51 Pegasi is the designated name of a Sun that was once called Helvetios and 51 Peg is an industrial rock band from Washington. They released their first album back in 2000 called Strange Appointments and now in 2023, 51 Peg unleash latest album named A/Version.

Kicking off with the mood filled “The Distance Between“, which is a bit like an industrial version of Stone Temple Pilots, where the synths wail more so than the guitars. “Cursory Rhymes” is a swelling and emotional track with imploring vocals, which is at complete odds to “Roots Into Sand“, as the ancient mysteries of the Middle East merge with the industrial, as a beast that can not be stopped, forever invading. The modern era is the age of the “Digital Disease“, where computers mean you can exchange information and thoughts across the globe, yet this hasn’t translated to harmony. There are big vocals and soaring guitars throughout.

The beginning of “In Return” actually made me think of the wonderful Japan but then the rock explodes this reminiscing, searing with vehemence. “Werewolf” could simply be about the shapeshifters, but I think the deeper meaning might allude to the animal that resides inside every human, under the skin, waiting to come out if we let it. It is a slower and more thoughtful number. The last track is a cover of the Billy Idol single, “Eyes Without A Face” where musically and especially vocally, 51 Peg give a very Idol performance, without a need for the female backing singers.

For me, it was odd hearing a cover of the Billy Idol’sEyes Without A Face“, which is one of his slower songs, because most bands seem to cover “Rebel Yell” or “White Wedding“, so that is a refreshing change. In a way, this is true of the whole album, as I was not sure of what it would sound like by the description but was delighted how well the different influences meld together. The band cite Nine Inch Nails, Ministry, Depeche Mode and Gary Numan, yet I also hear Stone Temple Pilots, Faith No More and an undercurrent of 80s electronica. A/Version by 51 Peg is a nice slice of hot industrial rock.

A\Version | 51 Peg (bandcamp.com)




Someone told me they were going to have a rest from creating music. They so lied!!! STAHLSCHLAG released in February, the EP Avalanche. German, Sebastian Sünkler has been busy, tinkering up a storm and he even brought along some friends for the ride.

Mental Machines” is a bit of a treat because you get to hear the man himself, Sünkler, providing the vocals in this track of amalgamated power noise and techno. The machine, through Sünkler, speaks to you in its metal voice about loss of control, slamming against the electronic cage.

Non-Bio’s Howard Gardner is the guest vocalist/lyricist on ” Do You Think?“. Grand internal reverberations punch around Gardner’s monologue, threatening to overwhelm and consume.

There is yet another guest vocalist/lyricist on the track, “Before I Was Broken” in the form of Kimberley of Bow Ever Down. With a slower and more synth lead sound, Kimberley’s singing flows above the spike barbed beats that attempt to puncture the sincerity of the vocals, telling of a time of happiness that no longer exists.

The final track is the instrumental “Burn“. The glitching and crunchy rhythm is over laid with an eerily tinkling keyboard, like the embers starting to ignite, fuelled by the music and taking hold. It can’t be stopped as it hungrily bursts forth, those synth lines feeding into the blaze.

Honestly, I don’t think Sebastian can help himself, and the winner is us, the listeners. Each time he puts out new music, you hear him changing things up or reinventing his sound, plus having great vocalists is just the cherry on top. Maybe Avalanche refers to the onslaught of rhythmic noise, but I like to think it’s because STAHLSCHLAG is just like a force of nature.







40 Octaves Below is the industrial project for Canadian Drake Moore and the newest album is MetaVerUs, released in January of 2023. This is the third studio album from 40 Octaves Below and is packed with a whooping fifteen tracks. The theme that ties this together is that the global network of media are creating mass misinformation, which in turn creates mass hysteria and hysterical populations are easier to control, never thinking to question why their rights are dwindling. The music itself is intense, with driving rhythms that you can easily lose yourself in, and dance to. So, we thought we better talk to Drake about MetaVerUs, that is about everything versus us, the average humans, and ask him all the important questions about this album, his collaborators and why it took thirteen years for 40 Octaves Below to release the first album….

Welcome Drake Moore to the desolate isle that is Onyx.

Hi Onyx. Pleasure to connect.

