Kicking off July with a bang. We are talking the new industrial single “ROTATIONS” from UK artist MATTHART, with the added extra bonus of a remix by SERAPHIMSYSTEM, aka JonStancil, from the USA. This is the ongoing human versus machine, cyber saga of epic proportions.
“8 HOURS AWAKE. 8 HOURS ASLEEP.THIS IS THE WAY OF THE TIME MILL.” This is the mantra here, for there is not time for anything, except digging into the ground beneath, for the humans to escape their electronic assassins. The synths are ripe and juicy, while the beats are rampaging, forcing you to move that body. HART’s vocals broker no argument for this is how thing must be, as the shifts rotate through continuously, like a colony of ants, slaves to the rhythm for survival.
The SWAGGROTATIONSREMIX has the massive slamming beats and screaming electronics. It summons a feeling of utter panic, suddenly dropping into drum and bass, before whirling off, pounding your skull into a pulpy mess.
MATTHART’s original version is chock full of scintillating synths, club floor filling rhythms and rounding vocals, building the air of a will so stubborn, one shall do whatever to avoid elimination. With the SERAPHIMSYSTEM mix, we definitely find ourselves with a different beast. Harsher electronics, mixed with dub and dropping bass, combined with the crushing beats. All of this is a reflection of the desperation and even loss of humanity by the survivors…. ah well, at least they are doing it in style, while carrying out “ROTATIONS“.
The wizard of techno-industrial dance, SimonCarter, is inviting you to join your weird brothers and sisters in the mystical coven through the latest EP, Initiation. Released at the end of May, Simon has said that these four tracks were cut from the up coming 2nd album with collaborator Fabsi, because they didn’t quite fit the overall sound but gelled well together for the EP.
The curtain raiser is “Seher(Initiation Countdown),” a call to the floor for all the warriors of dance and a taste of what is to come. There is a mixture of psytrance with EBM in “HexennachtRave” that interchanges, giving the track ebb and flow, building the energy, bewitching your senses. Big bass beats wub into your chest cavity, cut by the voice speaking at you about reality versus dreams, and you are waiting for your next techno hit in “DancefloorDelusion.” The last track, “TheMagicCoven(Welcome To the Coven),” is slower and pulsating with power, hypnotic suggestion from Carter’s deep spoken words, that you join the witches circle.
May black cats and bats fill your dreams while Carter fills your ears with techno delights of the strange kind, bidding you to indulge in the Saint Vitus dance macabre. Welcome to the Initiation.
NØIR is the electronic project for Athan Maroulis (vocals) and ErikGustafson (synths/guitar/producer). joined for live events by keyboard players JamieParganos and KaiIrinaHahn. The new single/EP “Fallen” was something NØIR had been working on just as Covid was kicking in and then was put on hold after the unfortunate passing of MetropolisRecords creator, DaveHeckman, but now it has now seen the watery light of evening, in May.
There is a euro cool chic glamour that coats the slick synths and Maroulis‘ vocals are, as always, wonderfully smooth, entrancing your senses into the dance that NØIR is bewitching you with. The ParadoxObscur remix is far more filled with thumping rhythms that has a disco like attitude, that is aimed straight for your pleasure zones. The darkwave retro fingers of SilverWalks caresses “Fallen“, giving it the feel as if the track could have come from the early 80s during the time of MidgeUre’sUltravox, while the Femme Mix features the sensual vocals of KaiIrinaHahn, as she goes from backing singer to replacing Maroulis.
You also get the brand spanking new track “DeathIsEasy“, which is going to haunt you in your sleep and you are going to believe that death really is easy in a sexy, stalking and lurid way. If you are as old enough, like some of us, the PsychedelicFurs song “LoveMyWay“, was an iconic dark love of many in the 80s, where we could all feel the words pull at our heart strings. NØIR have taken the track, playing it as an acoustic and the vocals actually remind me very much of Bowie’s.
The synths literally sing themselves, sparkling in “Fallen” and the vocals…. well, Maroulis proves his vocals are scintillating and beautiful as ever. The remixes have been wonderfully handled, and the extra tracks definitely show the depth of the musicianship of the members of NØIR.
