The HOSTILEARCHITECT might be hostile but he is also very conscious of being fit. Brisbane electronic artist MitchKenny dropped the single “ANYTIMEFITNESS” back in March….yep I’m slack, but here it is, so let’s get physical.
Mighty rhythms for a mighty strong track. Kenny lays down some pretty dark synth lines and the powerful vocals are leap out at you with extreme vigour. The angst is palpable with the clattering beats.
‘Violent men make violent times‘ sounds like a steroid fuelled nightmare with an cyberpunk soundtrack, as the HOSTILEARCHITECT sweeps you away, fanning the explosive dance track that is “ANYTIME FITNESS (SUPPLEMENTAL MIX).”
Does society feel like it is screwing you over and that the human scum of the world get in your way, trying to drive you insane with their general stupidity? Don’t worry, you aren’t alone! PhobosReactor with guest TFG (TrollFinderGeneral) are assailing your ears with the single, “Hyi, ihmisiä” which simply means ew, people, out on the Pancimachine label.
“Illanvietto” is the first track on Bandcamp, and this means socialevening, though quite frankly, I do believe this requires human interaction. Anyhoo, I highly suggest watching the Youtube videos for a translated version of the Finnish lyrics. The music is a throwback to a more analogue sound, where our hero of the hour is inebriated just so he can deal with others of his species, in his own fashion and delicate ways, all to an electronic sound track that probably doesn’t care about his issues with this night.
Of course, you just kind of know that “Hyi, ihmisiä” is going to go kind of off the rails and leave the reservation, and so behold the introduction of the occasional angry guitar, space aliens and the vocals of a chap who thinks he’s a pretty neat fellow to pass time with, but we all know he needs to remove that stick from his rectum.
The single called “Grip Of Pain” does sound… well, painful. This is the latest drop from Teknovore, as GeorgeKlontzas takes us on an electronic nightmare into Greek mythos, with JanKluge of AnySecond on vocal duties, with this the second single off the soon to be released album, on InfactedRecords, called Caerdroia.
‘Listen to me, no way out‘ grabs you by the nuts and the brutal vocals punch you in the guts. The electronics are laced with urgency, like you are being chased by unseen forces in the darkness. The techno beats echoing around in your head, duelling along with Kluge’s rasped promise of no escape in “GripOfPain.” “Anamnesis” is just throw back to hard dance style techno rave music, full of electrifying energy that builds over and over again, taking you to the point where you have to move, for now your body is not your own.
If you love dance music, electronic music or just good industrial, then you really will have to have a listen to the latest Teknovore. It is really mind blowing how well Klontzas can weave together tracks that are instantaneously likeable, plus accessing talent like JanKluge (AnySecond) to set it all on fire, speak volumes about the man. Get thee the “GripOfPain,” because we seem to have lived this life before………….
Shall we travel into the “BLACKABYSS” where humanity eeks out their days? This is the latest single from Brit MATTHART, and there probably isn’t a better group of acts to remix this single than OpalDusk, Modulate, Teknovore and SPANKTHENUN,
The original track is an interesting mixture of light synths against the bleak vocals of HART and the plunging rhythms, probing the darkest depths that the humans have had to dig themselves into for mere survival. The OpalDusk remix is a highlight of the bright synths with MATTHART’s angst, while the Modulate version is like a slow burn, making you wait on the edge for it to climax, and just when you think it never will, the track picks you up in a swirling maelstrom. The prowess of Teknovore is going to hit you with a dance floor killer, that is constantly on the move and emphasising the desperation of the vocals, while the SPANKTHENUN BOOTLEG MIX has the vocals at the fore, echoing and malevolent, as if there has been that loss of humanity, perhaps devoid of their own souls.
The ongoing tale of flesh versus machine is MATTHART’s opus. A story against all odds and it isn’t over yet as alien machines terraform a planet into a cold wasteland, whilst attempting to exterminate the human pests who must burrow into the soil, towards the warmth and safety of the core. As always, it is so interesting to hear the different takes on “BLACKABYSS” and what each musician takes from the track. From the original version through to the remixes, they all have that wonderful synergy and all belong in the clubs.
The Greek god of industrial beats has to be GeorgeKlontzas of Teknovore, and he is back with a new single “Citadel,” featuring British industrial aggrotech group Biomechanimal. Out on InfactedRecordings, this single is from the up and coming album Caerdroi and coupled with a second track “Oubliette.”
Matthew L. Simpson’s vocals rasp out the lyrics he has penned, grating along the raw nerves that are vibrating with the super crushing bass and beats. There is a air of heaviness and impending doom should one re-enter the “Citadel” with spiralling electronics booming into the darkness.
