HOSTILE ARCHITECT is Brisbane based Mitch Kenny and he is quite the busy industrial bee, with his second release on BrutalResonanceRecords, out on the 28th of February. The single/EP is called “:LOG. 3::SEMTEX“, which comprises of the single, an extra song and a remix of the single.
“SEMTEX” is a type of plastic explosive to give this number context. The concept ‘your body is a collapsing temple, your body is not yours to give‘, seems to imply that to become free, you must destroy that which holds you to this plane. As always, there are the nice full body beats that are guaranteed to get you moving and that signature sound Kenny has incorporated.
The instrumental piece, “MACHINEGUNCONTROL” goes for over seven minutes and yet you won’t notice the length of this number as it belts along. There is something quite delightful in listening to crystal clear, percussion lead music.
The Null Cell remix of “SEMTEX” is smoother and yet seems to end up swirling in a mind blowing vortex of ominous tone. It is reminiscent of old school industrial with those rhythms but still ultra modern.
The production is great, nice and crisp, a perfect mix by Null Cell and another great release from the HOSTILE ARCHITECT who is soon to unleash an album. In the meantime there is “:LOG.3:: SEMTEX” to keep you keen and whet your appetite.
Late December was the release of the single, ‘In My Dreams” by SINthetik Messiah with TheOther LA. “In My Dreams” was originally released by five piece rock band The Other LA, that boasts having Drowning Pool’s C.J. Pierce as part of their contingent. The group asked SINthetik Messiah to put an electronic spin to the number.
SINthetik Messiah are from Louisiana and for the uninitiated, delve into experimental industrial rock/ metal with a heavy accent on the artistic front. Bug Gigabyte is the man behind the project and has done so since 1996.
It is dark and heavy….. so heavy, it almost feels like the noise is weighing on you. The female vocals by ARIA are explosive, buoyed by the dense mix of booming beats and buzzing guitar. The male vocal brings an added level of angst as the music takes flight.
A bombastic piece of engineering by BugGigabyte, the sounds are grating and huge, leaving you wanting more. He has taken TheOther LA song into another realm, becoming its own entity that can devour your soul.
Added bonus points for having mixing and mastering done by, Joe Haze, ex guitarist of Lords Of Acid. Yes it’s good. On that note, you might need to go listen to The Other LA & SINthetik Messiah, “In MyDreams“.
Australian duo, Dirt Factory have released their second album, “Factory Evolution“, which is out on Viral Records and was mixed in Brisbane by Roger Menso of DogMachine fame.
Daniel Allen resides in Melbourne while brother, Michael Gillman can be found in Brisbane and they, like many other musicians, have not seen each other all this year but through technology have still been busy creating.
And so it begins and the first taste is “Binary“, an intro which is literally voices giving you binary code.
“Salvation” was the first single from the album with its terminator stalking feel rhythm and Michael’s held cords on keyboard that makes this oppressive and the direct opposite of being saved.
With sci fi creeping doom is “Automation” but not all is as it seems. Electronic vocals with bleak long cords and relaying the degradation of mankind, as we make our way to a ignominious demise. There is an almost Gary Numan feel about this.
The second single lifted is “Violence” and it is an angst ridden view of a world at war with itself. The grating vocals of lost hope for mankind as he had forgotten to be human.
Title track, “Factory Evolution” is about some future where replicants are created to be perfect in exactly the same way, programmed only to do as they are told, which is to wage war. This is understated and it works with the story telling whisper and a touch of 70s funk feel.
Just as it implies, “Interlude” is a short piece, with cut up, female news readers, bringing you the breaking news of a world burning, cowering in fear of a pestilence and riots.
During COVID-19, the world of regular humans watched extremism unleashed in what could be called, “Pandemicamania“. The observation of the panic, dehumanisation and selfishness that had been previously displayed. It creeps along with its disgust of a non cohesive society that has lost its way.
Failed Empires has an imperious feel to it, a with grand swell of keyboards. Carried with oscillating beats travelling through it, Daniel’s ode to countries collapsing internally as he whispers their lessons of destruction.
A call to revolution, to not take the abuse any more, though most will ignore the call to arms in “Deflect“. This doesn’t miss a beat and again there is the marvellous dirty and dark vocals with the clean sparkly synths.
The start of “Trash” had me thinking Einstürzende Neubauten in the rawness of the rhythm. ‘White trash‘ are in power, not those that care, those who only have their own interests at heart.
The final song is “Death In Your Eyes” and just when you think this is going to be a quiet number, the boys bring it up a notch. This synth happy piece about inviting your own destruction pulls together the threads of the other tracks of the album. A collimation of – if you let all these things happen then it’s the end.