Take one very enthusiastic New Zealand punk, living in the Blue Mountains of Australia, give him electronics to play with, and you get SchkeuditzerKreuz. KierenHills is back with a new single. “Joy“, before the release of his new album, No Life Left, on the 25th of August, and for the lucky people in Europe, he is going to be touring there between September and October.
The electronics are under stress and screaming, while voices can be heard from within. The laboured rhythm kicks in, as does the ear ripping vocals from Hills, exploding over and over again, slamming in the perfect exultation of destruction.
The anguish of crust punk, mixed with the harsh machine of industrial noise, somewhat describes SchkeuditzerKreuz, and yet there is elements of gut wrenching internal pain balanced by frenzied highs, incorporated into the music. Destruction often heralds in a time of recreation, and perhaps this is the “Joy” for SchkeuditzerKreuz. It is a banger of a track.
Since 2005, we have watched AgentSideGrinder (ASG) grow as a band. The Swedes had captured the attention of fans with their dark electronic music, and then in 2017, more than half the band decided they needed to go do their own thing. Original members JohanLange and PeterFristedt took up the challenge, taking ASG further, with new lead singer EmanuelÅström, and now, in 2023, the guys have released the sixth studio album, named JackVegas, out on ProgressProductions. This is possibly darker than previous releases, with beautiful melodies, a depth of emotions that draw you in, and of course music for you to dance long into the night. I was fortunate to be able to talk to the lovely JohanLange about the making of JackVegas, and all good things ASG…..so if you want to know about all the things, then you must read on.
Welcome Johan Lange, denizen of Agent Side Grinder, to Onyx where the sun only shines on tv.
The band formed in 2005, in Sweden, during the height of the futurepop wave. When you look back on that time, could you dream ASG would be bringing out a sixth studio album?
Johan: Absolutely no. I was surprised we even did a first album. To me, ASG was just another band I was working with, a side project to my bigger musical plans. But we got off to a flying start, and there’s been no stopping since.
How do you think the scene at the time nurtured the seed that became ASG, and what was the darkwave scene like in Sweden at the time?
Johan: From what I recall, the scene was really tiny, and I wasn’t personally involved in it. Peter (Fristedt), the co-founder of ASG was however part of the Stockholm synth scene, and he had grown tired of it. He wanted to create a punky, industrial back-to-the-roots version of electronic music, which was a big contrast to the laptop acts that were dominating the scene.
What is the darkwave scene like in Sweden now, and is it very supportive?
Johan: I wouldn’t say it’s a dark wave scene in particular, but there’s a small relatively vibrant scene for synth, goth, synth pop and also more experimental stuff. ASG has been part of that community since we started and people have always been supportive. This year, we were able to do a full Scandinavian tour, also in smaller cities, which was a big step for us.
2017 was a big year for you guys, with half the band standing down, but instead of letting this slow you down, ASG seems to have galvanized, and you brought in Emanuel, with his amazing and recognizable vocals. How did this impact your sound?
Johan: Peter and I were very determined to keep ASG alive and prove the band wasn’t dependent on the leaving members. So we worked hard to upgrade the ASG sound, and make it tighter, colder, and perhaps more danceable than before. And when Emanuel joined us, everything really fell into place and we could finalize the transition.
The new album is titled “Jack Vegas”, which is also the nickname for a style of cheaper slot machines. Why this title and what is the premise of the track with the same name?
Johan: The title is a play with words. It obviously nods to Las Vegas and an American dream of fortune and fame. But in Sweden, it symbolizes something else, a less glamorous world perhaps associated with alcoholism or gambling addiction. The title is also a combination of two names that inspired the album, Jack Kerouac and Alan Vega.
This is an album you have really worked hard on. How long had you been working on it, and was it easier or more difficult than other studio albums?
Johan: We normally release a new album every third year, but this one took a bit longer than usual for various reasons. Musically, everything went pretty smooth, I spent more time on the arrangements this time. The hardest part to get in place this time was instead the lyrics. We had to rewrite them many times.
I think for myself, the track that causes my toes to curl is “Decipher”. How did this track come together?
Johan: “Decipher” was the last track that made it onto the album and also the quickest to write. After I came up with the initial melody line, the song almost “wrote itself”, verse, chorus, and lyrics, etc. Those simple songs are usually the best, any songwriter would agree.
