In recent times, the name Josie Pace has been popping up in our social media news feed and suggested YouTube watching. She is the epitome of a punk riot girl, looking to knock you on your arse with her no nonsense, industrial rock music and style. Pace, after a raft of singles, has signed to Negative Gain Records, released her debut album, IV0X10V5 and is about to go on tour with Aesthetic Perfection and GENCAB, so there is no better time to talk to Josie about what has lead up to this point.

Josie Pace, welcome to the Onyx Thunderdome, where alt music reigns supreme.

You are from Detroit City, home of Motown Records and Alice Cooper but to name a few musical wonders that have sprung from there. Did this have a huge influence on you throughout your childhood?

Detroit sound has definitely influenced me throughout my entire musical journey. Glenn Frey in The Eagles was a huge writing influence on me. Growing up listening to them shaped the way that I structure my songs. A lot of Motown, Stevie Wonder, The Temptations, Aretha Franklin, influenced me very young as well. I remember my entire family jamming in the car to “Superstitious” by Stevie Wonder when I was maybe 7. Small moments like that really solidified my desire to be an artist. Another Detroit band that has influenced me quite a bit is Jack White continues to create fresh, unique, and meaningful music. He has even influenced a lot of my newer songs as well.

What is the alt rock/darkwave scene like in Detroit?

The dark wave scene, while still a bit of an underground genre, is small but strong. I feel we are very dedicated here in Detroit and we all know how hard it is to get to the next level, so we help each other in any way that we can.

Josie, you posted a video on YouTube, which was seen by Musician/producer Ken Roberts and since then you have forged a musical partnership with him. What is it like working with Ken and how do you complement each other?

Working with Ken really took off from the beginning. He has been in a few successful bands in the past and I trust him with situations that I am unsure of because of his experience in the music industry. We became very close friends and I can now practically read his mind! We always bounce ideas around and work together to create new music that really pushes the boundaries of not just the genre we are in but pushes the boundaries of art itself.

Do you find he pushes you to delve further into your craft?

I’d say he definitely thinks much higher of myself than I do. Even though staying humble is important, it is also important to give yourself credit where credit is due. Ken believes whole heartedly in my abilities whether it be writing, playing guitar, performing live or shooting photos and music videos.

There have been a number of singles released before the album and 8 of them are on your debut album “IV0X10V5”. Your original tracks seem more synthpop based and become increasingly brash and abrasive, embracing a punk attitude. Do you feel this is true for yourself?

When first working with Ken, we decided that releasing singles and a music video every few months was the best way to gain momentum in the industry. It took a few years to really dive deep into the genre and to try new things and create songs that pushed the envelope. While I love all of the songs, when we decided that it was time for a full length album, I knew that not all of the singles would make the cut. I’ve grown a lot in my art and in myself throughout the years and I wanted the album to be something that was true to my journey. I dove deeper into my writing and pushed myself lyrically. I feel like the album is a more mature reflection of myself. It has a clear sound and each song resonates with me on a personal level.

Two singles were recorded with Sammi Doll, “Perfect Replacement” and the cover of the iconic Placebo track “Pure Morning”. You both sound like you bounce off each other brilliantly, so how did you end up recording with Sammi?

Ken and I are big fans of IAMX and decided, while working on “Perfect Replacement”, that it would be great to collaborate with someone new. We simply sent her an email. Honestly, a lot of the collaborations and the cool things I get to do, were just because we asked. Sammi sent an email back and was ecstatic about collaborating. After meeting up with her and recording the song and music video, we all became good friends. So when we started work on the Placebo track “Pure Morning”, we called her up again. It seemed like a perfect fit and the message of the song, female friendship, really manifested in the music video (especially the bloopers!). Sammi is an amazing friend and such powerhouse and she is so much fun to work with.

Negative Gain is a well-respected label in the industrial scene. How exciting was it to be signed and releasing your debut album with them?

I was extremely excited to be signed with Negative Gain. Being signed to a label was one of my life long goals. After a few Zoom calls with Roger and Micah about possibly working with them, the family oriented approach to their label was something that really stuck with me. I will divulge that when they had agreed to sign us, I was teary eyed. All of the hard work was coming to fruition and it was a big deal for me. I love working with them and we all push each other to our fullest potential.

For me, I got the feeling, the overall theme of surviving against the odds. What does the album mean to you?

