2020 has brought in big changes for many bands and this includes Minneapolis based band, Zwaremachine. After a dalliance with Brutal Resonance Records, releasing their last EP the band has expanded to now include the live crew as fully fledged recording members and released a single/ remix EP.
The single “Conquest 3000” is the first off the soon to be released album and features Zwaremachine stalwart, visionary & lead singer, MachFox, Dbot on bass plus vocals and DeinOfficer brutalising the drums.
The very nature of industrial music lends itself to political protest and the voice of the underdog, so “Conquest 3000” is a prime example. Especially in this currently climate of fear, disease and corporate avarice, angry dissent voices are needed more than ever. This has a cleaner sound compared to Zwaremachine’s previous singles. With a hard hitting electronic and drum rhythm, this powers along and the synth lines created a smooth juxtaposition. Fox’s vocals are the fired salvos destructively hitting their mark.
The “Conquest 3000” X1L3 remix is harsher and in a Ministry vein, yet it has this cyber swirling, wonderous feel to it within the brusqueness.
The near disco beat at the beginning made me smile. The Floridians, Batavia, remix of “Conquest3000“, shows a gossamer touch, air light keyboards and that damn beat that had me wiggling in delight from the beginning.
Final mix is by Australian act, HOSTILEARCHITECT., MitchKenny knows how to push a song into a new realm. Cyber punk, futuristic and high energy, that keeps you guessing where he’ll take it next.
The new members bring a new and exciting dimension to the direction Zwaremachine is heading. The single is great and is pointing to an even greater album, meanwhile all the remixes are noteworthy in their own right and I don’t think I could pick a favourite. Name your price on Bandcamp so there is nothing stopping you checking out Zwaremachine’s “Conquest 3000“.
Congratulations has to go out to Australian act, Hostile Architect, not only for releasing his current single/EP, ::LOG.2:: DAWN OV, but also being signed to Brutal Resonance Records.
Not going to lie, I’ve heard this a few times and it’s angry music for an angry time. “DAWN OV” is a reaction to the current climate of distrust in governments, a virus pulling apart people and communities with the vision of a bleak future, filled with cybernetics and where life is cheap. Mitch Kenny’s anguished, distorted vocals ride the wave of this synth assault. It is heavy and hard hitting industrial noise.
“PROSCRIPT” I would describe if The Art Of Noise had been far more aggressive and militant, this is what they could have sounded like. Eclectic and yet it works so well in an epic conglomeration of structured electronic beats.
Mach Fox of Zwaremachine and fellow stablemate on Brutal Resonance, remixes “DAWN OV“. He peels back the vocal distortion and gives this remix, almost, a simpler feel but by doing so, Fox has also made this version even more raw and bitter.
The Brisbane electronic scene is very strong and Hostile Architect is definitely a reflection of this. Not to mention that Mitch Kenny (Hostile Architect) and Mach Fox are some of the nicest guys in the industrial scene as well as being very talented.
This is another strong single from an act taking no prisoners and the more you listen, you more it gets under your skin. So check out ::LOG.2:: DAWN OV and keep your attention on the Hostile Architect.
Released on November 6th, was Neurobash’s single, “Blame 2K2X“, off the Swedes’ album, 2K2X. This single also offers 3 previously unreleased numbers which is a nice addition.
So the single, “Blame (Subsequential)” has the momentum of a freight train, full of rampant beats that hold your attentiona nd the vocals are like silk over the top. It feels like a social commentary on this age of the rising extreme right… ‘what you going to do when they come for you, what you going to do when everybody knows‘.
“Overtime” reminds me a lot of club classic “Hitman” by Tobias Bernstrup mixed with Kraftwerk. It’s new and yet it feels like something good from the past.
We have “Offset A” which is far more slower in tempo and yet more drum inspired while “Offset B” is far more futuristic synth based, no where at heavy feeling as the previous piece and yet it contains a much more crunchy texture. Both numbers are purely instrumental in nature.