Your first album, “Digital Fracture” came out in 2019, but on the Bandcamp blurb, you mention that it was 13 years in the making. Can you please explain what you meant by this and what the culmination was leading up to the first release for 40 Octaves Below?

It’s a long story that pre-dates the current technology that allows most people with a decent workstation and DAW to produce music. It began with Propellerheads’s Rebirth software and lead into Reason later which resulted in a very nasty little release entitled “Sick Machine” under the name “Gore-Tek”. The ability to evolve beyond this was hampered by perceptual roadblocks, denial and a steady downward spiral into addiction. A lot of music was produced in that period. Some half finished, a lot of it just not very good. It was an ongoing mess of consumption and composition. The trick was the trap of thinking the substances were providing an expansion of mind which would result in brilliant musical output. And we were very dedicated and productive with the amount of garbage produced. A new awakening and sobriety came around 2010. It took seven years of stone cold sober before we could begin composing again. Around the end of that seven year period, the move into physical hardware made all the difference and things were really flowing.

Are you a native of Vancouver, in British Columbia and how do you think this has influenced your musical sound as well as the way you view the world?

We are from the Toronto area originally and have been on the west coast (on and off) for over 20 years. The earth magnetics are different out here and it has an effect on the people. Time elapses and is perceived in a slower manner. It had that effect on us and was where the love affair with electronic sound began. In a creative sense and also through community gatherings like live shows and raves. Music was huge on the west coast in the 90’s. Compared to then, today is a bit of a dead scene for live music. It is a challenge to optimistically perceive the world post global tyranny which tends to overshadow. Screaming at the top of one’s lungs is a release but is hard to gauge the spread. Love seems like a good answer but most days we just want blood.

Is there much of an Industrial scene in Vancouver and how do you find yourself relating to the scene?

The industrial scene here is largely a small group of DJs who keep the dance going. It’s a goth, fetish, dance type thing with not much in terms of local industrial bands. We’ve been trying to crack into the local DJ sphere and have found little to no response. The DJs in Toronto like Dwight Hybrid, Live Evil, DI Auger, Anthony (H) and others have been very supportive and are all about elevating Canadian talent.

“MetaVersUs” is your 3rd studio album, which came out this year. Did you find this album easier to write than the previous two, especially with the world starting to emerge from the Covid cocoon?

Our eyes opened wide when the evidential truth of 9/11 hit home. That was a great veil un-lifting and like taking that dreaded “red” pill. Since then, we’re constantly looking over our shoulder and striving to keep our own mind free from the programming. “MetaVersUs” is a lot more blatant in its message but is still harping at the same themes from the previous two albums. At this point, it’s all been said ad nauseam. We perceive the logic in the evil. Logic however has failed us as has science. We are now staring into the face of madness and the new physics. The production was a little slower as we share a single vessel and are forever honing new knowledge into practice. What comes next will be of a new skin entirely.

I have to say the title is a rather clever. Was it always going to be “MetaVersUs”?

Since Meta’s inception (under any previous name), is has always been against the people.

There are 15 tracks in all, so was it a conscientious decision or did you just find that those tracks just worked together?

We work mostly with Elektron gear these days (a trio of the Analog Four, Octatrak and Analog Rhythm). The first two albums were eight core tracks and that was primarily because the Octatrak (which is used as the master sequencer) has the capacity for eight songs in a given project. In a live scenario, it seemed optimal to have the tracks within one project per grouping to address the time lag of load time in switching projects. In approaching “MetaVersUs”, we wanted to create something larger and ended up chaining arrangements together within the same song and later breaking things apart for production in the DAW. This was a strategy used to create some sense of continuity as well. The number of tracks in the end was not entirely planned. At least not consciously.

Do you have a favourite track or tracks, off the album that you are proud of?

Not sure that there is a favourite. Each track expresses a deep feeling. Although it may appear there is a lot of anger in the expression, it comes from a tremendous love and want for humanity to do better. “Echoes” features a selection of samples taken from YouTube posts by our very dear late friend Raven Rowanchilde (Love and the Muse). That track is special. Raven had a lot of wisdom to share with the world and we wanted to present a sample while honouring her. Our collaboration with our good friend DI Auger on the track “MthrFckr” was a collaboration first and was a lot of fun to work on. “What If” was a last minute track and also a collaboration with EKaterina from Passion For Hypnosis. Both DI Auger and Ekaterina are a pleasure to work with and those tracks are unique in their own ways.

