy saxaphone. With wailing female vocals, it all crescendos, only to die away.

I knew this new album had come out but a friend, whom is also an industrial DJ, thrust it under my nose and declared that if I was to review anything this year, it has to be this album, Designer Carnage. In all honesty, he was completely correct. If this is not in people’s top 10 industrial releases for the end of the year, then I am going have to say that your taste might be in your arse. Jamie Blacker is able to experiment with so many different styles and mould them into something cohesive, with lashings of wicked heavy rhythms, filthy grinding electronics, inject music of past eras, whilst screaming near bloody murder at you. Really can’t much better than that other than you can dance to all of it. I dare you not to find yourself bouncing to the beats. You definitely need some Designer Carnage in your life, so let ESA be your dealer.

Designer Carnage | ESA (Electronic Substance Abuse) | ESA (bandcamp.com)

ESA: Electronic Substance Abuse | Facebook

Home | ESA (bigcartel.com)

Frédéric Scarfone (bandcamp.com)

Music | BARA HARI (bandcamp.com)

https://www.facebook.com/OriginalChopsSax

Pee Wee (@peeweep713) • Instagram photos and videos

PANICMACHINE is the label. Phobos Reactor is the act. TFG, the gnome finder from TONTTU, is the featured guest. The single is “#FOLITWIBG” and in honesty…..yeah, you need to be told what this means. Fragments of life in the world infested by gnomes or had you already guested this? Released on April 18th, 2022, so hopefully not the beginning of the end!

There are five “#FOLITWIBG” tracks, literally numbered #1 to #5. #1 seems to be a gnome taking exception to humans in a simple trippy kind of way. It starts to get a bit groovy in #2…though the gnome is still not happy by the sound of him and by #3 the gnome is getting all sophisticated synth sounding. Maybe futuristic gnome and it is amazing like a bad trip. By #4 that gnome is become cyber mega cool in a very lurking way and track #5 is cyber loathing reloaded from #1, and so all comes full circle in the gnome of life.

Are gnomes out to get you? Probably. Do they want to steal our children? More than likely. Are they stealing our cats? Most definitely! One could ask if they (the musicians) are completely bonkers….but then again, one could say they know things most others don’t. Beware of the gnomes, for they are moving against us, so grab your cat and listen to Phobos Reactor featuring TFG (TONTTU), before the mayhem ensues.

#FOLITWIBG | Phobos Reactor feat. TFG (TONTTU) | PANICMACHINE

Phobos Reactor | Facebook

TONTTU | Facebook

Music | TONTTU (bandcamp.com)

PANICMACHINE

Panicmachine | Facebook

What do you get when Mexico meets Finland? The single “Verenkiertohäiriö [Circulatory Disorder]” is the outcome. Mexico’s Exemia in conjunction with the Fin, TFG from TONTTU, have thrust into the world, this single on April 13th, 2022.

An merry dance you will get from this track as it bursts to life in all the vocal ferocity TFG gives to his performance, while Exemia simply kill with the amazing electronics that assault your senses. The whirl of angst and synths is a brilliant cacophony.

Industrial beats definitely make this feel so utterly alive and ripple under the skin. Great aggro-techno industrial music is often hard to get just right and this definitely ticks all the boxes. It is out on Bandcamp for name your price if that helps curry your fancy, but most importantly….. beware of the gnomes and their nefarious ways.

▶︎ Exemia feat. TFG [TONTTU] – Verenkiertohäiriö [Circulatory Disorder] | Exemia (bandcamp.com)

Exemia | Facebook

Music | TONTTU (bandcamp.com)

TONTTU | Facebook

If you search the name Elenor Rayner, you can be quite overcome with the amount of musical acts and bands she is involved in. Most recently, she released two singles for her project, Robots In Love as well as a remix of the JA/VI track, “Good Cocaine“. We were fortunate enough to be able to speak to the delightful Elenor about the music she has been involved in, what she is up to now and ….oops we may have created a monster. If you want to know how then read on!!

Welcome Elenor Rayner, the creative mind behind Robots in Love, to the Onyx mainframe, which is far dodgier than the holodeck in Star Trek and tinged with the macabre.

You started your musical career in Melbourne, Australia, but you now live in Dunedin, New Zealand. Are you a Kiwi or an Aussie, as inquiring minds want to know?

I was born in Australia but I now have New Zealand citizenship. I adore Dunedin. It’s a creative, eccentric place with more musicians per capita than anywhere else in the country. Everyone plays in 3 different bands and they’ll put on gigs anywhere. I do keep a keyboard at a friend’s place in Melbourne though, so I can pop over and play shows.

Elenor, you have had a varied and successful music career, which we’d like to touch on. Soulscraper was the first industrial band you were in, starting in 1991. That must have been a really exciting time to be getting into the scene?

The technology at the time was so exciting. To be able to sample anything and change it however you like was mind-blowing. We sampled a lot from movies, especially sci-fi, and playing those mangled cinematic sounds live through huge PA systems was really satisfying. 

In fact, I met up with the other Soulscrapers last week and we talked about playing shows later this year. We’re all keen to play those songs again.

The next big thing was The Crystalline Effect with Pete Crane, which started in 2002. Pete definitely has a darker take on electronic music, so how do you think working with him affected the way you write music and is there a chance we might hear from The Crystalline Effect in the future?

The Crystalline Effect released 6 albums I think, so it was a prolific period for us. We wrote two songs before we even met. We used to send cds through the mail because we both disliked the sound of mp3s. I really enjoyed the subtlety of Pete’s programming, it was amazingly delicate and there was room for me to experiment with vocal melodies and harmonies. Some of those songs are incredibly beautiful. I still listen to them.  Maybe one day I’ll do a show with all my bands on the line-up.That would be a rollercoaster of emotions.

Recording for yourself as Sobriquet and Sobriquet Nation, how different was this for you as opposed to writing and making decisions with a band?

In a band there’s a lot of compromising. Probably most bands do this, but I remember developing a theory that the singer should have the ultimate say because they’re the ones who have to really believe it. With Sobriquet, being on my own I learnt a lot, delving into the tiniest detail of a song and tweaking it until it’s perfect. Nowadays on about a quarter of tracks I am the producer, on a quarter I am the vocalist and on half I do both. On the ones where I do both I do tend to talk to myself. Vocalist-Elenor says to Producer-Elenor: “we need a dropout there”.