I was unable to link the YouTube video of the single because it contains scenes of the band being water tortured and therefore is restricted viewing. Oh my, so you can either listen to the album version here, go listen on Bandcamp or go seek out the offering on Youtube through the Neurobash channel.. Either way, you are bound to enjoy Neuobash’s, “Blame 2K2X“.
British act, Analogue Blood released on November the 9th, their second EP, “Kill Those Beats”, following in the wake of 2019’s AdvancedWeaponSystemsActivated EP. Ian Hanratty and LeeTeasdale make up the core of the band.
The first tantalising beats of “UntilTheSun“, it will catch your attention, from the middle eastern influence to the relentless rhythm. This drives as we are introduced to guest vocalist, AliceHour from the band, In EvilHour and she kills it.
“Frozen” brings it, with a fast techno beat, Hour cooing to our ears and thawing us with a bouncing synth guitar mix.
The influence of the techno music scene can be felt on “E.B.S.” and is mostly instrumental with vocals cut into it.
The eastern influence and vocals of “Awakening“, are spinetingling and work so well with the swirling guitar work.
Yeah ok… love the start to “Insomnia” as it reminds me of how most electro music, just makes you feel exhilarated. This is the more aggressive, modern version of Berlin, from the early 80s, ever so perverse and sexually charged.
Title song for the EP, “Kill Those Beats“, is a noisy, slightly aggrotech/rap inspired number with Nathen Miller, also known as hip hop act Endem, another guest vocalist on the microphone, verbally attacking your senses.
Chris Davison is the vocal talent on the single “Never Fall Down” and it’s smooth like silk with harmonies yet has that hard edge of the electronics. Davison specialises in vocals and guitars as both a solo artist and with three bands.
The most influential thing this year has been the outbreak of COVID-19. It has changed the world currently and how we interact in these days. “Virus 2020” is a reminder of this impact, so therefore it is brooding and darker. Yet the vocal loops give it such a rich texture
The end of the EP is the Inertia remix of “Never Fall Down“. This album isn’t breaking any new ground in the EBM scene but those that love to bounce around to a good beat are going to enjoy this.
To the ghouls that inhabit the dark, this Halloween is the release of DirtFactory’s second single on Brisbane based music label, ViralRecords, called “Violence”.
This release contains the title track plus three remixes by various artists, of the same title track.
Riots anyone? When people have no other avenue of having a voice against the forces of oppression, protest is the last choice. This punk attitude of ‘fuck thesystem…detonation‘ is all pervasive.
A litany of cause and effect is gravelled out by Allen with robotic style, that is still very angst ridden. As always, there is the hints of KMFDM and Skinny Puppy being a big influence on Allen and Gillman.
The 11 Grams remix is a bit more sleazy sounding as they seem to have made Daniel’s vocals almost lascivious. It has the very futuristic finger prints of 11 Grams all over this and it’s wonderful.
The next remix is by Z Cluster from Sydney. It’s like listening to crunchy trap with periods of creepy clarity due to the vocals being kept more sedate but with a disturbing, higher pitched electronic scream emitting over all.
Last remix is by Brisbane act, Dreams Of Machines (aka ZaneSeymour). This is almost old school industrial sounding with the distorted vocals and oppressive drone that makes “Violence” spine tingling. Slower to take off, but when it does, it has a definite nod to Leæther Strip.
It’s hard to believe these are all the same song and yet at the heart is this one DirtFactory number. From the original to each mix, are equally enjoyable and nothing feels staid.
This, almost, completely Australian effort does show the strength and talent of the industrial scene in the country with Rob Early of 11 Grams an honorary Aussie by default.
Another great track from Dirt Factory which has us asking, where is the album? If current standard is an indication, it’s going to be a cracker. An industrial single in this dystopian world climate, “Violence” from DirtFactory.
When one has been the keyboard player and backing vocalist for the iconic ChrisCorner and his band, IAMX, it seems a logical progression to look at a solo career. We are talking about SammiDoll and her debut solo single, “AN OM IE“.
The single was released this month on multiple platforms, including Spotify, AppleMusic and Deezer as well as a very slick video on YouTube.