“Oubliette” is more a thumping race against time with the female vocals repeating Is this a dream?, as if the question will snap them out of the techno terror. The synths are scintillating, pushing your muscles to move with a mind of their own.
Both tracks are dance floor killers, and I have to say we are spoilt for choice with two very different industrial pieces. As a forerunner to the album, a Caerdroia is a Welsh term for a maze, with the single being called “Citadel” which is of course a fortified city and “Oubliette” being a type of dungeon with one small opening….. is this all to do with the legend of Theseus, the Minotaur and the Labyrinth? Time only will tell but in the meantime get lost in the “Citadel.”
It feels like there is so much going on in the world currently and the rest of the planet are watching in horror as wars are popping up like spreading fires. Irish project OWLS was created by EmyCollum back in 2021, where he went from drumming with indie bands to going solo so he could dive into his passion for post-punk and electronic music, and March has seen the release of the new single “Body Bags.”
The style is energetic analogue, like a mash up of CabaretVoltaire and FadGadget. The vocals range from darkwave whispers to barked out cries. The music is punchy and definitely has a punk based approach.
“All of my songwriting up until now has been dealing with internal conflicts and self assessment. It feels selfish looking inwards when being faced with genocide daily. I teach History. I had a Palestinian student join one of my classes recently. They presented a project on the ancient buildings of Gaza City only to highlight the fact that they’re no longer there. That hit hard” – EmmettCollum
“Body Bags” is an enjoyable track, but at just over two minutes long, it vibes along quite nicely, when it stops. Ah well, this is the punk way and the absurdity of the whole thing is that we shouldn’t have to be talking about bagging and tagging men, women and children that should have lived long and wonderful lives. The OWLS are watching in judgement.
California’s BestialMouths, headed by vocalist and lyricist LynetteCerezo, has been creating their own style of industrial/synthpop infused music with a punk edge, since 2009. 2024 has brought with it the album BACKBONE, a seventeen track remix of songs off the 2023 studio release of R.O.T.T. (In My Skin), complete with an extraordinary guest list of artists. The lovely Lynette was kind enough to chat to us about BACKBONE, music and her influences, but also, maybe more importantly is her fearlessly pushing to prove that women, and especially ladies of colour are very much spearheading great dark electronic music.
Welcome Lynette Cerezo, of BESTIAL MOUTHS, to ever inviting darkness of Onyx and its denizens.
You are the core of the project BESTIAL MOUTHS, which has been around since 2009. Looking back now, what do you think were your motivations for bringing BESTIAL MOUTHS into existence?
We started Bestial as an outlet to create something new. We were not trying to fit into any genre but wanted to make new art/music. Honestly, when we started, we did not think of much – like, will this go anywhere? What is the future? What’s the plan? etc. We were clueless, really, on the music business and felt a need in our hearts and souls to express and perform. We did not think; we just did. It’s crazy to see this and realize it has been that long, and I still feel so novice; I’ve been told it’s the whole “imposter syndrome” thing.
What is the current configuration of the band? Is it just you with guest artists and if so, who do you love coming back to play?
Me, Lynette Cerezo, as vocalist and main head with Brant Showers of AAIMON and SOLVE as the other main person and producer. Live I had been joined for a while with Raphael Gaudino on synths, who also contributed to writing I AM THE SPELL or HEX. Plus Ely of CRUNE on synth and Theremin Live. Recently, you can see Wanda playing electronic drums ~ and yes, these I love & have my heart (all so much talent and dedication).
“R.O.T.T. (In My Skin)” was the album released in 2023, that you wrote with Rhys Fulber (Front Line Assembly, Delerium, Noise Unit). Can you tell us what went into making “R.O.T.T. (inmyskin)” and what it is like working with Fulber?
Everything went into it, as it always does writing an album. But this one was a lineage from the previous two, INSHROUDSS & RESURRECTEDINBLACK. It was the next phase or culmination. The name means Road Of Thousand Tears, referring also to the trail of tears tragedy. It was time to tell my story and be more open and direct with what has happened to me. To own who I am and also why I chose to sing in Spanish and English on Road Of Thousand Tears song. I actually had the concept and lyrics for quite a while till we started making the music and taking form. I wanted something that had more repetitive lyrics or hooks to capture people and more dance-oriented – to draw people together as one and so people could all relate.
Working with Rhys was like a dream for me- I just kept thinking if teenage me knew this would happen (or back in 2009 let’s say). Of course, at first, I felt nervous and intimidated and wanted to prove my worth. Show Rhys I am professional. Rhys’s calm demeanor and amusing stories and humor made it a blast. I was really impressed by how much he really drove into the songs/music and created for this.