In 2019 you released the haunting album, July, under your Sobriquet moniker and before that, in 2018, another album, My Very Essence. You are very prolific, as each album has around 15 tracks, so do you find the process of creating music easy?

Yes, I do find it easy, and it is essential to me. I’m not very good at talking about feelings so I tend to pour everything into songs instead. It’s like: “I can’t say this to you, so here, listen to this song”. All the main events of my life, and my friends’ lives are there for anyone to hear.

This brings us to your project Robots In Love. 2017 saw you drop the 5-track self-titled release followed by various singles, including two new tracks in March of this year, the slower ‘Wish’ and the bass heavy hitter ‘The Raven’ (which actually made think of Paul Raven Killing Joke/Ministry). Can you tell us a little about these tracks?

Usually, I produce the music first and then when I listen to the song, I figure out what it’s about and the words come into my head. The Ravens is stompy and quite upset. It is about dementia. Wish is sad and resigned and it’s about inequality.

There was also the rip snorting dancefloor remix of the JA/VI song, ‘Good Cocaine’, that you recently let loose. What was it about this track that spoke to you?

As soon as I heard it, I could relate to the feeling of love lost. It’s a universal thing but I loved the melody and the sadness in JA/VI’s vocal. I kept the vocal as it was and added the music. I think smashing your emotions out on the dancefloor is a healthy thing to do. I really enjoy playing that song live, it definitely gets everyone moving. I’m glad it’s getting airplay.

Is creating remixes under the Robots In Love name a new thing for you and how much fun do you have reimagining someone else’s music?

I do quite a few remixes each year. The next ones coming up are for Tiny Fighter, a Swedish band, and IKON.

I never have a pre-determined idea of what I’m going to do, I just start and see what happens. One cheeky thing I like to do is alter the melody of the vocal somewhere in the song and add harmonies. Cellmod added harmonies to one of my vocals in a remix of “How I Get Out” and I thought it was great and wished I’d come up with it.

Sometimes I do remixes of remixes. For instance, I remixed the first Human Confusion single, ‘Overwhelmed’, then I decided I liked it as an instrumental then I accidentally found myself singing new words and melodies to it so now there’s a completely new song.

Will there be an album coming out soon?

Yes, and there’ll be a variety of styles on it. I’ve written a few Goth Trap songs lately.

You describe your sound as ‘darkly beautiful, emotional, melodic electronic music’. What is it about this style of music you love? 

The emotion is the main thing for me. Songs are like little capsules of things you need. If I’m sad I will listen to a song like “Equilibrium” and by the end I’ll be back to equilibrium. Magic.

You are involved with David Thrussell’s Snog as a live member. Please tell us what that is like, and is it utter insanity?

I’ve been playing live in Snog for 23 years. Even though the song topics are as serious as you can get, David loves humour and so do I, so being on tour with him is great fun.

I’m looking forward to the Snog shows in Melbourne and Sydney supporting PWEI.

When you were young, what bands and people inspired you to get into industrial/electronic music? 

I remember going a lot to a club called Thrash and Treasure in Richmond, Melbourne and jumping around to music there like Nitzer Ebb and Young Gods. I liked the dual bass guitars of Denial and Pre Shrunk and I remember being very happy when I discovered bands who had both bass guitar and electronic bass. 

Who inspires you or makes you happy now in musical terms?

I have a few other projects which I really enjoy. My band Human Confusion consists of me doing all the programming and Miriam Leslie the vocals. Her voice is like warm salted caramel sauce and her lyrics have a twist to them. Our first single “Overwhelmed” has a line in it – “I tried setting fire to it, but it burned too bright and took the bridges with it”. We’ve almost finished an album.

I like doing vocals for DevilMonkey. Our collaboration “Deluxe” is my favourite song. Live, I play a combination of the original track and my remix. It’s a powerful way to end a show.

An artist called Dead Caldera released their first single last year which I listen to all the time. I keep asking them to release more. The intricate programming of Sirus excites me. And anything Ehsan Gels creates is always satisfying.

What sort of robot would you want to be, if you could choose between a replicant as seen in Blade Runner or a cyborg, with your memories and personality downloaded into it, like Ghost In The Shell?

That is a good question. I always thought I’d be the little sad boy in A.I. but now you’ve got me thinking – I could be something really innovative. I will ponder that. You may have created a monster 🙂

What do you see in your electronic dreams for the future of Robots In Love and Elenor Rayner?

I always just feel a need to create more music. I have three new band members of Robots In Love and that’s been great. We can play live some of my older songs like “July” now, and they bring their own interpretations. Also, it’s fun to have others on stage to jump around and interact with.

So I just see more songs, more releases, more gigs and endless moving around of sounds on a computer screen to make sure they make me feel.

Thank you, Elenor, for joining us in this electric dream.

Music | Robots In Love (bandcamp.com)

Robots In Love | Facebook

Over the last two years, we have seen some amazing unions of international musicians, creating super-groups. One of these is Heatwave International, a band made up of Mario Alberto Cabada (No Devotion Records, Bolaspace), John Bechdel (Ministry, Fear Factory, False Icons), Roberto Mendoza (Panoptica, Nortec) and Ant Banister (Sounds Like Winter, Lunar Module, Sequential Zero). They released their debut single, “We Won’t Be Silent” on the 8th of April, on the label GIVE/TAKE, ahead of their impending EP.

I would know Ant Banister’s vocals anywhere and the message is there that they can’t be silenced any longer. There is a wonderful purpose to this track and I can definitely hear the Depeche Mode influence, through the graduations of the synths. There are two remixes of the single, the sublimely smooth Union Divine mix with those sparkling synth lines and the eerily wavering tones and cyber-punk style of the Tokee re imagining.

With such a plethora of musicians, all creating this track, I wondered how this was going to turn out. Actually, it’s pretty bloody good in all honesty. From the electronic to the vocals….it all meshes wonderfully and even with the serious nature of the lyrics, there is a seductive undertone. I say watch this space closely for Heatwave International.

