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Fredrik Keith Croona, Mathias Back and Anders Ström are the electronic triumvirate that make up Swedish aggrotech group, Against I. 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, Carnival Of Excess, 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 Fredrik Keith Croona 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.

And indeed they were!

Carnival Of Excess | Against, I | Advoxya Records (bandcamp.com)

I Am The Way | Against I | Twisted Flesh Recordings (bandcamp.com)

O.M.G | Against I | Insane Records (bandcamp.com)

VA – A Cure For Darkness | Twisted Flesh Recordings (bandcamp.com)

Facebook (Against I)

Facebook (Twisted Flesh Recordings)

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2007 saw the birth of Swedish EBM group Spark!, with original members Stefan Brorsson (vocals) and Mattias Ziessow (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 Progress Productions label.

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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 Ton Krom,” 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.

66 ton krom | Spark! (bandcamp.com)

https://www.facebook.com/sparksomfan

https://progress-productions.com/

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ESA (Electronic Substance Abuse) met Moaan Exis while playing a show in Prague in the beginning of 2020, just before Covid-19 shut down the world. Out on Negative Gain Productions, “Spit/Spite” is the end result of the UK’s Jamie Blacker (ESA) and France’s Mathieu Caudron (Moaan Exis), going head to head in a battle of the industrial power noise versus industrial punk. The plague has come and kind of gone, but now we have been hit with a much better outbreak in the form of this split single.

“Spit” does not let up with the energy, pushing you higher and further with an intoxicating mixture of scintillating synths, techno styled rhythms that max out the bass and duelling vocals. Even in all of this, I hear hints of a Middle Eastern flavour to the music creeping through.

Yeah, from the beginning of “Spite,” you are already left a veritable shell of a human, drooling over the abrasive rhythms that pound into your chest. The two vocalists taking turns in eviscerating your ears to the pounding beats and off kilter electronics, setting your teeth on edge. Magic.

Who was the winner in this battle royale? The answer is easy…us the listeners. Both tracks are fucking awesome. Crunchy textures, beats to rupture organs, and enough angst to wet the panties of any self-respecting industrial noise purveyor. ESA Vs Moaan Exis have me just me wanting more.

https://linktr.ee/moaanexis?fbclid=IwAR2kVRZui-H0xrfnMEtpv3TOvfkv-f3DR0LMhdXF1BPc6xQsWuRLG2cDjbg

Spit & Spite | ESA vs Moaan Exis | ESA (bandcamp.com)

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https://www.facebook.com/ElectronicSubstanceAbuse

http://esa.bigcartel.com/

Music | MOAAN EXIS (bandcamp.com)

https://www.facebook.com/MoaanExis

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We live in a world full of amazing things. Germany’s Neon Insect is pretty amazing and Nils Sinatsch has released the latest single “LOVE SEX + ROBOTS,” which features the vocal and lyrical talents of KVMILLA.

Slow and metered is the rhythm, a heavy mechanical sexuality, brought to life, and offset by KVMILLA. Her vocals expressing base human desires for connection, even if hurts. There is a guitar that is gently plucked away, as the music tantalizes your senses.

The track feeds into the New Moscow storyline, that Sinatsch has been carefully crafting, about a reality much more different to ours, due the fact that the USSR won the Cold War, invading the US. The populace have found the only way to survive is through cybernetics, and with procreation controlled by the powers that be, they now go underground for their sexual desires to be fulfilled by mechanical means. This is much more subdued than what we are used to from Neon Insect, and it shows a changing style with the changing storyline. “LOVE SEX + ROBOTS” is delicate with a undercurrent of a sexually harder edge. This begs the question….what comes next? Watch this space…..

LOVE SEX + ROBOTS | Neon Insect (bandcamp.com)

https://www.neon-insect.de/

https://www.instagram.com/neoninsect/

https://www.instagram.com/kvmilla/

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One might wonder what Fundustrial is, and the only answer can be, STAHLSCHLAG! I have been rather slack covering the new releases from Sebastian Sünkler, but every time I think he’s going to take a hiatus due to work commitments…. BOOM, there is another album/EP. The man is almost as much machine as the computers and synths that he uses, with the exception that he is one of the nicest guys in the industrial scene, though he does have the Terminator haircut. I’m just saying.

So, I have compiled the three Fundustrial EPs, Alpha!, Beta! and Gamma! into a bouncy castle, filled with clowns and glow sticks to give you an idea of what you need in your life. The Alpha! EP is just full of aggrotech dance with noise and it really smokes, like with the track “This Is Fundustrial,” being the prefect example of flesh pounding rhythms to make even the most tired cybergoth, want to stomp their New Rocks. “Whatever You Say” will make your blood pressure rise as a swirling dance floor filler, or the more rhythmic noise influenced “Dance Of Doom.” Honestly, who doesn’t like a bit of doom dancing?!

