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Mmmmm, from somewhere in New South Wales, there is a man called Dan, though he might be an alien, however, still Australian (actually he’s from West Wyalong, which I had to look up to see where is was). Now Dan has a noise project called DEATHCOMET, and the most current release is DEATHCOMET 14…. yarp, so there is a lot more of where that comes from.

Like all noise music, a lot of this is going to feel like it’s shredding your ears off and brutalising all your senses all at the same time. It tastes of metal, prickles the skin, and smells of sulphur as we journey with the DEATHCOMET, while he decimates pedals “and flangers to kill“.

Even in these buzzing, throbbing, and most possibly sanguinary soundscapes, you can hear bleeding through vignettes of tunes in the miasma if you listen carefully. The final track, “in the lair of the satanic worms” brings the album full circle.

Honestly, who does not love satanic worms, skulls, and aliens?! To quote the man himself….

‘DEATHCOMET plays unholy space metal exclusively
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cosmic sonic terror via electric guitar and fx pedals
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“it’s like being probed in both ears by aliens with power drills!“‘

Really could say much better myself other than saying death by pedal… wwwoooaaahh! DEATHCOMET 14 is here, and your ears are not safe, but then that’s half the fun and amazing industrial noise all done on guitar.

DEATHCOMET 14 | DEATHCOMET (bandcamp.com)

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What is a parable? I suppose it is a story retold in order to teach a vital lesson, and it is also the latest single from US band, A Cloud Of Ravens. “Parable” is the next single off the highly anticipated new album, Lost Hymns, which is to be released on Nexilis Records, as of the 28th of April.

Ominous, brooding and dark are definitely words that come to mind. This is the most electronic song yet by the duo, almost alive and drawing heavy breaths. The vocals guide you down like velvet and build you up for the amazing chorus that pushes you sky high.

How many times does mankind have to play out the same futile scenarios without learning from them? This is the premise behind “Parable“, which has never been so obvious in this day and age where we are meant to be civilised, yet nations still act with barbaric intent. This is A Cloud Of Ravens’s last single release and like the Oracle of Delphi, they bring a warning that no good can come from this stupidity, wrapped in a gorgeous track called “Parable“.

https://acloudofravens.bandcamp.com/track/parable-4

https://www.facebook.com/acloudofravens

https://www.instagram.com/acloudofravens

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At one point or another, everyone has felt like they are invisible or unable to see their way and this is the subject of the latest Meersein single “Lost“. And who doesn’t like a bit of German darkwave synthie-pop?!

I have to say that this is some ways actually reminds me a little musically of the 80s and the likes of Howard Jones. The drum machine picks up a timely rhythm, as the synths tinkle and also create a bass undercurrent. Meersein’s vocal’s range from silk, to whispers and a rather deep sexy growl, as he tells you he is ‘lost like a ghost in a maze‘.

It is worth your while to check out this single, because a little bird revealed that the next is coming out soon, which will be Meersein and Corlyx. Something tells me that is going to be pretty amazing. “Lost” is a nice tasty treat with a video of Meersein singing in a picturesque German forest.

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https://instagram.com/meersein_official

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It was announced En Esch (ex-KMFDM, Pigface, Mona Mur/En Esch) has signed to the label GIVE/TAKE and that the first single “Push” which is off the soon to be released solo album, after a seven year break. En Esch (main vocals, programming, piano, acoustic drums) is joined by Gabriel Lennox (male vocals, programming) of Seraph Sin, Erica Dilanjian (female vocals) of Lords Of Acid and Raymond Watts (additional male vocals) of Pig and also ex-KMFDM fame.

The groove is infectious and Esch’s vocals, guttural low bring you into a a track that has all the hallmarks of a old school favourite. The flow is almost funky and yet there is a serious side to “Push” about the people in the background that work tirelessly, never recognized for their contributions and often push further out of view. There is also the “Push (KPT Further Mix)” .with Joshua Lexvold (remixing, additional synth, programming) and JQ Lexvold (guitar). Stripped back, bleaker and more apocalyptic…. but oh my goodness, the end vocals are to die for!

Went you listen to these musicians, that have so much experience under their belts, there is the realization that they gel so well together and this track is full of simmering tension, tempered with beats. En Esch is going to “Push” you to the dance floor.