We Won’t Be Silent | HeatWave International (bandcamp.com)

HeatWave International / GIVE/TAKE (givetake.life)

HeatWave International | Facebook

Music | TOKEE (bandcamp.com)

The end of last year saw the Athenian’s, Siva Six, release DeathCult, their fifth studio album, which came out on the label, Alfa Matrix. There were two years poured into the creation of this stunning album and the tracks are amalgamations of synths and beats with classical elements, all tied up with Z’s guttural vocals. It is a truly beautiful opus on the dark delights that await those that pass the veil. The lovely Z spoke to us about DeathCult and what makes Siva Six tick.

Welcome to the downward spiral that is Onyx! Please ignore the harpies, as they are grumpy because we put them on a diet.

You released your first album, Rise New Flesh, back in 2005. Did you ever think Siva six would still be releasing albums in 2022?

Z– Hell no… we thought we could have a good ride for approximately 10 years but as always, making plans is a part of reality. The other parts are a complicated equation, nevertheless I feel proud of what we have achieved so far. I assure you, it was not easy starting an Industrial/Dark Electro band in 00’s in Athens /GR

Can you tell as how the band started back then in Athens?

Z– We where just a couple of youngsters full of dreams and love for music, we had a hunger for life, to explore, to create, to do it our way. We started very young, we should have been around 15 years old when we had our first gig, trying to play some hardcore/punk/metal stuff. As soon as we got into Goth and EBM a whole new great world appeared and we wanted to be part of it. Since then we spent countless hours on the project and with faith, love and will, we made it happen.

You guys are also involved in the Greek metal scene as well, so when the band first started, what was the industrial/metal scene like back then and do you think it has changed?

Z– Along the way and more precisely, during our demo days, we were offered to play keyboards in 2 of the biggest Greek bands, me with SepticFlesh and Noid with Rotting Christ. Although our skills were not that great, I guess they loved our looks lol…Seth from SepticFlesh, once said that you guys look like pinheads son’s…,as for the Industrial /Metal scene, it was great back then, everyone wanted a piece of it in their music. Rob Zombie, Manson, NIN, Rammstein, that was the heydays of that scene and sure we were enjoyed it as well. Yes, its not a trend anymore, you hardly hear the good stuff with the exception of 3Teeth and a few more I guess…

Photo – VAIA

November 2021 saw you release your fifth studio album, DeathCult. It took 2 years for you to give life to brilliant album, so what took so long?

Z– Thank you for the compliment! I have been hearing it a lot about “DeathCult” and honestly puts a smile on my face. It always takes too much time to do an album that I am happy with. It takes me more than a month to do the pre-production for 1 track. I was into some deep personal shit, living in Leipzig at the time and it was hard for me to focus. We changed producer and that was not an easy one to deal with, especially when you work with a certain producer for 15 years

The 2 year wait was well worth it. You said in an interview that you enjoyed the work of Erik Saite. What was it about Gnossienne No 1 that inspired you to incorporating it into the mesmerising track Ghost Dance?

Z– I love Satie’s work, its utterly unique. His works are simply haunting, so..all in all, I was obsessed with his track, “Gnossienne No1”. I wanted to do a cover of it and here you go…. It was the hardest track to deal with and it took me 2 and half months to finish the pre-production. From a point and on, I started to be delusional, thinking that Satie is punishing me because he was still not happy with my outcome. I was desperate hearing it over and over again and for many hours per day. I was stuck, hearing his piano theme in a loop, it was killing me mentally until I found a way out and finished the song. Totally happy with the final result and hopefully with Satie’s blessings. Definitely a track that has a great feedback and brought many on our ship

The album is all about death, from serial killers to the after life. Can you tell us more about this?

Z– Death and Life, that’s the total balance and opposition at the same time, although both part of the whole that is existence. In this album I chose to focus on Death, it felt more like kin at the time… so I dove into its ocean, tried to understand a bit more. I twisted the angle. I watched and I asked to learn more. I think I did. Death is vital. Death is a path. Death is the transition. Death makes life unique. Death is all around us. Our societies, since day one, worshiped Death, not in a good way….its easy to understand that if you look carefully. Which is the god we mostly obey to?…it’s Death. We hate, we take advantage of others, we step on our friends, lovers, colleagues, we will do anything it takes to fulfill our desires and twisted plans. We think we control our lives but we are mostly nothing more than just the pathetic servants of Death’s lowest quality…the vain and ignorant, close minded tourists of life’s miracle.

What is it about the grotesque and macabre that inspires you and your music?

Z– More or less that’s what has always attracted me in music, The grotesque and the Macabre. My music heroes were drug addicts, alcoholics, outcasts and dangerous, damned and the tracks that I was turned on, listened to, were always the one’s that made me feel otherworldly. I cannot really put it in a frame, as a music and lyric creator, its just a feeling and when I hear it, it rings in me, I know that I am where I want to be.

You recorded the album with Dinos Prassas, also known as Psychon, who mixed and mastered DeathCult. Can you tell us about working with Psychon and what he brings to the Siva Six albums?

Z– Psychon has also done the production on this album besides Mix/Mastering. We have known each other since the early 00’s. We met at the rehearsal studio that Siva Six and his band was rehearsing at the time. He is a great guy, very talented, easy going and skillful sound design wise. Meanwhile, the timing to do another album with our ex producer was not a good one, so I talked with Psychon. I asked him to do a couple of demos and when I heard with what he had come up with, I heard the ringing in my ears….Psychon brings all of his positive and artistic aura in our music, working along side with his big orchestras, guitars, basses and the rest of the weird stuff he is into. We love his work and final touch he did in “DeathCult”.

George Klontzas of Teknovore spoke to me about how much admiration he has for Siva Six and was super proud of the cover you guys did together of Save Me God. This seems like a close friendship.

Z– Its an honor and I am glad to hear George’s feelings about us! We have met a couple of times in Athens & Edinburgh. I don’t really get excited by collaboration offers, my time is limited but when he offered to me the singing position in his Dark Soho cover, which is one of my all time favorite bands, I immediately accepted! I am happy and proud at the same time for the final outcome.

Photo – VAIA

Which song do you think you are going to really enjoy playing live?

