Nikk Fail is an Italian retro synth project and his second EP, End Of The Line, was released in June. Consisting of six tracks, now NikkFail has brought some friends with him to play this time!!!
As soon as I heard the title “Bugstompers,” all I could think of was Starship Troopers, the rather questionable 90s movie about taking on alien bugs. The track itself has science fiction effects at play and seems to be promising slightly violent intent. First guest vocalist is Eleonora Ferrari on “End Of The Line,” an ominous portrayal that she is the end of everything, and will happily end everything. Ferrari goes from cooing into blood curdling gurgling squeals within a split second. The next instrumental is “Living Dead Lights,” and the music is both eerie and haunting, to the point that one could say, light as an apparition and cool as a tomb.
You cannot get many more light years away than Star Wars, so in a galaxy far, far away the synths pass and whirr as if they are lightsabers in a duel in “Anakin Rampage (The Balladof Vader).” If you listen carefully, I am sure you can hear the Cantina band. Next guests are BelvaSXE and WilliamBaxter featuring on the track “TromaBoy,” and here we hear a harsher side to NikkFail, between the growling guitar and the equally growling vocals, and all the while the electronics keep up to the wailing pace. Last track is the contemplative “CommutingParadise,” though this song, in its own way, is sassy and has teeth, with vocals from GiuliaFinazzi and guitar by Baxter again.
Already, you can see since the first EP, Nikk Fail is evolving and incorporating more into his sound. Collaborating with other musicians is a great way to extend yourself and push what you can do, and I think you can hear this on End Of The Line. Makes you wonder what is next for Fail and who he might tap into the helping him fly even higher.
DirtFactory are a pretty industrial lot, literally, bringing out their fourth album in just as many years, on the ViralRecords label in Australia. Brothers MichaelGillman and DanielAllen have brought forth the plague in the form of DyingPlanet, that has been mastered at AbeliskAudio by the HOSTILEARCHITECT himself, MitchKenny.
Callum Dodds from RAZRWHP is on guitar duty for the first track “Destroy It All,” bringing the grating metallic taste, as well as finesse, while the lads truly are upping the ante with an electronic onslaught. “Bones” is the single and the dance of the dead goes hard, laying bare the futility of flesh and belief for everything is going to become dust. We are now in the “Houses of Worship” and there is a palpable 80s feel to the music and Allen’s vocals only add to the disillusionment in commercial religion.
We are going to be visited by the siren called Brianna Smith, the lead singer of RAZRWHP and there is no disappointment here, with her delicate vocals in direct contrast to Daniel’s almost spoken word. She is the angel of death while he is the disease in the title track “Dying Planet.” It could be said that “IndustrialJesus” is a form of worship of KMFDM and NitzerEbb, irreverent and damning of broken religious systems and in that vein is the rather catchy “Antipope,” with it’s rapid fire electronic beats and a fantastic use of vocals.
Does “Mod Matrix” mean modified matrix? A throwback perhaps to the movie The Matrix and how you could download anything you wanted to learn straight into your brain…but then do you know what is real and what is not and the music does not spark any kind of hope for a good ending. “The Body is Dead” has this very cool rhythm that instantly grabs your attention, while the synths climb and fall in tale of cybernetics gone wrong. The calm before the “NuclearStrike,” as the track slowly builds towards midnight and ultimate fallout, taking out you out with extreme prejudice. Track ten is the last and it is the menacingly named and airless “Coathanger.” Why airless? The song has the atmosphere of smothering with its oppressiveness.
This, for me, is the best vocal outing for Daniel, as he seems to be settling more into the role and having guest musicians is a nice addition. I have to say I really enjoyed “TheBodyIs Dead” and my top choice would have to be the collaboration with Brianna on “DyingPlanet.” I already know the lads are already creating more music, and watch this space for a new project from Michael. All is doom and a Dying Planet from Dirt Factory.
Out on the British label UtopianMechanics, Stockport based ThroughTheGloom have just released the new ambient electronic EP, DarkPatterns.
Opening track “PerfectDark” gives the atmosphere of an anti sunrise, as if the shadows are creeping forward, encroaching on all. Deep tonal aberrations escape from the virtual abyss, with a tribal electronic twist in “HostileArchitecture.” An ancient drone with a female vocalisation, almost Middle Eastern in sound, creating a mystical allure. There is a reverence in the beginning of “WhispersWithin” and indeed there are the hushed voices within the mix. The piano wanders, as if a lost train of thought, trapped in a slowly decaying cycle.
