When you are a weirdo, you build community with other weirdos. So we are putting out the word that online monster munch, electro/industrial magazine, Brutal Resonance have launched their maiden ship of a podcast, streaming into the void of cyberspace, where someone can hear you scream and probably turn it into an epic industrial track.

That long haired hooligan, Steven Gullotta, captain of the good ship Brutal Resonance, is looking to bring you commentary, new music, interviews and formatted shows to both inform and thrill the audience… but then, quite frankly, like it or not, this red headed renegade takes no prisoners and you will listen to the ‘good shit’.

STEVEN AT BRUTAL RESONANCE HQ 😊

Resonance has gone from strength to strength and in the last few years, become a record label as well, signing some very radical acts such as Her Noise Is Violence and HOSTILE ARCHITECT.

Has this peaked your interest because it should have. Knowing Gullotta, there will be screaming, f-bombs and a lot of laughing, along with a tonne of interesting music for you to ingest. So, support the scene and my only piece of advice is, don’t let this man near a didgeridoo…. it’s really obscene………

https://brutalresonance.com/

https://brutalresonance.bandcamp.com/

https://m.facebook.com/brutalresonance/

May 5th dropped the single “Starter” by Portland, Oregon based project Newphasemusic. Daniel Henderson is the man behind Newphasemusic and whom also is a drummer for such acts as Trance to the Sun, Tuvan throat singer Soriah, a Cure tribute band called theXplodingboys plus others.

Geodome is Henderson‘s first and original version of “Starter“, the electronic alarms have sounded in this rhythm heavy piece, with the synths wailing lightly in the background. Obtuse, discordant piano keys or is that chimes (?) flutter through, all the while distorted vocals feel like the lips could be, up against you ear. The second version is by Dan Milligan, the lynch pin of the mega group, The Joy Thieves and another drummer by trade. This remix has strut, like it owns the hood with it’s base loaded tones, aggressive guitar and rhythms. The third remix is by SINE’s Rona Rougeheart and ooh…..wubby. It is a little sexy and a little slinky, there is a beat throughout but the concentration is on the electronics as they slide up and down, pulsating.

Kind of trippy listening to these three interpretations. The versions, with drummers, Henderson and Milligan, definitely are classy beat heavy affairs that you can bang your head to, while the SINE mix will probably have your whole body gyrating. This is the not so calm before the album hits us….and even better is the fact that you have no excuse for not downloading “Starter” by Newphasemusic on Bandcamp, as it is name your price.

newphasemusic (bandcamp.com)

Newphasemusic | Facebook

The Joy Thieves (bandcamp.com)

Music | SINE (bandcamp.com)

Brisbane’s HOSTILE ARCHITECT has dropped the EP, :​​:​​EX​​-​​LOG​​:​​: REMANUFACTURE ME, as of the 29th of April, on Brutal Resonance Records. This is a one man, dark industrial project by the not so hostile Mitch Kenny and this EP is the follow up to the album, LOWGRADELIFE.

This is something a little different for the hostile one. “REMANUFACTURE ME” is this amazing mix of industrial and darkwave, as Kenny goes from monotone vocals through to singing. The synths are just perfection as they skim and glide across this track with a fabulous pop sensibility. In “ECONOMIES OF SCALE” you can clearly hear the HOSTILE ARCHITECT tell tale touches but even this sound is expanding. The beats never let up and just has these incredible moments of amazing electronic noises that make you wonder how Mitch has wrangled them out of a machine. The first single, released before the EP is the brilliantly, energetic “POWER OVERWHELMING” and this is the GOLD MIX and it is a bloody amazing track that pumps along at hair singeing speed at times.

Oh yes, welcome to the “TERMINAL GRIND“, which is all stellar synths twittering at you with murderous intent in this instrumental piece. All hail your overlord, the HOSTILE ARCHITECT of techno delights. Maybe inspired by the Australian yearly heat we have the expansive “BLACK SUMMER” where the ‘Sky’s on fire and so am I‘. There is something scintillating and spine tingling about this track that makes the hairs on the back of your neck raise up. Those that have followed the releases will know that “HOSTILE THEME” was on the LOWLIFELIFE album and now there is the NYTESHAYDE RMX, Roger Menso being Nyteshade, who also did all wonderful mastering. This is the metal industrial version you never thought you would hear. Wow. I know this song so well and this was just mind blowing to hear it done this way.