Push | EN ESCH (bandcamp.com)

https://www.facebook.com/enesch?mibextid=ZbWKwL

https://www.facebook.com/PIG.band.official?mibextid=ZbWKwL

https://www.facebook.com/lordsofacid?mibextid=ZbWKwL

https://www.facebook.com/SeraphSin?mibextid=ZbWKwL

https://www.facebook.com/givetakelife?mibextid=ZbWKwL

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[gelöscht], more or less means ‘erased‘ in German, and it is also the debut industrial harsh noise album for VERFÃœHRERVERGELTER, also known as David Munster. The album has been released digitally on the label Produkt 42 and as a self release on tape.

Now here’s the challenge…. every track on the album is called [gelöscht] except for “Intro“. I’ll let that sink in. It is slightly terrifying territory for a reviewer where the only difference is the timing of each track.

Sooooo, this is a completely instrumental album, and I think it would be an injustice to break it down, so I’m going to give you the overall gist. My thinking is that if all the tracks are called [gelöscht], then this should be listened to in one sitting.

Whoever David Munster of VERFÃœHRERVERGELTER is, they have come from the black metal scene it feels like. That aspect is like a morass of inky darkness that swirls under all, constantly threatening to take over and devour all light, yet never succeeds. The electronics are the most vocal, often glitching with static. They can be like starlight one moment and be screaming blue murder the next.

There are huge soundscapes that want to swallow you whole with their vastness as they drone on. Others are claustrophobic, filing every space with noise, a horror movie. The electronics oscillate, quiver, and even sometimes bear down heavy, while the nightmarish beings in the aether converse with you in their own language.

On the Bandcamp page, VERFÃœHRERVERGELTER is described as death industrial noise, which I think sums up his style quite well. People who like harsh industrial noise are going to appreciate the effort and mastery that has gone into the creation of this album. Just listening to this makes me think it would be pretty amazing to see live. VERFÃœHRERVERGELTER is giving you [gelöscht], and if you don’t get it…. that’s okay as well.

https://verfuehrervergelter.bandcamp.com/album/gel-scht

https://www.facebook.com/Produkt42Pro/?mibextid=ZbWKwL

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German industrial project, Neon Insect released the album New Moscow Underground in 2019, and now Nils Sinatsch is back after a hiatus with new music in the form of the single “REWIRED“. The single is a continuation of a storyline that Nils has been forming since 2018, about New York, after World War III broke out in the 90s, where Russia now rules, causing human experimentation in cybernetics and subjugation of the people. All this has been further influenced and fuelled by the war in Ukraine.

The rumbling, clattering start up of the mechanisms as it lurches forward, gathering momentum. The rhythmic pounding is the resolve to no longer live as part of a machine that takes away their humanity while the soaring synths on high are almost symbolic of righteous change.

All the while, Nils‘ vocals speak of a crumbling power and that we, in the end, have self-determination and are not programmed robots. The sign of a good track is one that seems to finish all too soon, and “REWIRED” goes for just over three minutes, but you could swear it was a lot less. Neon Insect is bringing the heavy.

REWIRED | Neon Insect (bandcamp.com)

https://www.facebook.com/neoninsect?mibextid=ZbWKwL

http://www.neon-insect.de/

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Edge Of Decipher is based in Mexico with Z. H. Syle the man behind the star glazed electronic music and the latest single “Cyber Dreams, Infinity And Flux“, which will also appear on the new album Future Skies, out on the machina ad noctem label

Zead is the guest vocalist for “A Warm Dawn“. You start for a moment at the foreign phrases, but the spoken words are Thai, floating in the spaces of a dream, where the piano becomes more insistent as the track meanders. That insistence is the reminder of the music to the vocalist that they are waiting for the person who will make them whole. A promise of more.

“Cyber Dreams, Infinity And Flux” is also graced by Zead’s expressive vocals. There is a heavier industrial influence, and the electronics buzz in anticipation, curling in frenetic eddies, while the solar winds of the synths guide them along.

machina ad noctem

A longing for something more in “Your Real Name (dream version)“. The piano keys express not so much a lament but definitely an expression of desire. The final track is the “A Warm Dawn (alternate take)” where there piano and vocals vie for dominance to be heard, as it all winds down with the knowledge there is an end.