Photo – Haris Mlivic
Do you have a favourite track on the album, and if so, why?
Johan: Probably “Decipher” and “Waiting Room”. We were very excited about releasing “Waiting Room” as a single, it felt like a banger.
For the music nerds out there, what are the favourite instruments and programmes you have used on “Jack Vegas”?
Johan: ASG has pretty unorthodox methods when it comes to programming. We’re always using an Akai MPC to program the beats, hip-hop style. I can really recommend that if you want a more physical approach to making beats.
For the bass lines, we usually use a combination of synths on this album, mostly a Moog combined with a Roland SH-2.
Will there be any remixes for the album in the works?
Johan: I hope so. Not an entire remix album this time, but hopefully a few dance remixes later on.
Talking about remixes, this is something ASG have been doing for other acts. How much do you enjoy doing something a little different, like putting your own touches on a track?
Johan: I enjoy it a lot, it’s very creative. I actually wish I could do more remix and production work, but it’s quite time-consuming. But I try to put a lot of personal ideas into the remixes such as new rhythm tracks or bass lines. Some remixes almost turn into ASG songs, for example, the one we did for US artist Kiss of the Whip. It features one of the best synth lines I’ve come up with.
Last year, you teamed up with Pete Burns on the track “The Necklace,” which came out on the Kill Shelter album “Asylum.” The subject matter of that song is pretty heavy stuff, covering escaping physical and mental trauma. It turned out to be an incredible track, so how did you record it, and how close to your heart is it to touch on these sort of subjects?
Johan: Thanks! We are no strangers to dark lyrics, but the subject of abuse and violence was new to us. I actually got the inspiration for the lyrics at a museum exhibition, where I saw this necklace, hand-made of seeds by a woman held in prison by ISIS (or similar). When Pete told me about the concept for his album, I wrote a lyric about that experience. He was very enthusiastic about it and the song turned out great.
ASG has a few live gigs coming up. Are you excited to get back into touring and especially with this new album for fans?
Johan: We’re always excited about touring and playing new songs. We’ve recently been touring Scandinavia, including London, and we return this autumn for a European leg of the tour. The response on the Scandinavian shows were awesome. The new songs, “Bloodless” for example, felt even better on stage.
What bands grabbed your ears and encouraged you to get into the music business?
Johan: Then I have to say Kiss. They opened for Pandora’s Box when I was about six or seven, and got me interested, or rather obsessed with music.
What bands do you enjoy listening to now?
Johan: Cliché answer, but I’m listening to all kinds of music, I’m all over the place. But a few artists I’ve enjoyed recently are Royksopp, Fever Ray, Burial, MAG, Dina Ögon and Sven Wunder. Very diverse stuff. I’m also rediscovering the catalogue of Brian Eno right now.
What has it been like having Progress Productions label, behind ASG?
Johan: The last three ASG albums have been released by Progress Productions. It’s basically just one guy, Torny, who runs the label from Gothenburg, totally independent. He’s been giving us full artistic freedom through the years and has been very supportive and helpful, so it’s been a great fit for us.
In a perfect world, you are releasing a remix version of “Jack Vegas,” and you can choose anyone you want to do a remix. Do you have a dream team?
Johan: We need some big names on that list. Perhaps Trent Reznor, Gesaffelstein, and Four Tet?
What is in the more distant future for ASG?
Johan: We’re doing a pretty spectacular concert in Stockholm October 14 in a legendary theatre called Södra Teatern. Then we’ll be touring Europe and the UK in the autumn and winter. We’re also keen on bringing ASG outside Europe soon, perhaps Latin America or the US.
Thank you ever so much and especially for the beautiful music!
Label InfactedRecordings, have brought you the latest single “Surrendering“, by United Kingdom artist j:dead. JayTaylor (j:dead), who also is the live percussionist for TyskeLudder, TacticalSekt and HarmJoy, has also included remixes by fellow Brit, MATTHART and Germany’s Faderhead.