REMANUFACTURE ME” just blew me away, possibly my favourite number, from the beginning and there is not a mediocre track on this EP. Not one. Kenny always fills his music with movement and you can see his evolution of the character, the HOSTILE ARCHITECT, in the evolving sound. There is definitely some synthwave/darkwave creeping in and it sounds amazing. Mitch is a really creative and talented musician and it shows in how he crafts his tunes, so I am hoping more people pick up on this project and spread the word that the HOSTILE ARCHITECT is asking…….. IF THIS IS SUCH A BRAVE NEW WORLD WHY DO YOU SEEM SO SCARED?

:​:​EX​-​LOG​:​: REMANUFACTURE ME | HOSTILE ARCHITECT | Brutal Resonance Records (bandcamp.com)

Music | Abelisk (bandcamp.com)

HOSTILE ARCHITECT | Facebook

Brutal Resonance | Facebook

NyteShayde (bandcamp.com)

NyteShayde (facebook.com)

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

Well….apart from some stellar remixes, we haven’t heard anything new from HOSTILE ARCHITECT since the debut album and what a debut it was. After speaking to Mitch Kenny (he whom is hostile), I have been told that the new single. “POWER OVERWHELMING (ALPHA MIX)“, is heralding the soon to be launched EP. You can find the single on the Bandcamp page of Brutal Resonance as it was released on March 18th, 2022.

Yep those dance beats just get to you and the wonderful thing is that Kenny always keeps certain tones and sounds consistently in his tracks, like a fingerprint. Oh yes, the ARCHITECT is all about the destruction with the idea that destruction and eradication causes two of whatever to become one. Intense and amazing.

It is a great dance floor single and if this is any inkling of what is to come, well then, damn it the EP is going to be stonkingly good. What also is really cool about this release is that Brutal Resonance in their wisdom, give you the opportunity to purchase this single on postcard vinyl. When I was a kid, you could get magazines with a floppy freebie and this is pretty much the same idea, as it can be sent to you via the post for free rather than a tape, CD or full vinyl, which is really neat and a bit of a collectors item. Sure the quality might be a little lo-fi but that’s half the fun and you still get to download it as well.

POWER OVERWHELMING (ALPHA MIX) | HOSTILE ARCHITECT | Brutal Resonance Records (bandcamp.com)

HOSTILE ARCHITECT | Facebook

Electro Industrial Music Magazine | Brutal Resonance

Brutal Resonance | Facebook

Psyklon Industries | Facebook

December 17th, 2021 was when the EP Pieces was released by New Jersey band, Panic Lift on Metropolis Records. Panic Lift are currently releasing a series of EPs, five in total and Pieces is the second in this series. James Francis is the frontman of Panic Lift whom have been around since 2006 and his live band is made up of Dan Platt (keyboards), Ben Tourkantonis (drums), Cristian Carver (drums) and Kenzi Burke (bass).

There is something definitely grandiose about the first track, “Disease Of Kings“. An amalgamation of synths, guitar and soaring vocals that feels a little raw, when the world is breaking around them and life has lost its colour and taste.

Failure Principle”is a track that just instantly catches your attention. The synths just fly at you, exploding into shards of glass, that while pretty, are sharp and reinforces the message that stress without hope becomes a cycle of pain.

The last three tracks are mixes. GenCAB are back with a new album of their own, Thoughts Beyond Words and have remixed “Disease Of Kings” giving it a far more electronic flavour that swirls through your head. It is a given that any song mixed by Assemblage 23 is going to be fairly stellar. Tom Shearer gives “Failure Principle” the treatment and I can see this doing so well on dance floors. Last mix is done by KALCYFR which is a thunderous dubstep and bass beast.

So it is a tight little EP with a great choice in guest mixers. Both songs are little gems and so now we wait to hear the next EP from Panic Lift.

https://paniclift.bandcamp.com/

https://www.facebook.com/paniclift

https://metropolisrecords.bandcamp.com/

https://www.facebook.com/MetropolisRecords

https://www.facebook.com/kalcyfr/

https://www.facebook.com/GENCABofficial

https://www.facebook.com/profile.php?id=100044546464584

David Lawrie is The Royal Ritual, an Englishman living in the U.S., taught music from a young age, now involved in the goth/industrial scenes as a composer and producer. He kindly spoke to us about his project, the new album, film making and what inspires him.