Z– I will totally enjoy to play live again dear, since it has been 2 years and a half since our last gig, so all in all at this time, what really matters to me is to get back on the stage which I feel the urge to do so but “Ghost Dance” is the one I really can’t wait to experience on stage.

Talking of live music, how has covid affected the band as far as touring and are there any plans to do so soon?

Z– Some gigs in Germany & Greece were cancelled or postponed, we had no gigs for the last 2 and a half years. Lets face it…it’s a disaster. A ray of light has come in at the moment, so we will take the chance to do 4 live shows in Greece and hopefully our agent will sort out some gigs in Europe but its way too much complicated at the moment, since the line up bills and tours are full with the 2020 schedules. It’s sad but at least, since we get this feedback on a daily basis, that “DeathCult” is our best album so far but unfortunately the doors are not opened as wide as it would probably be pre-covid era.

You have toured with some legendary acts, so who was the most fun?

Z– We have shared the stage with some really great bands indeed. Tuske Ludder are great and funny people. We have became good friends with Hein from Theatre of Tragedy. Type o Negative were such a good people and Clan of Xymox are very cool and funny, I love Ronnie and we used to hang out a lot.

What music and bands got you into the EBM/industrial scene?

Z– I think it was mostly Ministry in the very early 90’s, Aphex Twin, Front 242, Einsturzende Neubauten but at the time the whole scene was on a launch and so many new bands were going out with a bang!

Who really gets you excited now about music?

Z– Without a doubt NIN and Trend Reznor projects, Chealsea Wolfe, 3TEETH, Wulfband, Perdubator, Soundtracks

Right at this moment in time, you have the ability to teleport to a beautiful sunny beach with blue waters or a gloomy cemetery full of mausoleums and famous artists……. where do you choose to go and why?

Z– If the cemetery would be the resurrection spot of a few of my favorite artists…. I would definitely wanted to be around and chat with them…. if not I would rather enjoy the sea thinking of them.

What is in the future for Siva Six?

Z– Our contract with Alfa Matrix is over and we have started some demo’s but as usual, it will take time to finish the pre-production. To be totally honest with you….I have no idea. There is too much mental strain all around us and the times we live in seem relentless. Hardships and setbacks are on the daily menu on everyone’s table. We will do some shows hopefully…and we will take it as it comes, you know..thinking a lot about the future does not really make sense, good things or bad things will happen or they will not.

Thank you for the dance while Chaos has her way with the world and thank you for your exquisite music!

Z– It was my pleasure and honour dear Adele ! Thank you.

DeathCult | SIVA SIX | Alfa Matrix (bandcamp.com)

SIVA SIX (OFFICIAL) | Facebook

SIVA SIX – Official Website – News

BlazerJacket were releasing a single on the 25th of February and never thought they would be releasing “Get Out” featuring Dirty Bird 13, while their home country, Ukraine, was facing invasion from Russian forces. The irony now is that a song which was about leaving abusive relationships is now a call to remove the invaders and free their home. We were lucky enough to be put in contact with Denis and Hybri Mod, who answered our questions. Those questions where it doesn’t say who answered, are a combined answer that they both agreed on in unison. If you haven’t checked out their thumping industrial track, this is our suggestion that you should.

Welcome to Onyx, where the streets have no names…..um because we removed them all.

You are based in Ukraine, so how are things for you both currently?

Denis: I am in Kyiv, trying to lead a normal life, only with the addition of two options – “try to survive” and “fight”. Of course, life has changed a lot … Daily rocket and artillery shelling of cities, constant air raids, daily evidence of attacks by Russian soldiers, murders of children, rape of women… It makes me very nervous and I struggle every day. And in all these conditions, you need to find additional sources of income, because things in online commerce, in which I work, are not going very well at the moment for obvious reasons. But I am in Kyiv, trying to lead a normal life… which will never be the same again

Hybri Mod: I am in the west of Ukraine right now. There are almost no explosions here, it’s relatively calm, definitely compared to what is happening in southern and eastern parts of the country.

Can you tell us the premise behind the two brothers the band portrays?

In 2020, we released an album that tells the listener a story of two brothers from a distant galaxy who protect the Earth from the most dangerous creature in the world. You can find out more by reading the album description on the Bandcamp and listening to the tracks in the correct order. We tried to convey the atmosphere not only through music and arrangements, but also through dialogues between the tracks. Also, since the release of this album, we have strictly adhered to our images on stage.

You recently released the single Get Out which is about domestic violence. What inspired you to write this track? Also you released this single as your country was at the beginning of being invaded by Russia. Do you find the timing ironic and has the song taken on a new meaning for you?

Denis: These two questions are directly related, so I will answer two of them at once.

Personally, I have put a similar meaning into this song before. Before writing this song, I had a very big fight and stopped all communication with a former friend. The reason was the bullying of the Ukrainian nation and pro-Russian sentiments. For me, this is a particularly sore subject since I was forced to leave my hometown due to the occupation by pro-Russian terrorists and Russian special forces in 2014. Therefore, the phrase “Get out” is addressed to all abusers, whether they are “friends” or Russian occupiers.

Hybri Mod: At the time of the process of creating a track, I treated it simply as nostalgia for the 00s of the industrial/dark scene, the bands to which I often listened in those years.

If first, I put one meaning into “Get Out” lyrics, then on the day of the release, I revised the message of the music and dedicated it to against Russian aggression represented by Putin.

Can you tell us about your association with Dirty Bird 13 and how they became involved?

Denis: Yes. I am Dirty Bird 13 🙂

I started the project with my classmate as a duo in 2009, but after 2013 I did it alone, gave it very little time, and a couple of years ago I played my last gig with Dirty Bird 13. So technically I’m “dirty bird 13” at the moment.

Yes, it’s strange to release a collaborative track with myself but let me explain.

I started writing the track itself back in 2012 in Horlivka (Territory in the east of Ukraine, which since 2014 has been under the occupation of Russia). After a long time, sorting through information from old media, I found the draft of this track and decided to finish it together with Hybri Mod. We managed to create something completely new for the BlazerJacket.

Since the track is a bit different from our usual sound, we thought it would be fair to credit “Dirty Bird 13” as a co-writer.