This latest album is a commentary on the current state of the world. What were the major ideas and statements you are making in “MetaVersUs”?

Our largest point of vulnerability is the media and the palm sized super computers we are addicted to. Our movements are tracked and our minds manipulated. We are all vulnerable no matter how clever or cautious we think we are. Denial runs thick with addiction. Very little is what it appears coming through the screen. The screens and platforms do not connect us. They are used to disconnect and divide. Who is responsible? We guess that a very small number actually know where the top is. We don’t but it is real and it is happening. We must claim back our minds if we are to survive. We must not divide.

You are definitely making political statements in your music, so do you feel that music is an important platform to create awareness and start conversations?

There is so much division and suppression of truth. It is nearly impossible to convince a robot that it is a robot if that information is not part of its programming. Music is the only platform where we can communicate ideas currently without immediate censorship. That could change but here we are. Anyone who listens closely and disagrees can turn it off. Perhaps through that experience, we have planted a seed. In the end creating music is what is keeping us relatively sane.

Chris Lefort is a classically trained pianist and his project is the gothic/industrial Di Auger from Ontario. He has appeared on most releases, so can you tell us about his contribution to current album but also the relationship you have with Lefort?

We connected with Chris shortly after “Digital Fracture” was released. We immediately clicked and were invited to play a show in Toronto opening for Trick Casket, Phantom High and DI Auger. That was a good show and opened the door for some remix collaborations with new friends. Chris has done a number of remixes for us and they are always killer. It was his idea originally to collaborate on “MthrFckr” which was going to be a single. It ended up on “MetaVersUs” because we thought the subject matter in line with the overall theme. “MthrFckr” is going to be released as a single separately in a couple months with remixes by DI Auger, Anthony (H), Live Evil Productions and 40 Octaves Below. Chris is just an all round great person. He does a lot to support industrial music in and around Toronto. It is a pleasure to know him.

You had guest artists do remixes of your two previous albums, that became their own releases in album form, so is there a plan in the future to go this way with “MetaVersUs” as well?

Yes this is already in the works. A couple surprises in store with this one.

Drake, you also have another electro-industrial project called Mesmer’s Ghost, which seems to have kicked off around 2020, so can you tell us what compelled you to start this separate journey?

Mesmer’s Ghost is a collaboration project with our friend James Seaborne (Innanfrá). We connected with James shortly after “Digital Fracture” and James immediately wanted to collaborate on something. He had this “Mesmer’s Ghost” name concept tucked away for the right time and so we set out to create some tracks. James comes up with these weird little musical journeys which served as the tone for each composition. This was inspiring. James wanted to handle the vocal side of things and leave most of the arranging to us. It is a nice palate cleanser after coming out of the 40 Octaves Below noise tunnel.

How would you say the styles differ from 40 Octaves Below and Mesmer’s Ghost?

Mesmer’s Ghost goes into a little more experimental territory and later works more into the gothic realm. There’s less anger expressed in Mesmer’s Ghost composition and more moodiness. We are a good way into a third Mesmer’s Ghost release that should be ready later this year.

How do you decide which songs you write are for 40 Octaves Below or Mesmer’s Ghost?

Each Mesmer’s Ghost track starts with some derangement of James’s. Anywhere from there ends up ghosty. There’s very little overlap in terms of production. We’re either working on 40 Octaves Below or Mesmer’s Ghost so there is definitely a switch that goes off in the head.

Are there plans to do live shows for “MetaVersUs” and is playing live something you like to do?

We love live. What is most likely to happen (working on the concept currently) is more of a DJ performance. We want to present something that is less structured, more improvised and in response to the audience. The idea involves the construction of a massive library encapsulating all our projects. You will hear little bit of this and a little bit of that and it’s going to absolutely slam. The challenge has been how to vocalize whilst presenting something dynamic instrumentally as a single entity. As the music has become more involved and complex, the live version has honestly suffered. This new approach will address all that.