Welcome David Lawrie to the darkside of the rabbit hole that is Onyx. The Royal Ritual is a new project for you. What inspired you to go on this solo journey?
The last time I had performed in an industrial outfit was with my friend Chris Coreline in 2008-2009 – when we played a string of shows, starting with the inFest Festival of 2008. It was so much fun. Since that point I have been mainly writing for documentaries, doing audio post production for film, and producing EPs/albums for various independent artists under my birth name. 

Fast forward to Coldwaves 2018, where I was in the audience with Dustin Schultz who, the night before, had performed with ohGr. It made me remember how much I wanted to get back into the fold. I mentioned this to Dustin, and we started working together in 2019. With the pandemic looming, it became more of a solo project in early 2020. Ultimately Dustin contributed significantly to two songs on the debut album, but without the initial collaboration with him, I don’t think I would have pushed forwards with the project.

As the lockdown clamped down harder on us all, I continued to work on the album. The name “The Royal Ritual” came to me on a cross country road-trip, in December 2020.

I would like to talk about the two singles you have so far released. “Pews In a Pandemic” is an observation of how commercial religion can be both controlling and coersive of their flocks, then married with the music that is harsher in sound.  Can you say what roused you to write this and influenced the choice in sound?
Firstly I don’t want to be insulting with anything I write. Whilst it is probably very obvious that I am fundamentally anti religion, I do not hold hostility towards the majority of religious people. It is no secret that I am atheist (and as close to “a-deist” as can be), but I also understand that a belief in a higher power brings comfort to a great many people, and I wouldn’t want to take the comfort of belief away from so many. 

Where this breaks down, at least for me, is in the boldness of a select “holy” few who not only claim that they have a direct communication with a deity, but they can disseminate a deistic message to a congregation – a move that, to me, is a parallel with divine dictatorship.

In the decade I have spent in America, I have really seen how bizarre things can become when religion makes good business, and the social fallout from that is a topic of great inspiration in my writing.
As for the overall sound, this was not the first song I wrote for the album, and as such, it was arranged to fit in with the already fairly solid palette of the other songs that had been written.

“Empires” is the second single and a comment that many English hark back to the ‘good old days’ when the British had a huge colonial empire which was at it’s peak during the Victorian era, with the British Raj in India, the jewel in the crown. Your song writing takes on a more classical quality and evocative of something exotic, maybe even forbidden, referring to the the line ‘when I was a little girl and you were a little boy’. How did this piece come about?
I do hope that the irony and sarcasm in this song is obvious. I also hope that my exclusion of Scotland, Wales, and Northern Ireland in the proclamation of “England” and not “Britain” is not dismissed as ignorance on my part.

I wouldn’t want it to be said that I am not proud to be English, because I do love the country. Whilst its history is turbulent, it is a history from which there are many lessons to be learned. I genuinely hope that as we move forward, these lessons will inform positive change.

Me being the “little girl” in this scenario harks back to mockery in the playground, where physical weakness and displays of emotion were “girlish” traits, whereas physical strength and the “stiff  upper lip” were “boyish” traits. I’m very glad we are gradually evolving past this nonsense.

The video for “Empires” is simple and yet beautifully directed by HARUKO. How was the experience making this video?
I try to separate out my different creative outlets, and HARUKO is my visual artwork pseudonym. I have been fascinated by filmmaking for many years, and in 2013, purely out of necessity, I made my first videos with just me, a camera, and some lights for the music released under my birth name. I learned a great deal very quickly, and since then I have continued to add to my equipment and skillset. That enabled me to do the first two videos for The Royal Ritual completely isolated from other people (I had some help carrying lights deep into the forest for my cover of Phildel’s “Glide Dog”).

For “Empires” I wanted to work with actors to tell a story, and I knew that I needed to put the cinematography in the hands of my good friend, and long-standing filmmaker colleague, David Diley of Scarlet View Media. He and I have worked on films for many years, with me taking care of audio post production in many of his projects. His expertise, along with his knowledge of my general vision, meant that I could focus on the direction and project management of the “Empires” video – trusting that it was being captured to a very high standard.
I have directed videos for other artists in the past, but this was the first time using actors. A full production, if you will. I am very proud of the outcome!