Hybri Mod: I was just a fan of Dirty Bird 13 before I met Denis. It’s always been a great interest for me to participate in the creation of a collaborative music. And although it happened within the whole BlazerJacket band, I’m very glad that my old dream came true officially.

You are heavily connected to Comic Con Ukraine, so can you tell us about this?

We have been residents of the Comic Con music scene since the very first festival in 2019. We maintain good relations with the organizers and other residents of this festival and are always happy to entertain visitors with our shows and performances.

Is this a part of your creative outlet?

Since our lyrical characters in BlazerJacket are mystical aliens from a science fiction novel, we think we are directly related to the “Comic Con” culture.

If you could be any comic or anime character right now, who would you be and what would you do with your superpowers?

Denis: I want to be an “iron man” to end this war as soon as possible.

Hybri Mod: I don’t know exactly who I would like to be, but definitely with an unkillable skill 🙂 It would be possible to single-handedly change the system in which we all live and build something new, where life and human rights are above the interests of global corporations.

I realise it is hard to talk about the future currently but what are you looking forward to in the long term?

We were planning to speed up the release of our tracks and videos. But now we do not know what will happen after another air raid. Let’s see what happens, but we are not going to give up our music.

Music | BlazerJacket (bandcamp.com)

BlazerJacket | Facebook

Eric Oberto hit the industrial/electro scene recently with two singles, with one spawning a remix release. Add to that, the fact that both were picked and used for both a horror TV series and horror movie, which Oberto also had roles in. Eric is no stranger to the music world either. In the early 90s, he was a member of the very successful industrial group Tungsten Coil. As you can imagine, the singles are dark and filled with gritty electronics, so with that in mind, we bunkered down for a nice chat, a cup of tea and waited to see if our time had come.

Welcome to the secret panic room here at Onyx Eric, where we like to rock ourselves to sleep after a day of dealing with the bright outside world. Do you like our fairy lights with nightmarish decor?

Thanks for having me! The fairy lights are a nice touch, and the nightmarish décor reminds me of my lair. It’s important to have the comforts of home when doing an interview. I must say that I do try to avoid the bright outside world as much as possible- that’s where you run into all those damn humans! LOL!

You have had synesthesia all your life, a condition that causes people to see music as colors. How has this impacted on your creating music? Does it enhance, impede or both?

Yes, it’s had a major impact on my music and life in general. First, I need to explain the degree of my synesthesia. For many people it’s an association of colors to characters, like if they hear the number 9- they see the color green (or something like that). My particular case is considered extreme; I see sound as moving three-dimensional colors, shapes, and patterns as I hear it (in real-time). It’s like having a second vision that’s going on in my mind simultaneously with the vision I process through my eyes. It’s a lot of input to handle at once!

Synesthesia is what really made it possible for me to write music. I don’t really understand music theory, the math of music, or anything like that. I paint animated musical pictures/films with the vibrant color-drenched pallet of mentally generated insanity. I know that’s a mouthful, but that basically how it works. It definitely enhances my music-making process.

As far as impeding goes, that falls onto the rest of my life. It has made traditional classroom style learning almost impossible for me. I also have dyslexia, and when you combine those two conditions together it’s almost impossible to concentrate long enough to input (and retain) information. Reading, taking tests, studying- all of it is a challenge for me. The reason that music works for me is because that kind of data input seems to take over my brain and it blocks out all the outside distractions. It’s as if the music and synesthesia combine into one euphoric experience that instantly becomes more important than anything else in that moment.

You have been in industrial bands since you were 16 years old, which lead to you being in Tungsten Coil, your first successful band. Can you tell us about your time with Tungsten Coil and how it affected your music?

Those were crazy times for sure! I was 18 when Tungsten Coil was formed, which was right after my first band- Reign of the Coven had broken up. It’s also at the tail end of my fight with cancer (synovial chondrosarcoma), which almost cost me my left leg and nearly my life. When you combined those elements together it created the perfect storm of drive and determination, maybe even obsession. I was an angry young man with nothing to lose! So, Tungsten Coil really became the vehicle to drive my message of “FUCK YOU” to the world. My future was uncertain, so I knew I needed to make my mark as loud and as fast as possible. I teamed up with John Miller and Tungsten Coil was born- Detroit style!

We took an aggressive approach by playing a bunch of shows right out of the gate, which included partaking in some big festivals and showcases (which included two major events @ at Club X in the historic State Theatre (now Fillmore Theatre) – Xtasy ’94 & The Nocturnal Fest, by Nigel Productions. Our efforts shook up the Detroit Industrial/Goth music scene and gained us a solid fanbase! The following year we made a surprise move to the live music capital of America- aka Austin, Texas. By 1996, we played our first Texas show at the infamous heavy metal club- The Back Room. This show put Tungsten Coil on the Austin, Texas music scene map overnight and launched us into the spotlight. Tungsten Coil became a staple of the Austin Industrial/Goth music scene. We showcased multiple years at the famous South by Southwest (SXSW) Music Festival. We gained a strong regional following through a relentless touring schedule over the years.

Tungsten Coil was featured in numerous music compilations, released multiple EPs, and two full-length albums- REACTIVE and ALPHA & OMEGA. Along the way we were nominated for and won multiple awards, including an AUSTIN MUSIC AWARD for BEST INDUSTRIAL BAND! Our final performance was a SXSW showcase at Elysium in 2008, where we shared the stage with Goth legend- Peter Murphy of Bauhaus. It’s a shame that Tungsten Coil’s heyday was before the current social media frenzy, because a lot of those great memories were never captured on film. Which also might not be a bad thing too, because of all the crazy/excess partying we did! We were just as hardcore off stage as we were on stage! My adopted saying was: “Born in sin, come on in!”, big props to Andre Linoge (my favorite villain!) from Stephen King’s- Storm of the Century. Anyway, it’s probably a good thing that some of those incriminating memories, stay memories! LOL!

You gave away music for a while to *checks notes* eventually create your own financial management company….. that seems awfully different to writing music. Did you enjoy the financial hustle?