Who are the bands/acts that really got you into this style/scene?

Music exposure was so limited as a young person prior to the explosion of the internet.  It was all word of mouth or what one picked up randomly on college radio or television video shows that catered to the “unusual” like “City Limits” on Much Music in Canada.  Nine Inch Nails was a welcome punch in the face the first time we heard “Head Like a Hole”. Then there as the “Land of Rape and Honey” Ministry release.  Things were not quite the same after experiencing these artists.  Life seemed more exciting.  Here was something that felt so personal and invigorating.  It was just so exciting to drive around blasting this music that no one else seemed to understand and was just so goddamn good at the same time.  It was validating and left the feeling of not being so alone in a world so different and lack lustre.  Skinny Puppy also played a huge influencing role but was another world that would open up later on.

Now for the fun bit…. you are gearing up to put out the remix version of “MetaVersUs” and you can choose anyone you want to do the mixes, living or or dead, whom would you choose?

Oh shit. Straight off let’s say this list does not include any past remixers. We are blessed to have worked with them ALL and would love to work with them again. Future remixers include Skinny Puppy, Combichrist, Omniflux, Ladytron, Massive Attack, Jimi La Mort, Trent Reznor, Ken Marshall, Jimmy Urine, MXMS and Gothsicles to name a few. A couple of these mentioned are happening…

What is on the horizon for Drake Moore?

More music is certain. Industrial Trip Hop? If we are hit by technology crippling solar flares, tribal drum jams in the forest. Come find us…

Thank you Drake for giving us your time.



Ner\ogris is a new industrial band from Germany with their debut album, I Am The Shadow – I Am The Light, coming out on the 24th of February, on the Dependent Records label. The band is new, but the members, Tinoc (vocals) and Kain (keyboards, programming), are known for their previous musical acts, Amniista and Les Berrtas, respectively. More importantly is the single they have released now, called “Shadowlight“.

Photo by Oskar Moshage

The low swell of the synths is menacing, with the promise of violence, acquiescing only for the vocals, which are growled, going from warning to seductive. This is never hurried, the rhythm constant before breaking down into lulls, only to pick up again.

Definitely can hear why people are comparing this to early X-MARKS THE PEDWALK, a rawness in the electronics and vocals plus the music in general just has this epic quality to it that you need to hear, as I cannot do justice to describe it. Ner\ogris so far are hitting all the sweet spots, so check out “Shadowlight” and I would advise industrial fans to watch out for the new album.




New Mexico based, industrial horror metal act, Dunwich Dreams, dropped the single “A Darkness Hungers” on the 30th of December, off the soon to be released album, Rise of The Seventh Sun

Like the beginning of John Carpenter score, it all starts to get brooding and heavy all so soon, the notes scale up and down, stalking from a place of infernal pending doom. The vocals are ravenous and your very soul is in mortal peril from that which lurks.

Is it something within the darkness or is it the darkness itself that desperately wants to consume? For this is a tale of Egyptian Gods going to war, so that the sun may rise again. Who won is for you to decide, should you dare to listen to “A Darkness Hungers“, a seething industrial metal behemoth from Dunwich Dreams.

A Darkness Hungers (Single) | Dunwich Dreams (bandcamp.com)

Dunwich Dreams | Albuquerque NM | Facebook

Dunwich Dreams – The soundtrack to your nightmares

The Derision Cult was the original working name for the solo project of Dave McAnally in 2014, which became pared down to just Derision Cult. Beginning of December 2022 saw the Glitch Mode Recordings release of the EP “Mercenary Notes Pt. 1“, a guitar laden, industrial powered ride with both political conviction and questioning the moral compass of big money corporations. McAnally has friends in many places it seems having some big name talents fleshing his music out with vocals/guitars, mixing, producing and mastering. What does this mean? Great production, thumping beats and a sound that could give Ministry a run for their money. So now you should read ahead and find who these big names are, what are the outside influences and did McAnally really use his wife as a taco consuming lab rat? Mmmmmm tacos…… and don’t worry, Dave ate tacos as well.

Welcome Dave back to Onyx, though now under the guise of your project, Derision Cult. 