As an Englishman in the U.S., do you think being away from the U.K. gives you more perspective and also a different view while in the States? Kind of a stranger in two worlds so to speak.
I have always felt like an outsider, so I am used to that feeling of being a “stranger” – I think most people who work in the arts probably feel it too!

What I have found about splitting my time between the two countries is that it has opened my eyes to layers of odd logic on both sides of the pond, and it has also left me much more humble and less opinionated about subjects on which I am not well versed, as well as being more interested in learning.

Whilst I know that my transatlantic travel leaves a large carbon footprint (which I try to offset with the food I eat, minimising the waste I create etc.), I do feel that travel is key to us all understanding each other. Until you see the “other side” for yourself, you never really know how it compares to your own situation – and I think that being able to compare makes you not only more grateful for what you do have, but also more compassionate towards other people in worse positions. Experience, not hearsay, is key to progress.

You are a sound engineer and  you do musical scores for documentaries etc. Could you tell us about these and how it has influenced how you have approached creating music with Royal Ritual?
Working in audio post production/sound design for film came about almost accidentally, even though in hindsight it makes perfect sense. Using found sounds as percussive (and even melodic) elements of my music has been something I have done since studying my Bachelor’s and Master’s degrees. Field recording is one of my favourite pastimes.

When David Diley asked me to work on the audio for his film “Of Shark And Man” in 2012 (the film was released a few years later), it was a really exciting challenge. He told me that the main character of the film was not the sharks, nor the interviewees, but rather the water itself. Creating an almost musical sound for the water was a very rewarding exploration – almost the reverse of what I had been doing to create elements of my own music.

David Diley also asked me to compose the opening theme for the film, which helped me to develop my own way of mapping out a piece of music to visual cues.
With regards to The Royal Ritual, every single song was written with a very strong visual in mind, using techniques I have developed in both my musical and audio post production worlds. 

What can we expect from the full length album MARTYRS?
“Pews In A Pandemic” and “Empires” paint the musical extremes for the album. There is a lot of darkness, but also (I hope) a lot of light in there. As much as I focused on creating sound design elements for the musical side of things, I also spent a long time working on the lyrics – something I hope translates and resonates well with people. Words have always been important to me, so I made sure to take my time with the words on the album.

As I mentioned before, the album has something of a sonic “palette,” so whilst the songs have a lot of variety in their songwriting, I think their arrangements are tied together by a general “sound” (for want of a better term).

I am so glad that the singles seem to have been well received so far, but I feel like they make more sense in context with the rest of the album. I pieced it together with two sides of a record in mind, and I am very much looking forward to holding and spinning the vinyl myself!

What music first set your soul on fire when you were young and who do you enjoy or still fans that fire?
That question is always going to open Pandora’s Box, as far as I’m concerned, so I will try to keep it short.

The influences that jump to mind right now are Erik Satie, Pink Floyd, Arvo Pärt, Tool, Henryk Gorecki, Aphex Twin, Philip Glass, Björk, David Sylvian, Nine Inch Nails, Tears For Fears, Nitin Sawhney (and I could go on and on…)

The most perfect piece of music to me, however, is “High Hopes” by Pink Floyd. There is a long story behind that choice, but I am certain that it was that song which served as the catalyst for me truly wondering about how modern music was put together.

Thank you for your time and we can’t wait for the album MARTYRS.
It has been a pleasure – thank you!

https://theroyalritual.bandcamp.com/

The Royal Ritual | Facebook

Michael Gillman (Gillie) and Daniel Allen are the brothers that make up the band Dirt Factory. Gillie is in Brisbane and Allen lives in Melbourne which means since the outbreak of the plague (covid) they have been in lockdowns for well over a year and unable to meet up or play live gigs unless doing them solo. This hasn’t slowed them down one iota because December the 3rd saw the third album released in two years, called Systems Deleted on Brisbane based label Viral Records Australia. Interestingly Dirt Factory almost exclusively use analogue equipment.