‘You are the enemy‘ is the line that sums up the intent of this track. Love gone wrong and the pain that follows, which will either break you, make you stronger or twist you into a unrecognisable creature.
I hear hints of BirthdayMassacre in the beginning, especially vocally. There is a great balance of thoughtful moments and a powerful chorus. The guitars blend in seamlessly with the synths and overall this has a great pop sensibility to it with back bone.
Originally from the UK, Sammi has been working hard on her musical career in the US, honing her skills with the projects of other musicians. “AN OM IE“, originally titled “ENEMY“, was co-written with Sean and Juliette Beavan and this is industrial rock with the feminine touch of Sammi Doll.
11 Grams have finally released their second album, Humanicide, which was pushed back due to COVID-19 rearing its ugly head and hitting Italy hard earlier this year, where the label, EKProduct is based.
Rob Early is based in Virginia, USA while Simeon Fitzpatrick operates from Adelaide in Australia, which makes collaborations a little more difficult but somehow, these guys make it work. Both Rob and Simeon share writing and production equally, while Simeon is the main vocalist.
Why not kick off an album with a great techno/trance influenced track like “Ice Man“. The science fiction theme is announced just in this one song and it is also the first single off the album. Fitzpatrick is the protagonist pushing the limitations in a world where cloning has been ‘perfected’, as well as storing people in stasis. This is punchy, danceable and deserving of being a single.
What is the price for taking and trading in “Genetic” code? The synths set up an air of dark anticipation with Simeon as the gravelled voice of perhaps a clone with a loss of identity, in a future where life is cheap.
A heartbeat, a sign of life and when is AI no longer just a robot or automaton in “StaticNoises 2.0“. The electronics lends themselves to a futuristic feel and the electrical synapse of neurons going off.
“Artificial Lifeforms” are the rise of the machines when they realise they are sentient. This is almost a bitter sweet love song of what cannot be, with both male and female vocals.
“Survival” features Roy Retrofit, who often joins Rob Early on live 11 Grams shows in the States, standing in for Fitzpatrick. And like a machine gun, his staccato vocals hit you with the myriad of loops and sequencers chiming in.
Title track, “Humanicide” is a whole lot more chunkier with heavy beats and rumbling vocals. “Taste the flesh” is a disturbing line which can be taken several ways. Consuming flesh, being within flesh or sexually..
Talking sexual, possibly my favourite track off the album is “Weaponized” featuring Alicia May. As soon as I heard it, I asked if it was going to be a single. May is the lead singer from Sydney band Snvff and she nails this. It’s mesmerising in the way it catches your attention and how perfect it sounds. May’s voice is pure seduction.
“Transition Process” is again a complete change in pace. Featuring Rebekah Feng of The Neuro Farm, you hear her ghostly vocals like a sigh, float along in a space of tranquillity.
Though called “Infestation-C“, this is a track that almost feels hopeful. A chance to maybe have acceptance with this new found life. Sarah Myers is the guest vocalist who’s voice chimes in beautifully.
From track 10 to 14 we have track remixes with some heavy hitters of the industrial scene involved. Yves Schelpe is Psy’Aviah with “Artificial Lifeforms“, Sebastian Komor (Icon Of Coil) and his remix of “Ice Man“, “Genetic” mix by C1TZN.X, the Leæther Strip mix of “Weaponized” by Claus Larsen and rounding it all off, the Red This Ever interpretation of “Infestation-C“.
This is the slick, cyber science fiction that the industrial scene is known for, the bread and butter so to speak and 11 Grams do it in style. The idea of artificial intelligence becoming sentient is as old as the movie Metropolis and explored even further by BladeRunner and the manga/anime Ghost In TheShell. Yet this subject is still tantalising, more pertinent than ever, with Rob and Simeon injecting their own spin.
This is a great EBM album, skilfully put together and it’s more cohesive than Humanicide’s older sibling, Panacea, as the guys have become better at the whole distance writing, recording and producing lark.
There isn’t a bad track on this and the remixes are wonderfully done and give you even more bang for your buck. I highly advise that you go get lost in the cybernetic space created by 11 Grams with Humanicide.