Thanks!  Yeah between this and Sys Machine its been a busy couple of years! 

Originally titled The Derision Cult, you started this all around 2014. What originally inspired you on this solo musical career? 

Derision Cult really came a long ways since 2014 to this EP!  But it goes back further than that for me. It all started when I was in bands and working on different projects in the mid-90s. Then I took a bit of a break and ended up in Chicago for a while. I always knew I’d get back into making music, and I had a few false starts between 2004 and 2014. But in 2014, everything just fell into place and I knew it was time to start playing again. I was getting out of the triathlon and ironman scene, spending more time at home with my daughter, and just feeling like I had something to say through my art. Around that time, I was also seeing how corporate social responsibility was being twisted and used as a marketing tool by companies, and I felt like I could use my music to shed some light on that. And as I’ve been working on Derision Cult, I’ve really honed in on my message and vision for the project, especially with the release of Mercenary Notes. It’s all about using my art to make a statement about what I learned in my professional life which I feel follows in the footsteps of my musical heroes.

Previously, in an interview about your newer project, .SYSmachine, you hinted at the fact you were working on music for Derision Cult. Would this be the now released “Mercenary Notes Pt. 1”? 

Yeah, I hinted at it in that interview about .SYSmachine, but now I suppose I can officially confirm that Mercenary Notes Pt. 1 is the result of those early sessions with Sean Payne!  We started working on these tracks back in December and January, and it’s been an awesome experience collaborating with a producer for the first time on Derision Cult. Sean and I are planning to keep working together on all sorts of projects in the future.

The current single is “Deaf Blood”, so why was this chosen and what does it mean for you having the likes of Chris Connelly on vocals and Joy Thieves on remix duty?

“Deaf Blood” was the perfect choice for the current single because it really captures the essence of Derision Cult and what we’re all about. It’s got rock/metal sound with some Killing Joke vibes, and it was an absolute honor to work with Chris Connelly on vocals. I’ve been a fan of Chris’s work for a long time, and I was really blown away by the Joy Thieves’ album American Parasite and where it seemed like his headspace was on that. I thought Chris’s voice and lyrics would be perfect for being part of this particular story, and I was right. It was also a dream come true to have Reeves Gabrels from The Cure and David Bowie’s band playing lead guitar on the track. He’s been a huge influence on my playing since the 90s, and it was amazing to work with him and hear those leads up close like that!

For the remixes, we’ve got both Joy Thieves and Martin Atkins on board, and I’m really happy with how that came out.  Joy Thieves went for a dark and emotional vibe, while Martin Atkins turned it into a crazy rollercoaster ride. Plus, he recorded live drums on his infamous black Pearl kit, which is the same one he used on all those classic Nine Inch Nails, Ministry, Pigface, and Killing Joke albums.  It was really cool to have both Chris’s current drummer from Joy Thieves and a drummer from his past with Martin Atkins working on the remixes, and I think it adds an extra layer of depth to the single.

You also sold a cassette version of the “Deaf Blood” single, with the added extra of hot sauce…was it hot enough for the single, who came up with that idea and did you get to have some?

Releasing the “Deaf Blood” single on cassette was a total spur-of-the-moment decision, inspired by labels like Brutal Resonance who are putting out cassettes exclusively. It’s been a while since I sold a cassette, probably since 1997, so it was a lot of fun to put this one together. I’m really happy with how they turned out. As for the hot sauce, that was just a happy coincidence. When Chris sent over the lyrics with the title “Deaf Blood,” I immediately thought it would be a cool name for a hot sauce. As it turns out, my friend Chris Bengston owns a hot sauce company in Kansas City, so we started working on some recipes together. Chris would send some to me and Sean and then we’d test them out with our wives.  We tested out a bunch of different ones and ended up with a garlic-flavored sauce that has a medium heat level. I didn’t want to make something that was too hot because no one would actually enjoy it, but I liked the fact that we toasted the brown sugar, which gave the sauce a black color. It’s really goth, and it’s great on chicken and jerky-type meats. We sold out of the stock we had on Bandcamp, but it’s still available on Common Descent Provisions’ website. If we go through those and the response is good we’ll do another run. It was really cool to see people buying them as Christmas gifts and everything!