When the world goes to hell, perhaps including betrayal, do you give up or fight on? This is the premise behind “Surrendering“, with Taylor’s warm clean vocals in stark comparison to the agonized screams, married to a musical score that is so dynamic. The Faderhead remix is a brilliant dance orientated version, up tempo and with heaps of movement in the chiming electronics. The vocals have been brought to the fore, while the synths wind throughout building the tension. If you know MATTHART, he has brought with him, his cyber industrial style, but this is definitely tempered with his very sympathetic handling of the clean vocals, whilst causing the roared lyrics to be pain ridden.
I don’t think I can pick a favourite version, as they are all so good. Taylor’s vocals and song writing are stellar and really, HART and Faderhead are both masters of their style of industrial music, lending their talents and creating a monster of a track. There is no “Surrendering” for j:dead.
The Texan project, SPANKTHENUN(STN), has been around since 2020, an industrial machine born into a time of pestilence, and they have carried that badge of foreboding doom forward. This is not a test, and not everything was alright as they brought forth The Bunker Tapes I & II. From the very inception of STN, they have sort to bring variety into their musical creations by including feature artists, be this through vocals or remixes.
The band has been releasing a track a month since last year (2022), and the last of the trilogy of albums, The Bunker Tapes III, is nigh upon us. With the likes of Moris Blak bringing his stomach dropping industrial bass, the frenetic electronic energy of Extize or Komor Kommando’s (Sebastian Komor) dance sofistication, that just gives you a hint that the music is both exciting and like a punch to the head. On that note of my threatening you with a good time, we spoke to Eric Hanes about the band, the latest album, and the musicians they have worked with to bring you this mammoth industrial behemoth.
We are Onyx, and you are SPANKTHENUN. We welcome you into the cone of silence, where no one can hear you scream.
The band is from Texas, which seems to produce more than their fair share of harder edged industrial bands. How do you feel the scene there influenced yourselves, the creation of STN and is there something in the water?
Texas certainly has a long history of legendary industrial bands, many of them still active and touring today. We are even seeing a resurgence of some of the legendary acts in Texas, like unitecode:machine, Mentallo and the Fixer, Curse Mackey, and of course everything related to Al Jourgenson and Ministry. Today, there are a number of up industrial and dark electro artists in Texas, which is great for us. Artists like Circle Burn, Dread Risks, SINE, Mvtant, Dissonance, Solemn Assembly and Melodywhore are not only amazing to collaborate with and play shows with, they are also a great resource to tap into and talk about what is working and what isn’t in the scene these days.
The band name came from a conversation about nasty nuns that liked to hand out corporal punishment. Do you often get asked about the name SPANKTHENUN and have you had any bizarre reactions to it?
It’s pretty easy to be the one handing out the punishment, but who keeps the punishers in check? We have had some surprising reactions to the name. Mostly people love the name and react with great pleasure… but even this past week, there are people in this scene of dark music that won’t say the name or write it for fear of blasphemy… kind of surprising because this scene is built on pushing back on the norms. We did a remix for BATAVIA two years ago, and the voice over artist wouldn’t say the name for the commercial to promote the album. Instead, he said “I won’t say that name.” and that was put in the commercial instead… actually funnier that way. Either way, it is a name that people don’t forget and is easy to search for.
The premise of STN seems to be the core two members, and the ability to adapt and create around guest artists. What was the thinking behind this in regard to the project?
We were both great fans of industrial music and artists for years before we dove in with our brand of dark noise. So, we had quite a long list of artists we really admired and looked up to. When we started putting our first tracks together, we really leaned on other artists, some legendary ones like Claus Larsen (Leather Strip) and Scott Fox (iVardensphere) to shape the sound of our first tracks. We also had help from Tom Shear (Assemblage 23) and Colin Cameron (Slighter) on our first singles. We learned a ton from those experiences and really liked how they challenged us to be better, so we wanted to keep doing that. Now, we are working our way down that list of artists we admire and hope to work with all of them at some point.
Do you find it easier working with others and is it the challenge that you thrive on?
It is harder for sure, we know we can put out a great memorable track like DOMINATE or INDUSTRIAL BEATS, but it is the challenge of where collaborating can push you. Always learning and always adapting and growing… we can’t settle down on a sound or formula, and collaborating keeps that moving forward.
You have worked with a huge pool of musicians, so have you found this has led to some long-term friendships?