The second EP, Beta! does rather seem to be where Sünkler may have contemplated he needed a break, then thought ‘nah, it is all good,’ and so we have gotten something very much more off the wall. Glitching fast paced beats follow you through the EP, poking you with the feather of no mercy, so you can be cyber romanced by “My Generation,” or enjoy the wonderment of how potatoes and tomatoes are very entertaining with a huge techno helping of “Something Different.” Kill or be killed in the style of Tron, in the track “Get Ready,” or get lost in “I Have A Dream.”

‘Fundustrial is back, it’s fast, it’s hard and will make you crack,’ proclaims the female voice, about Gamma!, in the first track, “Make you Crack,” or how about being lost in the trance inducing “Anthem,” that might have been instigated the secretive lizard people. The track “Milk” could be the first industrial track I have ever heard with mooing cows and some animated voice threatening to make you drink the creamy white stuff. How can you go wrong with a titles like “Let’s Get Goth,” or a revamping of “Popular Slut Club,” which, by the way, has has the treatment Singery[Cdio], creating a echoing mind fuck, pushing you over the edge with its wonderous layers of noise.

Are these EPs fun? Yes. Are they industrial. Absolutely. So there is no doubt in my mind that this is indeed Fundustrial at its very best. It is nice to see a kooky side to STAHLSCHLAG, and it is really interesting to see the progression of this series. Party hearty with Fundustrial and for the people with clown phobias…. sorry but you’ll get over it.

Alpha! | Fundustrial | STAHLSCHLAG (bandcamp.com)

Beta! | Fundustrial | STAHLSCHLAG (bandcamp.com)

Gamma! | Fundustrial | STAHLSCHLAG (bandcamp.com)

https://www.facebook.com/STAHLSCHLAG/

https://www.instagram.com/stahlschlag_official/

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Out on Infacted Recordings, is the latest single “Harbour” from J:dead, where Jay Taylor has enlisted Aesthetic Perfection and genCAB for remix duties. This is officially the last release for J:dead for the year 2023, but in 2024, we can expect the unleashing of the thematic EP ROOTS, which will contain seven original tracks, including “Harbour,” plus 8 remixes.

©Thomas Fritsche, Nightshark Photography

“Harbour” has this rolling flow whilst also laying down dance rhythms. An electronic melding of the many faces and personalities we are and show others, topped by the molten vocals of Taylor. The Aesthetic Perfection mix is filled with a bright jauntiness that the progenitor of industrial pop, Daniel Graves is famous for, while David Dutton of genCAB’s version is slower and darker, like you can feel the shadows enveloping you in a cocoon and only the vocals can drag you to the light.

The line ‘look hard and you will find me, lonely I will never be‘ doesn’t refer to multiple personalities but rather all the different facets that make us up as humans. We are not one thing such as a joker or the introvert, which would leave us as one dimensional aberrations, instead of the wondrously complicated creatures we are. As always, this is a polished track with two stunning mixes and if you want to know what you will be getting in the EP, then “Harbour” is an excellent place to start. I have already had the pleasure of hearing the original tracks and can promise that you are not going to be disappointed, yet that is for another day………..

Harbour | J:dead | Infacted Recordings (bandcamp.com)

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Music | Aesthetic Perfection (bandcamp.com)

Music | genCAB (bandcamp.com)

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Scenius are a dark synthpop duo, hailing from Leeds in the UK. Composed of UK producer Steve Whitfield (The Cure, The Mission) and French singer Fabrice Nau, they released their album Life Is A Thing, back in May but we are going to touch upon the single off the album, “Chinese Room.”

There is a simplicity to the track that makes it entrancing, almost dream like. The sound of electronics harken back to late 70s and early 80s acts like John Foxx, Gary Numan and German pioneers, Kaftwerk. Nau’s vocals are seductive and unhurried, with that French accent only enhancing the cool of track.

Together with the video for the single, I do feel “Chinese Room” is a reference to heroin. The video is a party slowed down, where those participating in the drug use are only existing in the moment and Chinese rock is a euphemism for heroin, a la the Ramones single “Chinese Rock.” I do love the throwback nod to past electronica heroes, but they have a distinct modern touch all over this track. You should listen to the “Chinese Room,” but be warned, you may become addicted to Scenius.