As the title might suggest, this is a pretty personal album it seems. How close to the truth is this and what are the underlying themes running through it?
It is written in truths from my life experiences. The truth of traumas and PTSD and what I have been through (my divorce, betrayals, abuse). I knew many have had similar experiences in this world, and I wanted to reach them to say you’re not alone, and that means I am not alone. One topic is bullies, being bullied and picked on and the pain it brings and how unfair and how helpless you feel. So for myself, I tried to reclaim my strength by continuing on and “taking back what’s mine.” This album is to show you have not destroyed me but I don’t think I can take any more in; I am exhausted; I show the scars, but we still find a glimmer of hope “we vomit the stars and gather new moons.”
2024 has already started with a bang for you, with the huge remix of “R.O.T.T” called “BACKBONE.” Was this a project that you enjoyed doing and what is it like for you hearing your music through the ears of other artists?
It is such a huge honor to collaborate with other artists you admire. It’s incredible to think your baby is getting this much attention from others. They have taken the time to dive into your music and lyrics and channel it through them and create new visions. I truly find it magical. Same with covers; maybe one day that will start happening as well.
The artists on remix duties vary greatly in style, with names like ACTORS, genCAB, Bedless Bones, Snowbeasts and Trace Amounts turning up. How did you go about organising this mammoth task and did you know most of these guys before “BACKBONE”?
Thank you for recognizing it was a large task; it was for sure, but a great one! I listen to various genres within this scene and these are some I love. I have been fortunate to have met many along the way touring and the like. Some I went out on a limb and held my breath and contacted them like REBEKA WARRIOR and Broken English Club have never met in person yet. I wanted to have a variety just as it reflects Bestial’s more diverse style.
Are there original songs of your that you particularly liked and that really now pop or have you found some of the remixes have made re-estimate certain tracks, and made you love them even more?
That’s the beauty of a remix; you now have two or sometimes more versions of a song each with its essence. Luckily, I still love the originals, haha! But look forward to hearing the remixes on the dance floors.
You are on the Negative Gain Production label. How has it been working with them and having them support you with this mammoth remix?
NGP has always been amazing and truly cares about us artists. I love that they foster community and a team and connect all of us artists on the label. Having this support means a lot emotionally, mentally, and is very helpful in many ways.
Lynette, about three years ago, you said that as a woman of colour, you have basically spent a lot of time pushing to be seen and heard. Do you feel this has in many ways influenced your music writing and visual aesthetics?
Without a doubt it has; how can it not. I write and perform from who I am, which is emotions, experiences, and challenges. Being a woman in music is a challenge to be seen and taken seriously. I really fought to be seen as a human/a person as we all should be. Lots of disappointments because life is not fair a lot of the time. But I want to leave an impression that I will fight and believe in you and do it.
It also hasn’t always been a smooth ride for women, and especially females that are not white, in the darkwave/industrial scenes, so I am wondering if you personally have seen a change in attitudes from fellow musicians and the public that consume this style of music, notably with the release of the last two albums?
I believe I have, especially from when I started. Especially because we originally played a lot with the noise scene which was very male and the same with electronic music as the woman was more the eye candy of it. I like to think as this world becomes more diverse and women get more power it reflects into music. We still have a long road with the way some are fighting back and trying to take all that away again though (and I will say honestly I fear that but do all I can to fight it and with the movement).
You have worked an amazing array of producers and musicians, however one name really caught my eye. One Mick Harvey who was a member of the wonderfully explosive The Birthday Party (prev. Boys Next Door), as well as Nick Cave and the Bad Seeds and having a very extensive solo career. So how did you end up working with Harvey and what was he like, as he always seemed to be the most down earth type?
I had the pleasure of working and meeting Mick in a project unrelated to Bestial Mouths. Mick had written a record on Mute Records with a friend of mine Richard Barker. I was fortunate to come sing making vocals on air during radio sessions. No practice, just pick up from the airport and here you go. Was also quite impressive to tour mute offices!
The lyrics you write are darkly descriptive, like you are creating a picture verbally but also the visual side seems equally important to you. Do you perceive that visuals give your music a more tactile quality…a sense of realism?
I do tend to write more in a cut-up or poetic way that is often more vague and less direct. I like people to use their minds and emotions, to draw upon their experiences and themselves; this way it really lives through them, then they can connect to it. The visual aspect is also very important as I feel Bestial is immersive in both sounds performance visuals. What is real? I often wonder and I feel our visuals play on that as well and are often open-ended as well in terms of story- or if wanted someone can choose to take them more directly and figuratively. Once again, it’s up to the listener or viewer.