“Llanto” is gently laid before you, analogue sounding keys greeting you intermittently, which is nothing like the track “Cut Their Tongues.” Finely abrasively with foreboding, building with divine and ancient righteous portent, setting your teeth on edge. The vocals are strained and full of warning as the background is filled with tribal rhythms. Final track, “NostromosReckoning” is like a breath of fresh air after being compressed by the last track. It soars on gossamer wings, expansive and billowing into an infinite horizon
For me, this style of experimental and soundscape electronic music should fuel the imagination, taking you away from the mundane, inspiring joy, wonder and even fear of each new world opened to us. Through The Gloom has this in spades on Dark Patterns.
Stuff has always been a great off the cuff description that could basically mean anything. “Stuff” is also the new single from Naarm (Melbourne) based duo Roles, who showcase their electronic eclectic experimental craft.
Yeah, the dulcet tones of Love are going to be the focus with the rather cute electronics bleating and blooping off-kilter, in a discordant fashion which makes it oddly endearing. There is the chiming in of a guitar to punctuate the beat and a feeling of whimsy throughout.
The video Roles has created for the track is them entertaining a beanie wearing skeleton, through the streets and parks of Melbourne as well as divining tarot cards and in general having a good time. It’s amazing!!! ‘Stuff” is quirky and just plain fun, rounded out by the music video, and let’s face it, growing up isn’t half as much fun as peering through the looking glass of a child.
If you are a fan of TheCure and David Bowie, then you would definitely heard of ReevesGabrels, an iconic guitarist, who has been a member of TheCure since 2012 and was heavily involved especially in the Bowie project TinMachine, Industrial metal aficionados, DerisionCult have created the single “Warning Signs” with fellow American Gabrels heating up the strings, released on the GlitchModeRecordings label.
Let there be rock, and there was rock with a driving force of epic proportions. The vocals of DaveMcAnally could strip the paint off a brothel, and he is joined by SeanPayne, JesseHunt and BradHuston, as they crush the metal into industrial shards. Gabrels makes his lead guitar wail and seamlessly waltz through the carnage wrought by DerisionCult. The video, created by EmpireAnimae, is kind of like watching a whacky animated apocalyptic Mad Max version of the band, hyped up on acid, and it is amazing. You really need to view it in all its glory.
The world, it feels, has been falling into a dark chasm, pushed by war, fuelled by extremism and holier than thou righteousness. How did it come to this? Depends if you were watching for the hints or the “WarningSigns.” Derision Cult are going to attack your senses and they aren’t asking you for permission. They are screaming for you to open your eyes and see the whole picture. When there are “Warning Signs,” fuck the system.
HeatherShore and KeganHeiss are the cool kids from Pittsburgh. Their cool factor lays in the fact they are duo behind the avant-garde post-punk project Hemlock For Socrates, who have a new single out, titled “You’re Not Here.”
Shore’s vocals are the focal point, lilting and mesmerising within the pulsating electronics. The guitar adds an air of experimental surrealism, as the track divulges a relationship where one never seems to get close enough to truly understand or know the other, as if they are hiding who they really are.
With “You’re Not Here,” you can almost taste the traces of sadness and frustration, while the static electronics give the impression of a glitch in the human. HemlockForSocrates always seems to pull off the coupling of ethereal and bohemian, creating something beautifully evocative.
There are many women from the small screen whom gothic culture adore, such as LilyMunster, Elvira and Vampira, but today it is the iconic “MorticiaAddams” which coincidentally is the debut single from the London based electro-industrial band PinkPantherProject. Record label, TheCircleMusic, will be releasing the double album IntoxicatingEmbrace from members Uela, AlexK and EtherMu in September.
True to form, the electronics are there, up front, promising a cracking darkwave dance piece. Uela’s vocals are breathy, perfectly complimenting the subtle electronics and all lyrics are sung in German, leaving you somewhat intrigued.
The Circle Music have put together a rather charming music video consisting of cuts from TheAddamsFamily (1964/65) television show, which fits the track well. “MorticiaAddams” is definitely worthy of not only being played on dancefloors, but also in personal playlists when you want a bit of pep in your darker music listening. I think we will be watching this space when it comes to the Pink Panther Project as I think they could be doing some amazing things.