Definitely. It was also very timely since we delivered our first album at the beginning of 2020, right before the pandemic and the worldwide lockdown kicked in. We went from writing about a possible dystopian pandemic ridden future under Marshall law to living in one almost overnight. We immediately went to work online and figuring out Twitch and streaming. We were networking and collaborating just a few weeks into the global lockdown and writing new music too. It was a unique opportunity that we capitalized on and started reaching out and building relationships with everyone. There are certainly some important relationships that were formed, some long term ones for sure. We spent a good two years building relationships, and probably did it faster than if we had to do it in real life face to face… it also gave us a unique opportunity to reach a captured audience that was looking for something to do.
Since 2022, you have been releasing a single a month. How hard has this been for you to co-ordinate, especially with guest artists and remixers?
Most songs are a year or more older by the time the public hears them… sometimes we release them to a few select DJs, and their fans get to hear them earlier than everyone else. Sometimes, we randomly release a track on SoundCloud and then take it down a few weeks later… so you gotta be paying attention to hear it all. We originally planned on releasing the new album The Bunker Tapes VOL III at the end of 2022 but realized we still had singles from the last album to release, plus a collaboration with Isserley and one with White Noise TV to release. So we pushed the new album to 2023. But we really wanted people to start hearing the songs we were essentially sitting on. We were also looking at the landscape of the music industry and how people consume music these days so we wanted to do a release schedule that made more sense than just dropping a single and then a full album.
Another thing that influenced releasing every track on the album as a single, was the fact that we had remixed a club version of every track on the album and we thought it would be interesting to release all of the club mixes first before releasing the album version. The album version is very different than the singles and will surprise people. So we decided we would start releasing one track each month starting with the Moris Blak version of Blot Out The Sun, renamed to Blak Out The Sun in November 2022 and have been releasing a single each month… some with Grendel, Extize, Mechanical Vein, Terminal, Blak Emoji and Komor Kommando.
We have also snuck in a few extra random singles unrelated to the album, like the SynthAttack remix of our song Dance Fight or Die off our first album. That is a remix that was only available to a few DJs for many months.
December was an extra lucky month, with 2 singles. What happened in December and was it too much Christmas cheer?
We had been working on the Depeche Mode SEA OF SIN E.P. for a while and then when we brought in Tonschleifer to help with that we knew we had something unique and special and did not want to keep it to ourselves… so we did a surprise release on X-Mas day. That cover of SEA OF SIN has a very different sound for us and is a good example of the benefits of collaboration. We had worked with White Noise TV before and had been looking for something to work on with them and their producer Tonschleifer and thought that was a perfect song to work on.
Can you tell us about some of the wonderful musicians you have featured so far?
One of the great long term relationships we made during the early days of the pandemic was with DJ Scott Durand, a veteran of the DJ scene and well respected around the world… he is a walking encyclopedia of music knowledge. He introduced us to many of the musicians we are still working with today. He introduced us to Blue Ant and suggested we do a cover of Ministry’s Everyday is Halloween. He is great at putting the right artists together and also on to the right projects. So we went to work on the cover song, and during the process, we found ways to make the song our own, not just replicate it. We changed the cadence, the rhythm and kept what makes it special. As we were working on an uptempo hard dance version of the song, we knew we were going to do different versions of the track. At some point we thought we should also do a darkwave version of the track and Scott helped us connect with Lis van den Akker (Die Krupps, Grendel) and she dropped an incredible vocal for us to build a completely different chilled out version of the song around.
We have got work with some of the legends that we admire, like Empirion, Martin King, Grendel, Zoog, Mirland, and the list keeps growing.
You have Japanese noise musician, GUTENBERG, doing a remix of the latest single Chrome. It has this wonderfully languid droning and pounding rhythm, fleshed out with the vocals. How important is it for you to include a diverse range of industrial musicians?
It is incredibly important for us to have a diverse range of artists on our releases. Partly, we want more people to hear about some of these underground artists that we have been fortunate to discover on our journey. And if we can put them next to a well known name, then that is even better.
Sure, we want to work the big name artists on our list of artists, but if we can also surface those underground talents too, then we are doing something special. It is also about getting a different vision on the song too… hearing what a noise artist like GUTENBERG does with our song is more rewarding than writing the song itself. Or a hip hop artist like Blak Emoji taking a track like THIS IS NOT A DRILL and giving it a go can produce something incredible and new.