Who’s music captured your imagination and brought you into the dark alternative fold when you were younger?
How young are we starting?? My first concert alone was The Ramones at 12 or 13. I even got to meet them in the local independent music shop and get an autograph. I remember I got to go with my friend’s older brother who drove us. He ended up getting kicked out of the show for moshing. He went across the street for snacks and got into a small car accident. I got home super late, and my mom said, “Well, you have to go to school tomorrow.” I said gladly. I can still remember being shy and feeling someone’s spike bracelet in my back too nervous to say anything.
Who do you listen to now that illicit great joy and that you find inspiration in?
There are so many contemporary musicians, artists that catch my soul – oftentimes you can hear or find them when I DJ or our mixes. Inspiration is sound, usually birds or streams, rivers, the ocean cities for me.
Lynette, thank you ever so much in taking the time to speak with us and release the bats!
Thank you for wanting to know more and letting me ramble!
-Is your BACKBONE willing to break – Never did I promise you –
The return of NilsSinatsch’sNeonInsect, has arrived in the form of the latest single “THEREISBEAUTYINNOISE.” From Hanover, Germany, the cyberpunk flavoured industrial NeonInsect has a message…”Dictatorshipsmustfall…”.
Laboured electronics greet your ears, as you are plunged into the chaos that is the grating industrialised melody, tortured and extruded, seemingly screeching in metallic convulsions. Sinatsch’s vocals bleed like verbal lacerations on a world that is the noise inhabits.
It is gritty and severe, set in a time of uncertainty, where making noise is the only way to be heard in a world that is already in turmoil. Indeed “THERE IS BEAUTY IN NOISE,” so check out NeonInsect.
Fredrik Keith Croona, Mathias Back and Anders Ström are the electronic triumvirate that make up Swedish aggrotech group, AgainstI. This is a relatively new project, where they have married Croona’s tortured vocals with some scintillating synth work, which culminated with the debut album, CarnivalOfExcess, plus a new single, “I Am The Way,” that is not so subtly a sledge hammer preview of the next album, threatening us on the horizon. So, it seems no better time than now to speak to lead singer FredrikKeithCroona about…well…all of this!
Welcome Fredrik Keith Croona to the tea rooms of the Onyx, where cake and coffee are compulsory.
Fredrik, you hail from Sweden, so we are wondering what the industrial scene is like there and how you found your way into it?
Thank you for the warm welcome! The industrial scene is well, different here, I feel like the most clubs either focus on old school ebm and or synthpop here in Sweden, and or goth/darkwave. But in all honesty you are asking the wrong guy here, since I am mostly a metal head myself and rarely go out hahaha. But to answer your question, I think the alternative scene in Sweden is doing ok, there seems to be a lot of stuff going on.
How supportive of local artists is it there?
Now that is a hard question to answer, it all comes down to what genre you play I guess. I don’t believe Against I has a big fan base and support in Sweden, but of course there are a few. Then again I know of other Swedish local artists that have a huge fan base here. So I guess it depends on the band.
What acts or musicians influenced you in the beginning?
The first ever artist that inspired me to become a vocalist was Pantera and Philip Anselmo, I just loved the music and diversity in Phil’s voice. When I found the industrial music scene it was God Module, Grendel and Suicide Commando. I think similar to a lot of dark electro/aggrotech acts tbh.
Who floats your boat now?
Haha it all depends on my mood! Everything from “Scooter” to say “In Flames” or “Night Rage”. But my latest find was “Orbit Culture” a amazing metal band from Sweden which I had the pleasure of seeing live a few months ago.
Fredrik, you are one of the founding members of Brutal Resonance, the industrial reviewing powerhouse. Do you think that experience made you more critical or aware of the sort of music you were making?
Well, I had a small part of its start up , yes. But Patrik Lindström was the mastermind behind the zine. I don’t think so to be honest. Always been trying to do what I like and experiment from time to time, but I always feel like I end up doing the same thing kinda hahaha. I’m a one trick pony it seems.
Even you, yourself, have mentioned that you are in a lot of different projects. For those unfamiliar, how many are you involved with and which are your main ones?
If we are talking active projects as of this moment , then they are the following “Feeding Upon,” “Against I” or “Curse of Eibon” . There are quite a few more but none that are making any music at this moment . Main one is Against I which I am constantly writing for together with Mathias and Anders.
