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 – cosmic sonic terror via electric guitar and fx pedals – “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.
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 OfAcid 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.
[gelöscht], more or less means ‘erased‘ in German, and it is also the debut industrial harsh noise album for VERFÜHRERVERGELTER, 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 VERFÜHRERVERGELTER 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, VERFÜHRERVERGELTER 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. VERFÜHRERVERGELTER is giving you [gelöscht], and if you don’t get it…. that’s okay as well.
Dave McAnally released the EP, Mercenary Notes Pt. 1, at the very end of 2022, under his moniker DerisionCult, on the label Glitch Mode Recordings. Glitch Mode is run by fellow electronic musician, Sean Payne (Cyanotic), who was also involved in the recording of the EP and if that impresses, you might be even more so when you learn other guest artists include Chris Connelly (Revolting Cocks, Die Warzau, Pigface, The Joy Thieves) and Reeves Garbrel (The Cure, David Bowie’s band), plus remixes by Cyanotic (Sean Payne) and Justin Broadrick (Godflesh). Not on this EP are the remixes by Dan Milligan (The Joy Thieves) and Martin Atkins (Killing Joke, Ministry, Public Image Limited, Nine Inch Nails) for the single “Deaf Blood“, which you should also check out. Let me tell you, that is a hell of a list of band name dropping.
The EP roars to life with “The Year Hope Failed“, guitars smashing out, accompanying the rhythm with ferocity, setting the theme that the media lies to create mass hysteria. “Life Unlit” has the hallmarks of a RobZombie number, especially vocally, but also, the subject matter could very much be about zombies.
There was no way that they were not going to make “Deaf Blood” a single. The guitar work of Garbrel is simply magical, and definitely, you can hear the signature chiming guitar sound. Connelly‘s vocals are gloriously punk when not warbling like a modern medicine man. The noise intensive “Slaves Rebuild” wails like a siren in your ears, while McAnally rather creepily whispers his to-do list. This track also features Garbrel showcasing his skill as a guitarist.
“Bastards of the World” is just a bouncy, fabulous track. It plunders your senses with its head puncturing rhythms. There is an instrumental in the track “Mercenary,” and with the cut voice clips running throughout, it feels like a drug fuelled haze, combined with walking through syrup.
“The Year Hope Failed” is remixed by Cyanotic (Sean Payne), where the vibe is toned down a notch in favour of a slightly more electronic version, which glitches and swirls, while “Slaves Rebuild” has the Justin K Broadrick (Godflesh) Fleshmix and it is huge. A hulking mass of abrasive sound, gruff vocals, and drowning guitars that meander like a horror killer that will get you, no matter how fast you run.
Is all as bleak as it seems? Well, no, not really. Is the world in a bit if a state currently? The short answer is yes, but we don’t have to believe the hype of the media outlets or those that sell fear to make profit or gain power and this is the message from McAnally. Derision Cult hits like Ministry and has the razor political anger of Killing Joke, all wrapped up in Mercenary Notes Pt.1.
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.
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 “MercenaryNotes 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!
So you went out drinking last night… what do you remember, where are you now and what is that smell? Brisbane’s Dream OfMachines, 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 thefuck 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 OfMachines.
It is always a blow to fans when a band calls it a day. Germans, X-Vivo have decided to announce that due to a myriad of reasons, this creative outlet has run its course. But they have agreed that they go out with a bang, rather than a whimper, so to that end, they have released their final single, the very aptly named “Nothing Left To Say“.
This last track has a quality about it that reminds me of Linkin Park, not only musically but lyrically. The ebb and flow of the song, the losing pieces of one’s self, so as not to deal with the subsequent pain.
Before they go, you can see off X-Vivo by going to their Bandcamp page, because this track is name your price. And if unfamiliar with their industrial rock music, this gives you a chance to check out what you were missing.
When i was younger, Ministry and Rammstein were considered industrial metal. Meet DunwichDreams of Albuquerque, who dropped the single “Rise Of The Seventh Sun” on October the 21st.
The beginning seems pleasant enough with synths playing until the drums come in and it all changes. The vocals roar and bellow at that unnaturally low tone that constitutes death or black metal, though you can still understand the lyrics.
“Rise Of The Seventh Sun” is heavy, visceral and like a punch to the guts. It bangs along, savage and cryptic. I have the disclaimer of not being a metal expert but have the feeling there are others out there that will love this heavier style of industrial metal from Dunwich Dreams.
July the 28th saw the release of the EP, Ad Aeternam Damnationem, by the Italian band Horologic Mime. This is an independent release for the group and their second EP, describing their instrumental style as experimental industrial metal.
Metal infused with off kilter electronics, seemingly wanting to consume you alive in “Excessive FatAccumulation“. This leads into “Acufene Scolopendra” that has a winding purpose, with those chiming synths, belied by angry guitar, laying below, ready to pounce, pushing and prodding onward. Crunching industrial metal invades your ears, as we are taken on the great circus ride that is “Bird Up“. It lurches and tumbles into chaos, broken and looking for resurrection, slowly rising like a ghoul from a grave to haunt you.
Horologic Mime seek to use their experimental style to create soundscape worlds with the noise they pull from their instruments, mixing delicate bell like synths to aggressive metal guitar and changing rhythms. With this in mind, I remind people that this is experimental and you approach this style without expectations and just bathe in what the musicians are inviting you into.