With previous singles having titles such as “Madman”, “No One Survives” and “Crushing Blow”, would you say the overall tone of the tracks so far released, err on the side of doom and apocalypse?
It is interesting, when the pandemic hit, we were already writing songs about doom and the apocalypse, it was a real challenge to decide how to proceed once it started to become a reality. We decided to double down on the doom and gloom and also start to take a position of an attitude of pushing back against the pandemic and not letting it dictate our lives like it was for so many people. Many of the tracks on this new album call out the people that don’t do anything and allow the nonsense to happen. We need to keep our leaders in check. So many casually make decisions that kill a million people. Many times, the decisions are about keeping power, and other times, it is pure stupidity and ignorance. We have been living in this real doom and gloom world that we continue to be told is getting worse. That is part of what leaders do to control the masses… they use fear. They use fear to get ratings and to sell commercials. Many of the songs on this new album push back on that attempt at control and push back on the fist of fear that is so easily used against us all.
“The Bunker Tapes II” was the last full-fledged album you brought out in 2021, however this releasing a single a month, is the foreshadowing of the new album, “The Bunker Tapes III”. Can you please tell us how many tracks will be appearing on the album and will some for the current remixes be included?
The Bunker Tapes III wraps up the trilogy of the Bunker Tapes with a modern approach to our style of music… we started with vol I focused on the 90s Belgium sound we love with acts like Wumpscut and Leather Strip. There are 11 unique tracks on the album, each getting a single release, each getting a remix or two. There will also be 6 remixes on the album as well, some new and some already released.
Will there be any other surprise artists appearing on “The Bunker Tapes III”?
We have a couple of unannounced collaborations that are coming in the next few months. One of our biggest collaborations so far is still a closely kept secret.
Is it going be a relief to have the album out and will you still be releasing a song a month once it is out there?
Most of The Bunker Tapes VOL III was written and recorded at the beginning of 2022, we have written and recorded a lot of music since then. We have a couple of different directions we can go after this album is released. We enjoy this build up to the new album, it is a lot of work but we like it. Releasing tracks once a month has grown our audience and also elevated the quality of the work we put out for visuals, graphics, and new merch. It also has improved our shows with better performances and visuals too. We have learned a lot in the last 7 months. The new songs we have been working on reflect what we have learned over the last 18 months, and we are excited to start getting those out, too. So it is possible that we start releasing those songs in 2023 too. We did start up a second project called CVRBON DECVY that is more Cyberpunk and Techno focused, we will be releasing a bunch of new tracks for that project too this year.
Are there any particular tracks or remixes that you particularly love hearing?
On the new album, the remix Moris Blak did is so in your face and is everything that makes a Moris Blak track great. I listen to that one and feel like we got one of the best Moris Blak tracks ever. The remix that Blak Emoji did is one we listen to all the time… he takes the industrial bass track THIS IS NOT A DRILL and does something special to it, he elevates it in a new way that is infectious. We have a remix coming from SET that we are particularly excited about. Our all time favorite is probably the ESA: Electronic Substance Abuse remix of our song SIN from our first album, we are planning a reissue of that one soon.
What bands influenced you into getting into industrial music and music in general?
Bi-God 20, Front 242, Front Line Assembly, The Cure, Bauhaus, Leather Strip and Wumpscut are probably the most obvious influences on us, but there are so many more. Often, new artists are influencing us more than anything else. We love discovering something new that no one has heard… it is a special feeling finding something new and being the first like or follow on their FB or IG accounts.
Who do you listen to now that gets your juices flowing?
We try to find something new every week to listen to. It can be something with an old school electronic vibe or it might be something completely off the wall, the new punk rock is the edge that something new and exciting captures. So many more people can make music now, that we expect to hear new things that haven’t been tried before… we want to find that. The most recent new find for us is an act out of Sweden called Majestoluxe, amazing blend of electro rock and industrial… very cool, their song COLD is brilliant.
You are planning a huge 3-day industrial festival, where STN is headlining, and you get to choose all the other acts. Who do you choose? You can choose defunct bands, and we will happily raise the dead to help you comply with your desired line-up.