The end of June saw the new single from the UK’s ParisAlexander and Eirene called “BloodLine” released. The duo often collaborate creating dark synth music and the best place to find their music is on Bandcamp.
There is no disappointment with “BloodLines,” from the pulsating synths that revolve building up the tension, spilling into Eirene’s exquisite vocals. There is even delicate vocal play between Eirene and Alexander and if you listen carefully a guitar also subtly creeps into your subconscious.
You could say there is tension in this track and maybe it is from the knowledge that even though we live, we are also in the process of dying. Eirene and Alexander are very good at creating sensuous music that can hypnotise the listener into moving involuntarily to the rhythm. “BloodLines” is yet another example of this prowess.
The end of the world might be nigh the way the human race is going, between the Four Horsemen of the Apocalypse and the Seven Deadly Sins. Pennsylvanian based MaliceMachine recently released the album “Act of Self Destruction,” showcasing the pent up fury of members Syn and Julie-X about the state of current world events, exploding out in what can be best described as a torrent of electronic rage. We asked the hive mind that is Malice Machine about the album and all the stuff….what stuff? Read on.
Welcome to the crypt of our sorrows that is Onyx, Syn and Julie-X of Malice Machine.
How did Malice Machine come into being and more to the point why?
We’ve always been a drum and bass team and spent a lot of time in various goth and industrial bands in NY before we decided to put our own project together. We went through our share of musicians looking for he right fit until we discovered we were best as a duo. Syn took over on vocals and after some thought we decided the music would have a more aggressive vibe. We decided on calling our project Malice Machine because it was an appropriate name.
Apparently Syn spits the venom and Julie-X is the eye of chaos, but could you explain your roles in the band please?
Syn became the vocalist because we just couldn’t find anyone suitable. He also took over all song writing, lyrics, guitar and studio production. Julie-X plays and writes the drums and also does the art and tech work so we have a mutually beneficial and productive relationship.
You originally started the band in New York City, but since then moved to Pennsylvania. How has this impacted on your music do you think?
NY was once a thriving scene but we left because the scene was dying and the cost of living is pretty high. We rented a small apartment with rats and roaches as room mates but worst of all, with the paper thin walls we couldn’t rehearse and rehearsal studio rates were expensive. So we wisely packed up and bought a house in Pennsylvania and now we can make all the noise we want. Writing and rehearsing is a pleasure plus the location allows us to travel easily to several states for gigs.
What is the industrial scene like in Pennsylvania compared to the Big Apple?
Where we live in Pennsylvania the goth/industrial scene does not exist. But in the cities like Philly and Pittsburgh, there’s some suitable clubs for our music. Overall the east coast isn’t the best location. We do better towards the west coast.
Your latest album is delightfully called “Act of Self Destruction,” and it is chock full of aggro tech goodness. Why did you choose that title as the all encompassing, so to speak, description?
We designed our songs to represent how we feel about our society and world are becoming dysfunctional and spiralling out of control. We’re on a path of self destruction, hence the title.
You have described your music writing technique as organic whilst also being industrial, which is very electronic. How does all this happen and what was it like writing this album?
In an era of music where people write entire songs using loops or premade elements that were written by other people, we create all our own lines, sounds and beats. Aside from this we purposely remained minimal with the vocals, giving Syn a more organic sound by using only delay and some reverb. As far as what it was like to write this album, we had an entire album written before this one but we threw it away because it felt like a continuation of our previous release. The songs just weren’t connecting well with each other and we wanted a more consistent style.
Tracks like “Delete Me,” “Damaged,” and “Desolation” are prime examples of the themes of bleak loss of hope and unyielding anger. What inspired you to write the album in the first place?
It’s hard to find peace of mind and happiness sometimes. A lot of people express their demons in different ways, Syn expresses his through music and that’s not such a bad way to exercise demons.
You guys are really DIY, and do everything yourselves including producing and mastering. Is it a challenge arranging it yourself and can you tell people what is The Morgue?
To be honest, we’ve tried working with other people for production, mastering, even collaboration, we’ve even hired professional mastering houses and spent a good amount of money only to be disappointed in the end results. In the end we realize we work best alone so the only thing left to do was to learn how to do it all ourselves. We’re still learning and that’s a continuing process. Of course all this implies that we needed to buy a lot of equipment to achieve our desired results so we built our own studio. Syn spends most of his time entombed in there, like a crypt, but “the Morgue” sounded better. Incidentally, we both once worked and lived above a funeral home on Long Island NY.