Chinese Room | Scenius (bandcamp.com)

http://www.facebook.com/sceniusband/

http://www.deezer.com/artist/86224982

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It has been two years since a project called Voidant took flight, with the release of their self titled album. A deep love of music and experimentation, as well as a friendship across an ocean, brought about an electronic gem. UK based David ‘Wolfie‘ Wolfenden, guitarist of the iconic Red Lorry, Yellow Lorry and Caroline Blind, from the USA, solo artist and lead singer of Sunshine Blind, are celebrating their debut album with a remix EP, featuring other extraordinary musicians, fiddling with those delicate stems.

Kicking off with “Vortex,” this is Elenor Rayner, front woman of New Zealand’s Robots In Love, who has a knack of drawing beautiful, dark sweetness out of her remix projects and she does not fail to cause a quickening of your heart, as the barbed tendrils hook into your skin. CWHK is from Sunshine Blind, and he has taken on the ephemeral “Ghosted” with the Brave or Silent Remix, upping the tempo and adding a very exotic feel to the track. The one cover on the EP is Love’s “7 and 7 is” and has been given the treatment by Danny C from 2 Forks, a member of yet another famous US goth rock band, The Wake. The remix rocks harder than ever and yet has developed this disco/dance orientation.

I cannot think of a better bunch than the UK’s Decommissioned Forests, who have taken the shamanistic “La Loba,” into a cosmic realm, swirling and mystical, centred around Blind’s vocals. Max Rael of Decommissioned Forests and History Of Guns, has truly put the funk into “SG Truth,” and it is nearly trance inducing. The original “Phantom Ex” was a very free form piece, that Wolfie has taken, creating the Birch remix, adding more guitar and rhythm, giving the bass filled track a heavier air.

“Writing these lyrics and vocal melodies was a cathartic practice of embracing sadness and grief. It’s all in there. There was no return. It’s terminal. There are no hopeful bits, it’s all goodbye. The vocals stand on their own, and those who have remixed the songs have understood that, in perfect alignment. That’s why I called it ‘Abandon Hope’, from Dante’s Divine Comedy: “Abandon hope, all ye who enter here” Give up and give in. Join with the heedless infinite.” – Caroline Blind

Abandon Hope is a wonderful way to relive some great tracks, or if you are new to the music of Voidant, then submerge your ears in the myriad of styles and talented artists which could lead you to finding even more favourites.

Abandon Hope | Voidant (bandcamp.com)

https://www.facebook.com/voidantmusic

http://www.voidantmusic.com/

https://www.facebook.com/robotsinlovemusic

https://www.facebook.com/2forksmusic

https://www.facebook.com/sunshineblind

https://www.facebook.com/decommissionedforests

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We have been following the catastrophic tale of humans versus alien machines, unfolding in the musical exploits by MATT HART. The London based industrial musician and DJ, has released his latest single “DEEP DOWN CITY.”

Imagine living 6000 levels below the surface of the planet, a new shadowy world where humans have finally settled from the reach of the machines, trying to recreate what they had above ground. The guitar is there, building the tension, but the synths are the smooth heroes of this track, however the big surprise is the vocals. Not only do we have HART’s growls, but we get to hear the man actually sing, letting us hear his dulcet tones.

“DEEP DOWN CITY” is a something a little different from MATT HART, with its mingling of harsher industrial and retro synthwave, creating a wonderfully pulsating dynamic. The track portrays a cyberpunk styled domain where life is lived in the constant gloom, that is only broken up by the need for sleep and entertainment. One wonders what the aliens are up to on the surface and I am guessing we might find out soon.

DEEP DOWN CITY | MATT HART (bandcamp.com)

https://www.facebook.com/djmatthartuk/

https://www.instagram.com/matthart3808/

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September was a big month for some really good electronic music and Sweden’s Hatif, most certainly delivers some quality releases, which leads us to the new single “Heredity.” Under license to the label Town & Towers Records, the duo of  Markus Majdalani and Johan Eckerström, seems to not currently have an album attached to this new track.

Photo by Daniel Kwon

The electronic clicks take up a flamenco style rhythm and Majdalani‘s singing is smooth and entrancing, then it kicks up an extra notch of cool with the harmonising. The synths move from light to dramatic keeping you on the edge of your seat, while the programming spasmodically still clicks and whirrs.

I’m going to be a bit cheeky and say Hatif could be channelling the spirit of another classic Swedish band Covenant, and that is not a bad thing with the harmonies and building electronic textures. Hatif have said their music is easy to listen to, and I have to say I completely agree with them. “Heredity” is part of the growing legacy that Hatif are putting down.

Heredity | Hatif (bandcamp.com)

https://www.facebook.com/hatifband

https://www.instagram.com/hatifband