The first single off “Mercenary Notes PT.1”, is titled “Bastards Of The World”, which was written after a work-related promotion encounter. Can you tell us about it? 

“Bastards of the World” is all about how people’s good intentions can be turned against them. I’ve seen this happen in campaigns I’ve been a part of in the past, and it’s a tactic that works all too well. Just look at someone like Andrew Tate, who says outrageous and offensive things that enrage one group of people, but his actions make him extremely popular with another group.  

A few years back, I was approached by a gun manufacturer who wanted me to help them sell a training rifle that looked like an AR-15. But instead of marketing it as a safety gun, they wanted to target ads to gun control advocates and wind them up about the audacity of a company that would make an AR-15 specifically for kids. They had data showing that every time the Daily Show or other left-leaning media outlets talked about guns, there was an uptick in ammo and gun sales. So, it made more sense for them to piss off gun control advocates and bring the gun to market rather than positioning it as a safety tool. I decided not to take the project, and as far as I know, the gun never made it to market. However, it did inspire me to write “Bastards of the World.” There’s a sample in the song that says the key to business is tapping into the irrational organs, and unfortunately, that’s often the case.

It made me feel a little ill to my stomach to think that companies that make vast amounts of money selling items like this, use these horrible actions to increase their sales. How does all this affect you personally, especially as a parent? 

As a father, it’s scary to consider how my kids will grow up in a world that’s so different from the one I knew. They’ll be bombarded with messages, stories, and media that are crafted to manipulate their emotions and get certain reactions. When I was growing up, it was one thing to be told that using a certain brand of deodorant or drinking a certain beer would make you more appealing to the opposite sex. Now, my kids are going to come of age in a society where even the news is meant to make them feel a certain way, and the products they use will try to guilt them into thinking they’re immoral, racist, sexist, or misogynistic if they don’t buy them or trust their narrative. There’s a new level of anxiety and mistrust in society that kids who have grown up with the internet will have to face, and it’s crucial that they be savvy enough to recognize when and how their emotions are being exploited and distinguish between what’s rational and what’s not.

Sean Payne of Cyanotic not only appears on the EP but the label, Glitch Mode Recordings, is owned by Sean. how did you end up signing to Glitch Mode and we are gathering you and Sean are pretty tight friends?

I’ve been a fan of Cyanotic for a while, and when I was looking for production help for the new Derision Cult album, my friend Gabe Wilkinson introduced me to Sean. Since he lives in Chicago, it was easy for us to hang out and take our time working on the tracks. Sean is a great guy and we’ve become good friends. We hang out at the Glitch Mode headquarters and at shows at The Metro in Chicago. I also enjoy working with Brad Huston, the guitar player in Cyanotic, who engineered a lot of the EP. We have a lot of fun geeking out about guitar stuff.  With Sean,  I think our different approaches to writing music – I’m more focused on riffs and hooks and he’s more interested in vibes, feels, and grooves – really come together well on tracks like “Slaves Rebuild” on this EP. Overall, it’s been a great experience working with Sean and the team at Glitch Mode!

Payne and Connelly are not the only big name you have on “Mercenary Notes PT.1”. Can you please tell us about the others and what it has meant to you to both professionally and personally?

It’s been a real pleasure to work with some of my musical heroes on “Mercenary Notes PT.1.” Having the likes of Chris Connelly, Joy Thieves, Reeves Gabrels, and Martin Atkins contribute to the EP was a dream come true for me, both professionally and personally. It’s been amazing to see how their unique talents have shaped the sound of the record, and it’s been a pleasure getting to know them as people during the process. Working with Sean Payne as a producer has also been a fantastic experience, and I’m grateful for the opportunity to collaborate with him and his label, Glitch Mode Recordings. And finally, it’s been a joy to work with Jim Marcus on the artwork for the EP. His understanding of my vision for the project and his ability to bring it to life visually has been a real highlight for me. Overall, “Mercenary Notes PT.1” has been an incredible journey, so I’m thrilled to share it with the world!

There is also slated, a second EP, “Mercenary Notes Pt. 2”, to be released this year, so are you able to spill the chilli beans on what and whom we can expect?