MICHAEL GILLMAN & DANIEL ALLEN – DIRT FACTORY

Oh yes from the start you can already hear how good this really is. “Delete The System” growls Allen, ‘fuck your commands‘ over rampaging rhythms that give this it’s bang. Second single, “Microscopic“, has guest, Roger Menso (ex-Dogmachine) on guitar and good grief, this is a new level Dirt Factory. It is a grimy, sexy beast of a song that takes your breathe away and gives you shivers up your spine. Allen sounds like a very angry dalek that has fully gone industrial and it sounds brilliant. Dirt Factory want to “Factory Assimilate” you and quite frankly I can think of worse things to do as the music beast down in industrial precision convincing you that you will obey. There is something symphonic and other worldly about “Hammer“. It experiments with low tones that sound like abused piano wires and high synths in direct opposition, while Allen is the bloody butcher. The original single is “Crash Landing“, because you know they are out there and they have those stellar synth lines and beats. Yes the aliens are here and you can listen to a report of an eyewitness and Allen’s inhuman screams.

Swallow the pill and “Suck It Up” is a dirge ridden number and I honestly can hear far too much innuendo. “Dive” is just a superb piece with sweeping electronics that fritter out and arc around you like electrical tendrils. Soundscape mixed with such hostile vocals. Jethro Hilliard (RAZRWHIP) guests on this track providing drums and sound effects. This has to be one of my favourite tracks on the albums. But wait, they then slam us with “Digital Media” with guitar provided by another member of RAZRWHIP, Johnny Ryall, who nails the electronic fuzzy tones that help propel this forward in real rock style. The next track is all about the animated dead…spooky. “Flesh” is horror inspired zombie fare with glitching beats and vocals as they stalk you. In the “Exstream” they are observing you, surveillance of every aspect of your life and you can be brainwashed but are you too involved in the conspiracies? Final eleventh track is “Ghosts” and this just is just a great bouncing track and probably the most reminiscent of Skinny Puppy and it pumps.

I love what they have done with Allen’s vocals and Gillie is just so talented with synths. This is a monster of an album, again beautifully mastered at NyteShayde by Menso. If this doesn’t get your heart rate up then you might be dead. The really scary part is that I already know that the lads have almost finished their fourth album which is both mind blowing and disturbing all at the same time. Gillman also revealed that the next album is already darker. So before they stab their way repeatedly with rhythmic timing through your chest, do listen to “Systems Deleted” because it kicks arse.

https://dirtfactory.bandcamp.com/album/systems-deleted

Dirt Factory | Facebook

https://nyteshaydemusic.bandcamp.com/

NyteShayde | Facebook

https://viralrecordsau.bandcamp.com/

Viral Records Australia | Facebook

https://viralrecords.com.au/

If you love industrial music, then you should be checking out Isabella Chains’ project, Null Cell. The Omaha act is soon to release a full length album, Nemesis in December, but before then, you can sample the delight that is Null Cell with the first single off the album, “Over The Top“, which was released October 29th, out on Machine Man Records.

ISABELLA CHAINS – NULL CELL

Metal mixed industrial might be the best description, in a similar vein to many of the beloved Wax Trax bands. Pumping beat with harsh, angry guitar work and belligerent vocals. It is kind of the industrial version of don’t try to change me or tell me I’m wrong because this is my life by people who think they are always right.

The two remixes on this album are from HOSTILE ARCHITECT (H/A) and Varicella. You can pick H/A’s mix, by Mitch Kenny, a mile away with the signature synths and breaks. He has created a more futuristic version where the guitars are no longer at the core but still kept it deliciously dark. The Varicella version keeps to the guitar based sounds, injecting their electronic fingerprints and dare I say giving the track an even dirtier feel with the extra vocal manipulation.

The last track is a cover of “Wireframed Genocide“, originally written and recorded by Mind Teardown. The original has cleaner synths and a definitely more European flavour about it even though they are from Seattle, whilst the Null Cell cover is near pure angst, seething in it’s disdain.

Over The Top” is name your price on Bandcamp. There is nothing to lose from checking out Null Cell and you just might gain a new act to really enjoy and follow.

https://nullcell.bandcamp.com/album/over-the-top-single

(7) Null Cell | Facebook

https://brutalresonance.bandcamp.com/album/lowgradelife

(6) HOSTILE ARCHITECT | Facebook

https://varicella.bandcamp.com/

(6) Varicella Band | Facebook

https://machinemanrecords.bandcamp.com/

(6) Machine Man Records | Facebook

We are delighted to bring you Onyx Music Review’s first interview and we are lucky to have Mach Fox of the industrial band, Zwaremachine, give us some of his time for a Q &A to talk about the new album Conquest 3000, the changes in the band and how current events are affecting them. Zwaremachine describe their style as minimal hypnotic industrial body music, which is raw, hard edged and rhythm filled with cyber punk themes.