First of all, these bands would all be headlining, and we would be the opening act 😊 Skinny Puppy and RevCo from the mid 90s would be amazing…and throw in some 90s era NIN and some Empirion.
After “The Bunker Tapes III” is released, what is next for STN, as you guys never seem to be without a project of some sort?
We can’t stop making music… and we have a ton ready to go now. We can go several directions next, maybe something more chill and goth, or more dark techno or something more out there and different. We mainly write for our live shows, so it really depends on what we want to do live, that will dictate what we do next.
No nuns were harmed in the making of this interview… they all thoroughly enjoyed themselves. Thank you for your time!
Those that are heavily into science fiction/fantasy might recognise the name “MorbusGravis“. from the comic Druuna, which became a video game in 2001. It is now a single, out on Infacted Recordings, from Greek industrial project TeknoVore, and the guest vocalist/lyricist is Australian, KeevaLeo, whom you might know is from the equally excellent Sirus.
You know, that when any seductive female voice tells you ‘come in, the water’s fine‘, you should probably run… a lot. Big industrial base drops propel the track forward, with Leo’s vocals cajoling, wailing, and seducing your ears, as any good siren should. There is included two mixes by two musicians/producers. Adsol gives you the first remix, which you think is going to be some delicate thing, but the beginning is a ruse, as the music flows between transcendental and thumping rhythms, while the vocals are now murkier, and there is a sense of obfuscation. The remix by Draven is an instrumental headlong rush of techno beats with flourishing synths that occasionally stops to catch its breath and then continues on, overriding your senses.
There is also an instrumental version where you get to experience those great bass drops yet again. GeorgeKlontzas is the man behind TeknoVore, and he really has a knack in creating and blending techno/psytrance with industrial, that is seamless and heavily engaging, so his combining forces with KeevaLeo, is a stroke of genius, and “MorbusGravis” is going to suck you down into its wonderful vortex.
Is there a cooler band name out there than SuperDragonPunch!!? I think not! This 8bit/industrial project from Belgium, is the brain child of JérémieVenganza and there is a new single called “Split“. If this wasn’t enough, he has called on several electronic musicians to help out on the remix duties.
In true 8bit fashion, the track starts out like a computer game, that crosses with far more uplifting synth lines that spin around the punchy lyrics that talk about regret at losing another. As soon as you hear the first remix, you can tell it has JamieBlacker’s touch all over it. The ESA (ElectronicSubstanceAbuse)remix is a bit funky with thumping beats and static, giving the track a much darker tone. Next is the DulceLiquido remix. OscarMayorga is DulceLiquido, as well as a member of Hocico, and with that pedigree, the rhythm slams and the industrial-techno strobes your senses, creating an amazing dance version. The fourth version is doused in the electronic splendour that is [SITD], where they use their skill to give the track a depth, using those beautiful tinkling key notes and lowers tones and this leads on perfectly to the ToxxicProject mix. ToxxicProject is another Mexican project, and their remix is this building tide of synthy injected waves, that surges around your ears.
There is also an instrumental mix which is equally as good, but honestly, you should just listen for yourself. It is a chance to immerse yourself in not only a great track, yet also bask in the talent of the guest remixers. There is not one that I could actually say is my favourite due to the fact each has their own, very distinctive, style. All killer and no filler from this single, “Split” by Super Dragon Punch!!.
May the 5th seems to have been a huge day for releases, and what could be better than a single from the British electronic wizard, SimonCarter. “EraseMyMind” features the dulcet tones of Sweden’s FredrikKeithCroona (AgainstI/Menschdefekt).
I was not joking when I said Croona’s vocals are dulcet, as he takes you down the electronic rabbit hole where one feels unfulfilled, and it leaves such a hole, it would be better to forget to ease the pain of it all.
Carter’s music as always, is simply scintillating. There is a symmetry between the techno x psytrance and Croona’s vocals, that make this not only a great dance track, but just an enjoyable song in general….. that I won’t be listening to in the car….. speeding is bad. This Simon Cater featuring Fredrik Keith Croona, and they don’t really want to “Erase My Mind” so much as raise my resting heart rate.
Onyx Music Reviews 