Most people are familiar with Menschdefekt and your other project, Cynical Existence. This brings us to your current project, Against I, with fellow Cynic, Anders Ström. Mathias Back is yet another member, so how did the band come together?
To answer that we have to rewind back into 2020 when I started up “Curse of Eibon” and that’s when I found Martin who plays guitar and writes most of the music for that band, and through the same forum I found Mathias who can play bass and guitar. And together with Anders the four of us founded that band. From there we found out that all of us work very well together and we have a creative drive. And the diversity was just perfect for Against I.
First was the EP, O.M.G, that stands for Obscene Morbid Gore which was on the label Insane Records and featured the single “Scum.” How important was getting this EP out there?
If I could I would release something every month, but I think ppl would be fed up with me also I doubt Adovxya would want to release my stuff every month haha. So , naturally it was important to release the EP to get something released. IR was good to us , but sadly we had to split ways after the release.
The EP was followed up by the juggernaut debut full length album “Carnival Of Excess” out on Advoxya Records. Can you tell a bit more about the premise behind album?
“Carnival of Excess” was a bit of a roller coaster, because all songs stem from my mind and experience and its kinda dark. Its all a big experiment you could say, a bit of a rider on a theme park with different styles, moods etc. For me the first album is always a experiment to see which direction to go after that, you know?
Again there are a couple of remixes by Miss Suicide and Teknovore. How important for you is it to have guest remixes and am I correct in sensing George of Teknovore and yourself kind of see each other as brothers?
It’s not super important, but more fun to see what others will do with your songs. What kind of spin they would put on it. Well, since we are both straight and married loves was already taken, so next best things would be brothers. I’m kidding of course! But in all seriousness, I’ve known George since about 2009 and I hold him in such high regards because he’s one of the nicest and most talented people I know. And every time we work together everything just work, you know?
Do you have a particular track off the album that is a favourite or really stands out for you as the core sound of Against I?
“Fleshride” is probably my favorite of the album, it has a good drive in it. And I would say it has that core sound that we have on that album.
You just dropped the latest single “I Am The Way”, so can you tell us what it all about?
“I Am The Way” is the perfect way to showcase what the new album from Against I will sound like and the direction we are moving. It’s more aggressive and in your face .
I want to touch on a compilation you were heavily involved in and very close to your heart. You lost your father to cancer (fuck cancer), and you brought together 23 musicians, each donating a track, where the money collected goes towards cancer research, with the combined help of Advoxya Records and Twisted Flesh Recordings. Can you please tell us how you orchestrated this mammoth task?
“A cure for darkness” is something I hold very close to exact the reason you wrote above. And when my father passed, I wanted to do something to help others who are battling and or know someone who is battling cancer. And an idea was to try and bring together some amazing bands and people to help out and create something amazing. All all praise should go to the artists and supporters and not me.
How much do you appreciate the musicians and labels championing your cause which touches everyone?
As cliché as it sounds, words can’t be written to say that. All people who are have helped are amazing and only earns the highest of praise from me.
Do you think you might make it a regular thing to release these compilations against cancer as well as to remember the victims and those affected by this blight?
Nah, don’t think so. If ppl wanted more then for sure, but I just want to focus on my music. It’s all I care about at the moment.
As you are constantly creating music, what is next for Fredrik Croona?
To create more music and evolve and move forward. I don’t want to release the same album every time. Then there is no point in making music. I have a job that earns me money, music is what I write for fun. The moment I get tired of making music, I will just call it quits. Simple as that.
Bats or no bats in the belfry, we wish you all the luck in everything you do.
Thank you so much, and I hope my answers has been satisfying.
2007 saw the birth of Swedish EBM group Spark!, with original members StefanBrorsson (vocals) and MattiasZiessow (synths, programming), dishing out the beats. However, in 2013, Brorsson left the band, citing personal reasons, leaving Ziessow to continue on. Fans can rejoice, as the lads are back together in 2023 with the single “66 Ton Krom,” which will be on the new album out in 2024, on the ProgressProductions label.
The direct translation is ‘66 tonnes of chrome‘, and with the frenetic pace of the rhythm, they can only be referring to a large vehicle, such as a big shiny truck. And behold there is a big shiny buff truck on the cover! Brorsson’s vocals dance between the programmed electronics that come on in rapid succession, while the synths rip down the road burning rubber with those beats.
There is something quintessentially Swedish about the EBM that comes out of that country, and it not just singing in the native tongue. A lot of joy can be felt from “66 TonKrom,” as if the break the guys have had from each other, galvanised their sound. Industrial electro-pop from Spark! that is going to get your motor running.
Onyx Music Reviews 