ZWAREMACHINE

Mach, congratulations on the new album, Conquest 3000.

This new album sees Zwaremachine now as a three piece, where as previously it was a one man solo project. How did this come about?

Hi and thank you for interview and helping us get the word out about Zwaremachine and the new album. I had always intended to present Zwaremachine as a live trio with myself on vocals/synthesizer and 2 other members on electronic percussion and additional synth. Since I was using sequencers and drum machines to program and write the songs in the studio I also made sure that I could perform solo if others were not available so that is when the solo shows would happen. Over the years Zwaremachine was able to perform as duo or trio when friends were available and we could do minimal rehearsals since many of the parts were sequenced for live performances. This was great as no one had to commit to my band full time and I could have rotating members of my favorite musician friends fill in. Basically I would just need some musicians to help bring the studio recordings to life on stage. I was only booking a few shows each year from 2012-2016 and not very active with the project.

In 2017 I decided I wanted to write and record the “Be a light” album and find permanent members to
tour and record with so over a couple years I was able to try out many members while writing, arranging and performing songs that became the first full length album for Zwaremachine. At first it was difficult to find others committed to rehearsing and learning arrangements for live shows…I was able to record all parts in the studio but I had the goal of having the instrumental arrangements performed as on the record. At this point my main goal for the band was a s a live performance vehicle for these songs and I felt the album should sound like the live versions. In 2019 I finally solidified the line up I’m thrilled to have Dbot on bass guitar and Dein Offizier on drums/percussion.

With one of your band mates, Dein Offizier in Europe and then the virus bringing travel to a halt, it must have been quite an effort to write and record Conquest 3000. How did you get around these obstacles?

Digital recording technology, sampling and being able to record ourselves in home studios and rehearsal rooms played a big part in the recording sessions on this album.

Luckily I was able to travel to the Netherlands in January 2020 to record Dein Offizier drum parts on the demos that Dbot (bassist) and I had worked up in the summer of 2019.. I would have loved to get Dein Offizier into a proper studio with an engineer to record his drum parts but it just was not possible at that time and with our schedule for album. I must say that he worked so very hard on that session and we were able to record 12 songs in 6 hours in a rehearsal room that we rented at Popschool Parkstad in Heerlen,NL {Netherlands).

The 2 other producers we worked with on the Conquest 3000 album tracks were Planktoon (Sweden) and D.Corri (Ireland). We were sharing tracks via internet which is fairly common these days but also means the collaboration process is much different than being in same studio together. This also added to the longer time to produce this album as everyone has busy lifes outside of the band project. Overall I feel that it gave the album sound a uniqueness we may not have got if I was the only producer involved and I very much love what both Planktoon and D.Corri contributed.

How did you end up incorporating Dein Offizier and D-Bot into the band?

I had performed some solo Zwaremachine shows early 2019 in Europe and Dein Offizier was a mutual
friend of Kitty Sommer who does management/booking for the band so he was at one of those shows
since they are both located in the Netherlands. We later met online and I was intrigued by some of his
pictures where he was playing drums and performing in festivals with his underground percussion group at the time. We had many of the same musical tastes and he looked like a complete badass with his big metal brazillian surdo drum so I asked if he would like to join Zwaremachine on electronic percussion. He agreed to play with us and thru some discussion he expressed he would rather play his own drums instead of samples on an electronic drum pad which was an idea I had never considered but made sense as I had already added a live bassist and felt it could be another way to present our “electronic rock band” differently than so many in the current industrial/ebm genre.

In the fall of 2019 we finally met in person and had our first rehearsal where I knew he was a perfect fit when I saw him aggressively pounding his drum and mouthing the words to our songs from the set…and just hours after that first rehearsal we were in France for our first show of the Zwaremachine & Vuduvox ElektroTanz Tour. Dein Offizier and I did that tour and those shows as a duo since Dbot could not make it and it was a pleasure and honor to share the stage with him every night. It was just like he had always been in the band and I really appreciate his hard work and confidence for that tour. That is really trial by fire and he has only become a great friend and bandmate every day since then.