It was a completely different life, and one I had never considered prior to living it. Yes, I did enjoy it! It was exactly the kind of life change that I needed at that time. I was 100% the underdog- I barely graduated high school, only went to a semester of collage, and had absolutely no experience in the financial industry. However, I did have a ton of common-sense life skills and business savvy because of my tenure in the music business. Money always made sense to me and once I understood the lay of the land, there was no stopping me. I really enjoyed the challenge of overcoming all the odds that were against me, it was a rush! I also liked being one of the good guys in an industry full of dishonest greedy pricks! I’m happy to report that during my career (which lasted over a decade), I never had one filed complaint of any kind! That’s rare in the financial industry!

I had my own financial management firm with a beautiful office in a high rise, and an awesome city view. I had the cars, the house, the suits, the money, and all that stuff. But after a while I lost my affinity for the business. I remember exactly when those feelings hit me. One day I’m looking out of my office window at a storm rolling in over the Dallas skyline, and I realized that I wasn’t happy anymore. I had already achieved all the goals I had set my sights on, and I had nothing left to prove to myself. I knew that I had to find my way back to music and find it fast! So, I sold the company to my business partner and never looked back.

You had the onset of Sudden Sensorineural Hearing Loss which affected your synesthesia. How have you overcome this obstacle?

In 2021, I finally found a path to create music using my one good ear and filled in the gaps of the broken ear by making use of several modern computer software tools. These tools allow me to visually identify frequencies that I can no longer hear, and I’m now able to visually see the stereo field where sounds reside in it. I also discovered a device that allows me to independently EQ the left and right sides of my headphones. This device gives me the ability to boost all the lost hearing frequencies in the right ear; to fill in the missing gaps. The right ear is broken, completely distorted, and plagued with massive tinnitus. However, by amplifying all the frequencies independently, it tricks my brain into thinking that the correct hearing information is being received (even though it isn’t). The end-result is that it allows my synesthesia to kick back in somewhat, and I use my previous songwriting experiences to fill in the gaps. These amazing tools didn’t make me whole again, but they do provide a new path forward to pursue my musical dreams. Now, against different odds and obstacles, I’m writing the best music of my career (at least I think so). This hearing loss handicap has pushed me to continually prove to myself that I can create art no matter what obstacles get in my way!

Has this changed the way to listen to music, the way you compose or even the style of music?

Everything has changed! It’s been hard for me because I blindly relied on my ears for so much. One of my favorite things to do before I went deaf was to sit in the dark and listen to music with headphones on; the images that my synesthesia created were more exciting to me than any film I’d ever seen! Unfortunately, that wonderful experience is no longer a part of my life (so depressing). I can’t process the info in the same way anymore and my heart is breaking as I’m answering this question. Sigh… Let’s move on…

Your first solo single was the atmospheric Darkness Never Lies, which is also featured in the movie Amityville Cult. What is the premise behind this track and how does it feel having it in a movie?

It’s about the inner voice inside each of us, the voice of truth that attempts to thwart the lies we tell ourselves and others. Fear is the basic emotion that gives birth to lies. It’s about people going through their lives and telling people what they want to hear to avoid confrontation. Not taking risks for fear of failure, injury, or death, and not going against the grain for fear of rejection (you get the point). In daylight (or while living life), so many people just go through the motions, find meaningless distractions, and convince themselves that they are really living. However, at the end of life, in their final darkness, all lies will become final regrets- Darkness Never Lies!

It’s an awesome feeling to have a song in a film, especially when you get the entire credit scroll! People’s perception/treatment of musicians and bands can be a strange thing. You tell someone that you have a new song or album and the say “cool man”. You tell them that you have a song in an internationally distributed film that’s also available in Walmart, then they say “congratulations, I’m so proud of you”! Weird, right?

Eric, you are also a cast member in that same movie, and I read you are writing scripts and looking to produce/direct. Why have you decided to pursue these artistic directions?

An absolute yes! Now that I’ve proven to myself that I can compose music again, I’m climbing every Mt. Everest I can get my boots on! I’ve always wanted to do some acting and I love movies. So when that opportunity came up I jumped on it. Now I’ve thrown my hat into the ring in several aspects of the film industry and I’m loving it! I even started my own production company- Tungsten Coil Productions. I’m just about finished with the script for my upcoming film- Sleep. I’m so excited about this film, it’s a crazy mindbender of a trip! I’ve got my work cut out for me on this project though, I’m playing three roles, directing, producing, editing, and composing the score. We are hoping to start filming in the fall.

Erik Gustafson of Adoration Destroyed did an up-tempo remix of Darkness Never Dies. What was it like hearing your work through someone else’s ears so to speak?

It was awesome! Erik and I go way back; we played a bunch of shows together back in my Tungsten Coil days. He was in Terminal 46 and Lust Murder Box. I already knew firsthand what Erik brought to the table, so I had total confidence in his abilities. It was fun going through the process with him and I mastered the song with my producer- John Robert Craig. I’m very proud of the final outcome, it’s a banger for sure!

Closer Than Ever Before is your latest single release and again it is going to feature in a movie. I feel the theme for the track is about aging and getting closer to the end of expiration. Can you tell me about this track?

Yes, I’m stoked to have this song in the upcoming theatrical release film- Malibu Horror Story! It’s a badass horror film and it’s truly an honor to get placement for the entire credit scroll again. I love this film so much that I jumped on board the project as an executive producer as well.

Yes, you’re on the right track with your interpretation of the song. I’ve always been focused time passing by and running out ever since I had cancer as a kid. Facing your mortality as a kid will do that to you, and now being in your forties and starting over in the entertainment industry will make you hyper-focused on what time you have remaining as well. The message I wanted to convey in that song was this: Every second of every day, we’re closer to death. What are you doing with the time you are given and are you living your life to the fullest?

Are there plans for an album?

Right now I’m focusing on singles; it just makes sense to me at this point in time. The music industry today doesn’t appear to have the attention span for an entire album. Hell, it’s hard to get people to listen to an entire song without them being distracted by their fucking phones!

I do want to release some albums on vinyl after I build up my catalog with some more songs. I want to put out a series of vinyl with a few songs and a bunch of remixes on each release. Maybe a full album in the future, you never know.

If you were in a horror movie, what character would you want to be? The screaming victim but ultimate hero, the wise elder who knows the backstory but now is earmarked to die, or the evil stabby killer?