Do you guys have any particular tracks off the album that you are more drawn to, or particularly proud of?
Syn is sometimes content with a couple of them but sometimes he hates them all. Julie-X favors Hyena and Damaged but to her, they’re all good.
I cannot go past asking you about the Trans X track “Living On Video,” which you have covered and really given it a great makeover. It is an absolutely classic, so why cover this track and what was it about this song that made you think ‘hell yes, we need to do this!’?
First of all, it’s hard to find a good song to remake. All the best stuff has already been covered a million times. We did consider this song once before but didn’t feel it was going to work for us as a remake. But then Syn started evolving the concept of the song towards social media. Let’s face it we’ve all had cringe moments when looking at memes. Who knows what the hell some people are thinking when they post. That pretty much was the inspiration to actually attempt the Trans X remake. It just felt like the right vehicle to call out toxic media.
On that note, who are the acts and bands that have musically influenced you over the years?
Early industrial i.e. Front 242, Front Line Assembly, NIN, classic punk bands, some Black Sabbath, a few Nu Metal bands. To be honest we’re musically open minded and like a vast range of music from far too many artists to name.
Malice Machine is very much a live group, so what drives you to put yourselves out there in front of an audience?
We used to think live shows was the most important way to build up a fan base but in today’s musical climate, it’s more important to approach our music as a multi-faceted business and concentrate on building an online presence. We still enjoy playing shows because of the energy that feeds and flows between us and an audience. It also keeps the music feeling fresh. We also have some people discover us that wouldn’t normally be exposed to our music and that’s exciting.
This is the obligatory weird question…. if you were allowed to be little vandals, release the inner demons, and destroy something, what would you destroy and how would you do it?
Syn would say if there was a shiny red history eraser button, he might just press it. Julie-X will plead the 5th.
What is up next for Malice Machine?
We intend to be more prevalent online, building our Spotify presence, releases new songs and remixes and definitely more videos. We have some live shows coming up as well and besides working on Malice Machine, we have a few other projects we plan on doing. Lastly, Syn has been working on a stop-motion animation film for two years three quarters complete so we’re busy little creatures.
RobertBenaquista brings you Cucurbitophobia, the project so grim, it is named after the fear of pumpkins, and after sowing the seeds, he has reaped the new album called IV. Cucurbitophobia is a darksynth/neo-classical project hailing from New Jersey.
You have entered the time of nightmares where nothing seems real and all is covered in a pall of dusky sorrow. The fires burn cold in this hellish wasteland that is “IgnisSatanae,” dragging you into the shadow realm. “GaleofLucifer” is the quiet before the oncoming storm, an entourage of building anticipation of dark angelic release, ticking like a timebomb, never getting any faster, as if your doom means nothing in the whole scheme of things. The solo guitar sets your teeth on edge in opposition to the piano. You are now on the “SoilofBelial,” and the devil is going to welcome you. From within the cacophony, if you listen carefully enough, you might hear the voices of lost souls wailing in the distance.
Like something from BlackSabbath, the guitar holds sway, the creator of organised chaos and then, yet, there are periods of reflective electronic dismay, distant and disconcerting. You shouldn’t be here and the tension rises for whatever is in the dark is baying for your blood. The creature in the “Bay of Leviathan: Chapter I” calls out from the deep and it almost feels like sanctuary, a ray of light in the gloom. The piano takes its place, making you feel most uneasy, rippling through the surrounds, and into the murky unknown. Unlike the previous track, “Bay of Leviathan: Chapter II” starts so differently, tasting of gentle breezes and fingers of sunshine breaking through to the shimmer water’s surface….though is it almost a lament in a way, the piano plinks in a sporadic wandering, modern avant-garde style. Final track “Memento Vivere” continues in this vein, conjuring shadows of memories along with raising the ghosts of what is lost.
If you haven’t quite caught the drift yet, Cucurbitophobia is very much entrenched in the horror genre. Music that imprints on your psyche and tugs at your base human instincts that recognises fear and aberration. Why is the album called IV? It isn’t the fourth album. Curiosity abounds. Benaquista has said that the inspiration is from John Milton’s “Paradise Lost,” a poem about the expulsion of Adam and Eve from the Garden of Eden… a loss of innocence that can never be regained and the full realisation that what we do not know terrifies us, captured in a mirror like reflection by Cucurbitophobia.
Onyx Music Reviews 