“Part 2 of ‘Mercenary Notes’ is on the way and we’re excited to bring some new surprises to the table! Originally, we started with a dozen tracks and decided to split them into EP’s for a more digestible listen. We’ve got a few potential collaborators in mind and we’re heading to Sean’s studio next week to pick up where we left off with them. The tracks on this EP are a continuation of the first, but with a more abstract and universal theme. We’re also incorporating more non-industrial elements, with one track taking on a bluesy feel inspired by musicians like Albert Collins and Buddy Guy. There are also hints of old-school outlaw country on some tracks, and we even broke out the telecasters on one. We’re still deciding on the final tracklist, but there’s one song that has an industrial twist on the style of Johnny Paycheck and Waylon Jennings. We’ll see if we can make it work!”

I often think artists and especially musicians, that are worth their salt, reflect the world as it is, not just the nice bits but the gritty humanitarian side as well. Do you feel this something you agree with that industrial music can be very political?

Definitely!  I think art should reflect the world around you and in many cases, that won’t be all sunshine and rainbows. Industrial music has always been political, and I think that’s because of its punk roots. The industrial scene in the 80s was especially political, and I think that’s a good thing. Politics in music can be controversial, but I think most artists who choose to express their views through their music are willing to accept that their listeners may not always agree with them.

For me, Derision Cult isn’t necessarily political in the traditional sense of being right or left or one political issue or another. It’s about thinking for yourself and being your own filter for what’s objective and what isn’t. Whether you’re a conservative or a liberal, my message remains the same: we all live in a world where our views can be manipulated and shaped by others if we let them.

Overall, the EP is powerful and driving but do you see a silver lining behind this rage?

“Mercenary,” the final track on the EP, serves as the culmination of all the rage and intensity that precedes it. It sort of summarizes the chaotic times we’re living in, where it seems like decades can happen in the span of just a few weeks. But I do see a silver lining behind all this rage. We have the opportunity to witness and be a part of a true renaissance period, one that has the potential to bring about incredible technological and scientific advancements. While it may be scary, it’s also incredibly exciting to think about the possibilities that lie ahead. The people that will  cure diseases like cancer, Alzheimer’s, and AIDS, and even terraform new planets are already among us. We’re no longer just created in the image of a higher power; we have the power to create our own gods.

Soooo, you have done the hot sauce, what would you really love to be able to offer fans next? Will it be the can of gothic black beans to go with the chilli sauce?

I have no idea how I’d pull it off but I think what I’d really love to offer fans next is something more immersive. Something that goes beyond just buying a CD or a shirt. Maybe something like a virtual reality experience that really puts you in the world of the music. That would be really cool and there’s a lot of directions that could go.  And as far as the can of gothic black beans, hahaha well I’ll have to give that some thought. Maybe we can collaborate with Common Descent  and come up with some sort of gothic chili recipe. That could be a fun project. But honestly, I’m always open to new ideas and exploring new ways to connect with fans and give them something unique and memorable. So who knows what the future holds!

Thank you for your time Dave!

Mercenary Notes Pt 1 | Derision Cult (bandcamp.com)

Derision Cult | Chicago IL | Facebook

Woohoo and the year kicked off with a bang. German industrial meisters, ROTERSAND hit the ground running with a new single, “Higher Ground” as of New Years Day 2023, on the label Metropolis Records. It is has been exactly a year since the release of the previous single “Grey“, and though we have been able to hear the guys performing remix magic last year, the exciting news is that “Higher Ground” is heralding the countdown to a new album!

From the beginning, already, the skin is goose fleshing in anticipation with the build-up. Nikov’s vocals really are just silken and ever smooth, an observation that some people will always be a beacon of hope and sanctuary, even at their own discomfort. I even detect the strumming of an acoustic guitar. That is before it all just takes flight with that fabulous synthie pop beat and surging electronics coming at you in waves.

The Evendorff remix is fresh and intense, like a blast of concentrated ROTERSAND, which makes it pretty electric. Beautifully recorded and mastered. Also, there is the radio edit version, but that is neither here nor there as “Higher Ground” is a little piece of EBM magic

Higher Ground | Rotersand (bandcamp.com)

Rotersand | Gelsenkirchen | Facebook

Rotersand – Truth is Fanatic again.