That’s easy, The Evil Stabby Killer!

What is next for Eric Oberto?

Right now I’m going to continue to release new songs and music videos every few months. I’m also going to keep pushing my way into the film industry in the forms I mentioned before. Finally, I’m going to focus on doing music for video games. I’ve got a few other tricks up my sleeve, but that’s enough of a workload for now!

Thank you for joining me in the room where no cursed things happened ever…. I think 🙂

Thank you for having me, I had a bloody terror of a time! As a final parting thought, I do think some things may have been cursed in this room. Just saying…

Dammit Janet! Breakout the sage!

Music | ERIC OBERTO (bandcamp.com)

ERIC OBERTO | Facebook

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

Those who like their industrial, dance music, will be familiar with the name Simon Carter for his solo work and also his collaborations with Studio X. He has since left the label, Alfa Matrix and joined forces with German chanteuse, Fabsi, to create Simon Carter and Fabsi. Their first album, The Bitches Potion, was self released on March 20th, 2022.

This album has everything going for it. The single “Hex Hex (Wir Sind Die Hexen)” is dance floor candy, even at seven minutes long. In fact, most of the tracks average out at six minutes each. The single, “Beautiful Destruction” is a great track and “Pink Queen” is absolutely bombastic with its deep, pulsing techno rhythm. The amazing and creepy, “Nanobots (Are You My Mummy?)” is a little gem of industrial techno, only to followed up by the thumping “This Is Only A Test“. That is only a selection of the eleven original tracks and all could be played at a club easily.

As a lucky bonus, you get seven remixes, including the likes of Matt Hart, Moaan Exis, Teknovore and Ruinizer (Jay Ruin). The Teknovore remix of “Hex Hex (Wir Sind Die Hexen)” is brilliantly smooth and menacing at the same time, while the Moaan Exis remix of “The Witching Hour” has a wonderful, crunchy texture to it. “We Are The Witches” is given a nice helping of heavy electronics by Matt Hart, who touches them up in all the right ways and the Ruinizer version of “Pink Queen” feels like a free fall of deranged rhythmic delights. The other mixes are done by Carter, under the guise of his other projects and they are just as note worthy as the guests. For goodness sake, checkout the Narconic version of “Hex Hex” as you really need to hear it

The Bitch’s Potion will beguile you as it traverses and incorporates so many styles of dance music. Techno, industrial, rhythmic noise and trance, whilst the vocals of Fabsi entrance you. This is one magical elixir that one must imbibe to get the full heady and intoxicating taste. Talking of mystical things, Simon and Fabsi were generous in giving us some of their time to talk to us about their supernatural musical powers!

Welcome to the darkside of Onyx. where we have a no gremlins past the front door policy. So please empty your pockets of all little munchkins but feline familiars are most welcome and will get complimentary tickles.

How did Simon and Fabsi meet and become the fabulous Simon Carter & Fabsi?

Simon: It was during the beginning of Corona and we met in a few Twitch streams, we found our music tastes had a lot in common. The very first collaboration came about when Fabsi left me a rude late night voice mail and I used that as a sample at the end of a joke/comedy track called “Oh Yeah”. It wasn’t long before we thought we should try and do something a bit more serious together! The ‘Simon Carter’ bandcamp page was never meant to be serious, it was my playground for silly tracks and deliberately horrible artwork! Whilst I’d never take myself too seriously… Since (and including) the “Beautiful Destruction” EP I am taking the tracks with Fabsi more seriously and hopefully that shines through in the quality of the music and can also be heard in the later releases on that bandcamp page.

Fabsi: We played some online games together and he kept recording bits of me and made silly little songs. So we thought let’s do something proper and I recorded the vocal for “Beautiful Destruction” with my iPhone and he challenged himself to make as many different versions as possible with spawned the “Beautiful Destruction” EP. That worked out so well that I bought a proper mic and we decided to try and make a full Album together.

Congrats are in order. The album is pretty mammoth, so how long did it take to create?

Simon: I think it took around 12 months to complete, the lockdowns due to Covid allowed me a lot more studio time than I’m used to and as is often the case when a project is new and exciting I had a lot of motivation and inspiration for it from the get-go.

Fabsi: We started straight after releasing the “Beautiful Destruction” EP, which was released exactly 1 year (to the day!) before the “Bitches Potion”.

Has covid interrupted your ability to play and record or did it allow you more time to do things?

Simon: I think we can say that Covid helped launch this project! A glimmer of something good in an otherwise sad and unfortunate time for the world.

Fabsi: Was not a problem from my side as I was recording from Germany. I had time for a new project because I couldn’t go out much here due to the restrictions.

There is a witch house and witch theme throughout, why did you go with beings of the magical arts?

Simon: We can blame Fabsi for that theme, I’m fairly certain she is a witch… but it’s a great theme and a fantastic concept which I’ve really enjoyed embracing, her witchyness is a huge part of this project.

Fabsi: The witchy idea came from me. I get a monthly witchy subscription box and I was so inspired by that and I still am. So there is more to come. We both love watching series and my favorites are those with magical or supernatural backgrounds/topic. I’m also a big Harry Potter fan!

The single Hex Hex (Wir Sind Die Hexen) is this huge, trance.techno track that feels like it is looping over and over again, with Fabsi’s vocals in German over the top. Is it about spells and you must be pretty pleased the way it turned out?

Simon: I’m super pleased with this track, it was one of the first to be finished and I knew we had something special, I knew it was a bit of a banger and I think Fabsi sounds best in her native German. Even though it’s a long track, I just knew this is the one for the music video. It’s interesting you should mention Trance as I do have a bit of a background in that scene from my Narconic project but this new techno sound is something I’ve only recently started to explore.

Fabsi: It’s mostly a translation from another track on this album “We Are The Witches” and as German is my native language It was a lot easier for me to record that vocal than some of the others.

Where did you film the video as it looks like it is in the middle of nowhere?

Fabsi: The video is filmed near Frankfurt (Germany) next to a forest. It’s a 2 hour drive away from where I live.