I did not ever anticipate to have a live bass guitar in Zwaremachine but Dbot had already been a member of early Zwaremachine live line ups on synth and electronic percussion and had also played bass in Mach Fox band from 2006-2010. I was considering a Mach Fox band reunion and we were talking about getting that band back together in late 2018 when I decided to ask him instead to play bass for Zwaremachine. He agreed to join and we released our first recording together as Zwaremachine in December 2019. It’s great to be on stage and write music with him again and I want to point out that half of the songs on Conquest 3000 were from instrumental tracks originally written by him. He is such an excellent musician and brings influences from other genres which is always welcome when we can blend that into our expanding sound.

We know for you, Zwaremachine is very much a live act with a huge accent on the visual aspect. Are there plans for live gigs again with your fellow bandmates or will you lean towards using platforms like twitch currently?

I do love the idea of presenting a visual that compliments or contrasts the music whether it is bringing
some old CRT monitors in road cases to glow on stage or building custom microphones and other stage dressing/set elements. I originally got into video art and VJ work as I wanted Zwaremachine to be strong audiovisual band in the style of Severed Heads, Skinny Puppy, Clock DVA and many from that period that matched the visuals with the music to give the audience a bit more of an experience live. We do plan to perform live again and the visuals and stage dressings/sets will depend on whether we travel to Europe or U.S. for first tour and shows since it is not always easy to bring that extra gear.

When shows and tours were first cancelled and I would get requests for online festivals and streaming
sets I originally turned those down as I wanted our live shows to be experienced in dark venues with
large and loud sound systems with a crowd…but as time went on I accepted that this could be a cool way to present our show without having to haul all the gear! Since I am also a VJ and video artist I was able to use multiple cameras, video mixers, hardware effects to present something special that I hadn’t seen others doing and with a bit of editing and post-production we ended up presenting about 10 unique livestream sets which I am proud of. The only downside to that was we were not able to have Dein Offizier with us live but we managed to record footage and he can be seen on the screens behind us for portions of the set.

During a recent interview, you expressed that you would like to bring guitar into the Zwaremachine sound. What is the influence for this?

The guitar was my main instrument for my earliest bands and it’s an easy instrument for me to express melodies and texture. I still want Zwaremachine to be driven by heavy electronics but recently I have been using guitar for some remixes and on a new side-project so I feel it might become present on some new Zwaremachine songs. Most likely it would be loaded into a sampler for live shows as I can’t be fussed to keep tuning it!

The guitar I use is a Roland Gr707 that is also a “synth guitar” which allows me to play a synthesizer or
sampler via midi from the strings of the guitar so it can be blended with a synth or any sound desired.
I also love that the guitar can be placed in the mix with synthesized instruments to make this sound that can still seems futuristic today. This idea to make hybrid electro-industrial rock is probably influenced by my favorite Wax Trax label records and this sound was hinted at in our Ripping At The Fabric EP where the synths were often treated like guitars and there was plenty of sample editing in the production. I have also been making some awful sounds with modular synthesizers that could be looped and used in future
productions.

Your moniker, Fox, is a nod to the original singer of Ultravoxx!, John Foxx, who is also an inspirational figure for Gary Numan in the electronic scene. How do you feel that people like Foxx, Numan, Frank Tovey of Fad Gadget etc have influenced your sound and who currently do you find influences you now?

Those artist and many others were using electronic sounds blended with acoustic instruments and
experimenting with production and effects in a very creative way often due to the limitations of equipment or lack of rules. The whole DIY and punk music stuff happening the same time was what gave me the ideas to try things on my own and try to make sounds that I wanted to hear. Those bands mentioned also had strong images attached and really stood out for me first for the music and also for being great live performers.

A current influence would the industrial and dark sounding electronic music I hear being made and
especially when it’s done well with modular synthesizers. Modular synthesis can produce sounds that I
have never heard before and that really excites my inner circuits as a musician and a lifelong fan of sounds. Check out TL3SS – Murkwhip or ENDIF – Falling Into The Sky for good examples.

Thank you for your time and hoping to hear more from Zwaremachine in the future!

Thank you for the interview and we will stay in touch!

http://www.zwaremachine.bandcamp.com/album/conquest-3000

http://www.facebook.com/zwaremachine