The influence of what has been the year, 2020, is all over this release. Dirt Factory’s debut album, “Random Songs For The EndOf The World“, definitely had higher tempo numbers on it, where as this new album seems sludgier and darker, effecting the general mood following lock downs, heavy restrictions and watching extremists across the globe. Important music is often created in trying times and although this album doesn’t break new ground, it a strong album with gems that will speak to you as the band is Dirt Factory and this is their “Factory Evolution“.
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“.
Black Needle Noise is the project of one John Fryer and for those not so well acquainted with his name, should be with his other band from the 80’s, the highly influential, This Moral Coil, who are forever entwined with the wonderful, 4AD.
Fryer has collaborated with the Australian/Croatian, classical vocalist, Helena Mamich, to create the new electronic and ambient single, “Nocturnal“.
“Nocturnal” starts off slow, with Mamich’s vocals ghosting ephemerally above all. The gradual build up is metered out carefully, with hints of beats and swelling synth cords.
The soprano crescendo, hauntingly draws you in and almost eerily, there are in the background, the sounds of crows and other such creatures. This is almost a cadenza featuring Helena’s smooth and beautiful vocable.
In the music industry, John Fryer is synonymous with being one of the hardest working musicians around, highly sought out for his production skills and this shines through the track.
The beautifully created noises, feel like they might occupy the dark spaces of forgotten, magical places of the “Nocturnal“. This is a delicate balance of classical with ambient, electro industrial, brought to you by the master craftsman, John Fryer aka Black NeedleNoise and Helena Mamich, which is nameyour price on Bandcamp and most worthy of your time.
Electronic Boston band MAN1K1N, made up of singer Johnny Veil and drummer CristianCarver, have released a single in November called, Into The Wounds. Turns out this is, in my eyes, like a double A side of sorts with the songs, “IntoThe Void” and “Wounds:.
Veil’s voice is very reminiscent of MarilynManson’s timbre but that’s where the comparison ends. Darkwave electro is a very apt description with a trip hop influence, making this such an interesting style that is very pleasing to the ears. This is almost a parody of those in the gothic subset that push for an ideal look of beauty but within can be rotten to the core.
“Wounds” is a swirling maelstrom of uplifting electronic synths and beats coupled with brutal, angst ridden lyrics, which works. I can only best describe the feeling as wanting to dance without limits but you know your heart is breaking. This is the remix by Big Time Kill, who have lent their distinctive fingerprints.
“Into The Void” is a good, solid number and the Big Time Kill remix of “Wounds” sounds glorious. You can find Into The Wounds on Bandcamp and it’s name your price, so you should go check out this offering from MAN1K1N.
New Orleans conjures for many of us thoughts of Mardi Gras, voodoo, vampires and now you can add the band, The Palace Of Tears, who released at the end of October, their debut album, Of Ruination.
The band is comprised of vocalist and lyricist, L.V. Darkling and Erick r. Sheid who pretty much plays and programmes everything else you hear.
The slow, wind swept, instrumental void of “TerraEphemera” or loosely interpreted, a land that was never meant to last, introduces you to the album. With graduating synths, the vale is lifted and hints of a tribal beat come into play.
Dark and imperious is the beginning to “ThyWomb Is Full Of Black Nectar” before we are acquainted to Darkling’s sonorous mezzo soprano vocals which are delicate and dripping with sensuous lyrics.
In a case of art imitating life, “Masque L’Intrigue” seems to be a result of the need for wearing masks to stop the current contagion. This is bitter sweet in its sentiment and like a reflection in obsidian… dark and cool. The synths and vocals entwine smoothly.
“Tears Of The Moon” is slightly more hard edged, with buzzing electronics, yet still so ethereal just as the light of the moon is. This is eloquent and beautiful.
One does not think normally that “Cold Dead Skin” as romantic prose however it is used in effect to give contrasts of symmetry of the divine and the grotesque. The music feels like it is rising heaven bound with black gothic wings.
“Shadows Of Whispering Phantoms” is the perspective of one whom has just lost the fight with death. Brooding in tempo as the spirit questioningly implores of they can be seen or heard by their loved ones as they pass beyond the vale. The guitar is almost hidden amongst the rising synths and there is something heart squeezing in the gorgeous sentiment.
The screaming angst of Scheid’s guitar marks the last song, “Of Ruination“. This is a wall of noise with the eloquent Darkling, cutting through with that magnificent voice. The swirling heavy guitar with the light electronica just make this truly breathtaking.
Ambient, dark soundscapes that are created here by Sheid are fabulous but it’s definitely Darkling’s vocal talent that takes everything to a higher, ethereal realm. It’s a bit like listening to Dead Can Dance if they were darker and more modern. So I say, go unto The Palace Of Tears to listen to the sweet seduction Of Ruination.
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.