Edge Of Decipher is experimenting with music not only for pleasure but to push boundaries such as a Thai vocalist and/or imbuing his synthwave craft with emotion that you can almost feel on your skin. So bask in the “Cyber Dreams, Infinity And Flux” with Edge Of Decipher.

Cyber Dreams, Infinity and Flux | Edge of Decipher | machina ad noctem (bandcamp.com)

https://twitter.com/edgeofdecipher?t=3nUCP_CLm31VbvtdVrZGWQ&s=09

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Those two electronic guys from London and Denmark, who go under the guise of Perpacity, have released the epically named single, “Ragnarök” , as of the 3rd of March. Ian Harling and Martin Nyrup have announced that this will be the last single off the soon to be re4leased album Discordia.

Remember I said epic, as “Ragnarök” means ‘doom of the Gods‘ and is a predicted event in Norse mythology, of the destruction of worlds of men and the Gods. A mixture of future pop and something a bit darker, an echoing back to a time in history when the Gods walked the lands. Visions of the end of time that swirl in electronic motes, like flurries of snow, while the vocals dance between the icy fingers of death. The b-side is “Halls Of The Fallen” is a slower affair that speaks of the warrior’s last day before they fall in battle and then taken to Valhalla. The promise of eternal life, though they must leave all else behind, and this is reflected in the sinuous nature of the music. Building to the moment of lament and glory, and perhaps it is a Valkyrie we can hear in the march towards the appointed fate..

You might think that mixing a tale that is around a thousand years old, with electronic music, might be a bit cheesy, but this is not the case. Perpacity has pulled this off beautifully, weaving the electro with the mystical, exhibiting skill of the Sibyl that prophesised the coming of “Ragnarök“.

Ragnar̦k РSingle | Perpacity (bandcamp.com)

https://www.facebook.com/perpacity?mibextid=ZbWKwL

Perpacity music

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The Drood are a US based band, on the label eMERGENCY heARTS, that we are not unfamiliar with, and their single “It Must Needs Wither” has received ‘the treatment‘, also known as the remix from fellow American project Dead Voices On Air which is Mark Spybey. A founding member of Zoviet France and Download with cEvin Key of Skinny Puppy…. honestly you should look him up to see the other artists and acts he has been involved with because it is a lot..

This remix has the ambience of the 60s at Venice Beach at the time of the Mama’s And The Papa’s, with a similar vocal arrangement, though the beginning is far more an electronic and ethereal soundscape, tinged with a timeless longing, that seamlessly blends with the singing. “It Must Needs Wither” is based on Shakespeare’s “Othello“, and it is dedicated to those we lost due to the Covid-19 pandemic. It is a beautiful remix that is haunting until the last note, so check out the Dead Voices On Air remix of The Drood track “It Must Needs Wither”.

It Must Needs Wither (Dead Voices on Air Remix) | The Drood, Dead Voices On Air | eMERGENCY heARTS (bandcamp.com)

https://thedrood.com/facebook

https://thedrood.com/

https://deadvoicesonair.bandcamp.com/

https://www.facebook.com/dvoaspybey?mibextid=ZbWKwL

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Here is an interesting curve ball. UK industrial musician MATT HART has released the single “TO THE CORE” in a remixed version by Daniel Graves of Aesthetic Perfection fame. The original single hails from the BELOW THE TERRA PT. 1 album, which is part of an epic opus about humans forced to flee underground by alien machine foes, intent on their demise.

Graves has a very distinctive voice and you cannot miss his dulcet industrial pop tones. You might think this is an easy breezy, pop til you drop dance number…..but you are only right to a point and have been lulled into a false sense of security, when it all drops the down for a bass beat heavy chorus. So you are on a roller-coaster between succulent sweet crooning and grating chanting as the big push goes on, to dig down to the hot core of the planet, with with a charged up dance track.

Will the humans survive the onslaught? That is for another release but I would be a fairly happy little human bean (being) hearing more collaborations between HART and Graves. The Aesthetic Perfection remix featuring Daniel Graves, has polished MATT HART’s gem, “TO THE CORE“, into a diamond.

TO THE CORE (AESTHETIC PERFECTION REMIX) | MATT HART (bandcamp.com)

https://www.facebook.com/djmatthartuk?mibextid=ZbWKwL

https://www.instagram.com/matthart3808/

Music | Aesthetic Perfection (bandcamp.com)

Aesthetic Perfection (aesthetic-perfection.net)

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