Is someone a big Dr Who nerd? Nano Bots (Are You My Mummy) has to about the episodes where it is WW2 and there is a child walking around in a gas mask asking Are you my mummy. (And now he’s stuck in my brain again)

Fabsi: Maybe it’s me. That’s my favourite Dr. Who episode, with captain Jack Harkness and Rose, they are a perfect combo. During corona, I was reminded of those children with the gasmasks.

Simon: When Fabsi shared this idea and I hunted the sample down (in fact we watched the episode together!) I initially thought there’s no way this will work in a track, no matter what genre I try. I’m pleased to say my initial thoughts were wrong and it’s turned out to be one of the most popular tracks on the album.

Time to fess up. Three of the remixes are done by Simon projects aren’t they?

Simon: Aha yes! I think you’re the first person to realise this! Sometimes I want a break from the hard pounding techno beats and rhythms so I mess about with the vocals and often produce something entirely different, when that happens (and we deem it good enough!) I put one of my other projects down as the remixer.

The other four remixes have been done by other great musicians Matt Hatt, Tecknovore, Ruinizer and Moaan Exis. How did you get these guys onboard?

Simon: Myself and George (Teknovore) go waaaay back so that was a no brainer for me. Since he departed PES0.1 and started Teknovore I knew he was developing a really unique and special sound and I wanted him and only him to remix what I believed to be the best track on the album Hex Hex (Wir Sind Die Hexen). Matt Hart & Ruinizer are fellow Brits who were returning remix favours for me, whilst Moaan Exis was someone I approached after hearing some of their tracks and thinking they could come up with something juicy for us.

I have been watching a lot of the European and British electro/industrial scene people and you guys are so supportive of each other both in terms of helping each other out and morally there for each other. Does if feel that way to you?

Simon: We do like to put on a united front! The world has changed so drastically since Corona and that has affected the scene greatly too. Surprisingly my biggest support still comes from Australia, Canada, the US and Mexico but since this release I have been receiving a bit more interest from Europe including my homeland, the UK. It’s a small scene and I’m very much inclined to support and help out as much as possible where I can.

Fabsi: We both have our qualities and they match perfectly together. We can help each other out and support each other where necessary. It’s crazy that other people can see that and mention that about us. You really need someone you can trust 100% that has your back for doing such a project.

Simon, you are well known for your musical creations with Australians, Studio X and you were both on Alfa Matrix but recently you seem to have struck out on your own, so can you tell us a little about this?

Simon: That’s right, myself and Studio-X released 3 albums, 6 EP’s and 1 single, all on the Belgian record label Alfa Matrix and we both had respective solo projects on that label too. Those were crazy days when I think we both had more time and the creativity was just flowing like a river. We’re still good friends and who knows if they’ll be more in that direction in the future, I am certainly one to never say never. The record label discussion is an interesting one. Since releasing this album a few offers have come in for this project. I’ve never touted this, Narconic or my Humans Can’t Reboot projects to a record label. I know a record label would give us greater exposure but the world is a very different, constantly evolving place these days and I feel happy in the knowledge that I have 100% control in regards to every specific aspect of these projects, their distribution and their futures.

Have you played live yet under the guise of this project or is this going to be something you consider taking live, into the future?

Simon: We have definitely spoken about this, I think it’s fair to say I am more keen on this idea than Fabsi! I’m currently in the process of re-decorating and moving but once that’s done then who knows.

Fabsi: We haven’t played live yet or planned any concerts. But you never know what the future brings.

What music got you into the scene?

Simon: I’ve always had such an eclectic taste in music but I do recall how I first came to find out about the scene. As a youngster I was really into my cheesy harder dance music and especially the vocal tracks. I’d often go to school with my walkman playing such tracks. I heard some tracks from Force & Styles with a male vocalist (MC Junior) and it blew me away. I’d literally only ever heard female vocalists in electronic music prior to that so I did my research and I found bands like VNV Nation, Neuroticfish, Covenant etc. Ok the music was considerably slower but it was amazing to hear electronic dance music with male vocals and passion! I was hooked form then on and dived deeper and deeper into the scene and all the different offshoot genres the scene has to offer.

Fabsi: In My Teenage years I was listening to a lot of Emo and Metal, but my first gothic or industrial song was “Combichrist – Electrohead“ in about 2008 and from then on I was dragged further into the gothic music and style. I’m always open to other genres too, like Hardstyle or Trance.

Who or what do you listen to now?

Simon: A lot of scene music and I like to see what’s hot, what’s the current flavour of the month and lately I’ve been listening to a lot of Sierra, Minuit Machine, Mark Dekoda and Tecknovore to get my techno fix and then I’ll mix it up with something like a bit of Empathy Test because Isaac’s voice is fantastic and they make some really nice synthpop.

Fabsi: My favourite band is “The Birthday Massacre” and I could listen 24/7 to their music. But of course I do not, so the rest of the time I listen a lot to Simon’s music and I like to listen to female voices in the gothic scene. My favourite Podcast I listen weekly to is “Communion After Dark”.

We are trying to decide if you are a witch or a normal person by throwing you in the lake because witches float but someone says ducks also float. What do you do?

Simon: Entirely depends on if I’m wearing my armbands (water-wings) or not!

Fabsi: So no-one would think I am a witch I would turn myself into a duck!

When you look into the magic looking glass, what do you see for the future of Simon Carter & Fabsi?

Simon: a big black void of witchy goodness! I’ve really enjoyed this theme and project and would definitely like to continue with this sound in the future.

Fabsi: I see Simon and me doing a stream together on twitch, when I can visit the UK and hopefully a lot more magical tunes to create and release.

Thank you for joining our timey whimmey magical mystery tour and that enchanting things await you. Not cave fairies though as they little terrors.

The Bitches Potion | Simon Carter and Fabsi | Simon Carter (bandcamp.com)

Simon Carter / Humans Can’t Reboot / Narconic / SD-Krtr | Facebook

Fabsi | Facebook

MATT HART | Facebook Music | MATT HART (bandcamp.com)

Ruinizer | Facebook Music | RUINIZER (bandcamp.com)

MOAAN EXIS | Facebook Music | MOAAN EXIS (bandcamp.com)

Teknovore | Facebook The Theseus Paradox | Teknovore | Infacted Recordings (bandcamp.com)