Alexander Leonard Donat... teacher, marathon runner, musician, man behind the label Blackjack Illuminist Records, co-conspirator for several musical acts, driving force behind his own project Vlimmer and very possibly a crime fighter by night (just saying Vlimmer man has a certain ring to it!). November saw Vlimmer’s second, full length album, Menschenleere, enter the watery light of day.

The first tastes of forbidden fruit came our way in the form of the two singles, the rhythm filled darkwave tendrils of “Erdgeruch” and the wondrously 80s inspired eccentricity of “Kronzeuge“. There are such gems hidden within, such as “Mathematik” with its giddy synths that remind me so much of the electronic trailblazer, John Foxx, even more so for the fact his backing band were The Maths.

Noposition” has a magical trance like quality within its warm embracing beats, while “Schwimmhand” leaves you not only amazed by the sheer brilliance but also experiencing tingles through your extremities. Even the title track has an ancient feel, whilst playing with time signatures. “Menschenleere” is vast and echoing in the chamber of what might not be a pained reality.

Yes you can dance to Vlimmer, but for me, there is something akin to multiple storylines. Each track is crafted just so, this one with a more science fiction vibe, another with more sombre tones and yet another with a spinning glorious shoegaze vision. All held together by Donat’s vocals, be they happy, sad or even imploring.

Vlimmer is the centre of this world he has created, and has the knack of spinning his musical tales that capture us up into this web of darkwave delights. Even better is the fact that Alexander touches back to the styles that have influenced him but he never let’s them consume him, rather experimenting to create tracks that encapsulate his music journey. Beautiful, fragile and ashened songs to drink, dance to, and watch the moon…Menschenleere (Deserted)




So you went out drinking last night… what do you remember, where are you now and what is that smell? Brisbane’s Dream Of Machines, has delivered the debut single, “Nocturnal Omissions“, on the Viral Records label. The fact that you might be scratching your head and wondering if this is a dirty title, probably tickles the fancy of Zane Seymour, the man behind the machines that dream.

Your journey is first greeted with an excerpt from “The spiritual consequences of alcohol“, by Jason Christoff, the vocals floating in the aether but not for long as the guitars plunder your senses. What the fuck happened last night? is the question that haunts him. From silken singing, to enraged screams, because while he was entoxicated…. was his body taken over by an outside force intent on creating havoc?

There is the seven minute opus or the more radio friendly edit, but both are worthy of your listening, for there is never a dull moment. There is everything from simple piano playing, Seymour’s brilliant vocals, all the way to an explosive cacophony of sound and it is all quite glorious, helped along by the mixing & mastering of Roger Menso. Alcohol can really be evil (even influencing a human to eat liquid soap) yet is the drink the devil or is something even more sinister waiting in the shadows to take over…..? You will have to make your mind up when you listen to “Nocturnal Omissions” by Dream Of Machines.





Well, if you are going to do Christmas music then may you Have Yourself A Noisy Little Christmas care of STAHLSCHLAG. Sometimes I think German, Sebastian Sünkler is half man, half machine, the way he puts out music and tapping that vein of cybernetics, the noise master has graced us with an EP of Christmas covers.

Honestly, you really haven’t lived until you have heard a rhythmic noise version of “Jingle Bells“, which does seem to be a firm favourite with people, as Sünkler ramps up a screaming sleigh ride to get the heart pumping, in a most delightful way, hey! For me, however, my interest lay with the rendition of “Carol Of The Bells“, which is a beautiful track, even if it is a Christmas tradition and one can appreciate the intricacies of its splendour. Could Sünkler really pull this off? Let’s just say that I was not disappointed. Like razor edged snowflakes, perfect in their icy glory, both beautiful and full of cold fury.

There are also covers of “White Christmas” (no Bing Crosby in the mix), “Frosty The Snowman” and “Santa Claus Is Coming To Town“. If you don’t particularly like the Chrimbo music but want to kind of participate, then this is perfect. Christmas cyber party…. then you can’t go past STAHLSCHLAG’s, Have Yourself A Noisy Little Christmas.