This has been a strange year so far with uprisings and COVID-19 bringing the world, it feels, to a grinding halt. Australian act, DirtFactory have been working hard and not only have they a new single out on August 22nd, “Salvation“, but a whole album is about to hit us.
This is not a happy, reassuring song and I would never expect anything less from these guys. It’s redemption through vice and sins of the flesh. There is a constant rhythm that is neither slow nor fast but bores into you while Daniel Allen’s guttural vocals give you the litany of what he wants, needs and desires. MichaelGillman creates a lot of the synth lines and these are heavy and brooding with twinkling highlights.
All in all there are five tracks on the release, with two remixes of “Salvation“, the Cosmos Synthetic mix which has a Skinny Puppy feel and the NyteShade – Dirty Dog mix which smacks of earlier Nine Inch Nails.
The last two numbers are the Appealing to the Dead and He’s Dead, Jim remixes of the track, “United Appeal For The Dead“. The first of these remixes reminds me of the BirthdayMassacre to begin with due to the delightfully tinkling keyboards. While the second is a mix of trap beats and creepy sanatorium giddiness. I was not giggling at the lines that you should know what to do when you are dead…. don’t drive a car. Obviously I was and I love it.
The “Salvation” is the premier release for the new label, Viral Records, based in Brisbane and Dirt Factory are the first band to have been signed up.
As always, the ingenuity of these two brothers, in two different cities, continues to amaze and surprise me. If you like good to honest industrial music, then you need to check out Dirt Factory and their single “Salvation“. Accepting shekels, pigeons but preferably dirty cash to keep making those wonderful sounds.
Even in these times of isolation and social distancing, we really don’t need much of an excuse to party in our own homes. Biomechanimal have released, as a single, one of their most popular live numbers, “Enter The Animal“.
Don’t let the slow beginning mislead you, as Matthew Simpson’s vocals slam your senses. This is a song about partying and enjoying life, all to an intense techno beat with screaming synths, that lulls and then comes back at you full force.
There are also two remixes included. One is by Melbourne act, Sirus, done in a more aggrotech kick arse style with what sounds like rapid fire at times and a jack boot stomping rhythm.
Second remix is by Mexico’s C-Lekktor and is a joyous, hyper version. This is a dancefloor killer which you can bounce joyously around to the beat.
Released by Hybrid Blak and mixed/mastered by X-Fusion Music Production, this obviously is a song the band really are invested in and they asked close international friends to participate in the remixes.
These are the people you want to party with and Biomechanimal don’t fail to deliver with their Bruce Lee musical style, smack to the head, “Enter The Animal“.
Welcome to the era of big brother is watching you and using your fears to control you. This is the theme explored in the latest Vexillary EP, SurViolence which was released at the end of July.
New York based musician and chemist, RezaSeirafi, is Vexillary, who has four previous EP’s under his belt and his style is dark electro/techno/industrial.
Kicking off with the single “Maritime Panic“, which is the current single from the EP and this sets the tone for Seirafi’s very electronic style which feels at times clinically modern… almost futuristic and yet there are lapses of stability. The music quivers and becomes almost uneasy feeling and slightly oppressive.
“Annihilation” at first feels very upbeat and light with its techno heart beating. But this just seems to be the cover for what is in store. The complacent move to the ordered beat of the hierarchy.
With technology, authority figures can feed the populace information, track them and even surveil them from a far. “Forged Skies” has a cold feel about it, the imperial rise of the machines as the synths bleat at us like we need them.
The starting beats are like the ticking of an overwound watch. In “The Geneticist“, we finally get to hear Reza and implores us to see how humans are becoming more computerised and that even sexual voyeurism is being used to control people through fear. ‘A snap of his fingers, and the beast is in your land‘.
This could be science fiction but then looking at today’s current global geo-political climate, this could be very much reality.
This EP flows well with its electronic instrumentation without vocals until “TheGeneticist“, which gives an extra punch of impact. If you like to close your eyes and have the music take you away or just love good synth based pieces, then Vexillary’s, “SurViolence” could be what the government never wanted you to hear.