I feel like the album, to me, really encapsulates throwing out your doubts and growing from past mistakes, definitely surviving against the odds like you mentioned. It was only after I had finished the album that I noticed a theme, but I feel like that gives it it’s authenticity. I write as a form of therapy so it only makes sense that the years I have been working and trying to push forward in the music industry, came out in my songs.

Which track would you say is your favourite or best represents Josie Pace?

Man, the track that most represents myself? All of the tracks have pieces of me nestled into them. But I’d say the most raw of them that really captured how my head and my emotions take form is “Vicious”. After the sudden and tragic loss of my close friend, Alyse, I wrote everything that was in my head. Every night that I stayed up crying, I wrote to express my grief and my sadness, my emptiness and my confusion, my anger and my acknowledgment that she was taken too soon, too young, too violently. “Vicious” although it shows how much she means to me, it also shows my vulnerability. I was reluctant to release it or to even record it at all. Not only because it was physically hard for me to get through without choking up, but also because it shows a side of myself that is raw and hard to manage at times. “Vicious” is quite literally my emotions through a very hard time in my life.

What music was the gateway drug into the industrial rock scene?

I’ve always been into rock, no matter what kind of sub genre. I listen to everything and anything that feels authentic and stirs emotion. The Industrial Rock genre really catches my interest especially approaching it the way that we do. Creating a heavy electronic based sound from songs written on acoustic guitar is a challenge and it also creates a strong song no matter what genre you change it into. Industrial is very messy and heavy but it is also purposive and precise.

Who do you listen to now that gets your blood pumping?

Recently I have found myself listening to Alice in Chains. His voice was so iconic and the song structure is so different. I can really learn a lot from their songs. Other than that I am listening to my own album to prepare for my first North American tour with Aesthetic Perfection and GenCAB. If I don’t get excited listening to my own
music I’m doing something wrong.

Did you miss performing live during the depths of the plague
(Covid)?

Without a doubt. During covid we obviously all had a moment (or ten) of uncertainty and fearfulness of what the future holds. I remember at the beginning of 2020, I hadn’t gone to the studio for at least two months. I remember just siting in my writing room and kind of realizing that the future was so unknown that I had a bit of a breakdown. Obviously, after picking myself back up, I decided to hit it harder and I recorded the rest of my first album “IV0X10V5” and we filmed 6 music videos. Even while doing all of that I missed performing live. The human aspect of performing live can’t be matched, I love getting to meet new fans and feeling the energy of the crowd. It is my favorite part of the artistic process.

Can you tell us about the live shows you are now involved in?

I am absolutely ECSTATIC to announce that I will be joining Aesthetic Perfection and label mate, Gen CAB, for the American Psyco Tour starting in October! We are playing 40 dates throughout the US and Canada. This is my first tour and I am so grateful to be a part of it.

If you could pick one Michigan musician (dead or alive) to record with, who would that be?

I would have to pick Jack White. He has done so much throughout his career and he has constantly pushed the envelope and broken boundaries of genres while keeping a very dirty Detroit feel.

What is in the future for Josie Pace?

While I am preparing for my upcoming tour, I am also working on an EP with new music videos as well. Obviously another full length album is on the way in the future as well. I am hoping to jump the pond when it comes to playing live. Getting to Europe would be a dream.

Thanks for rocking with us Josie!

IV0X10V5 | Josie Pace (bandcamp.com)

JOSIE PACE | OFFICIAL WEBSITE

Josie Pace | Facebook

Negative Gain – Obey the Noise

Negative Gain | Facebook

Seven Federations is the industrial brain child of Todd Ruzicka, whom is also behind the project Immune System, and he recently released his latest album, Bengamin. The album ranges in musical inferences, from the big time band swing in the title track “Bengamin“, to the futuristic “Captain Sicilano (First Federation – Italian Division)” and even the taste of a Latin mass in the interlude “Ite Missa Est“. Most of these tracks have a heavy accent on the guitar, which drives through the music, pushing it on and giving it teeth. The album was mastered at The Cage Studio, in Coventry by Martin Bowes of Attrition fame. So, with this in mind, we thought we would ask Todd a few questions about Seven Federations, the album and does he have the power of time travel…. yeah you are going to have to read on to find out.

Welcome to the Dominion of Onyx, Todd Ruzicka of Seven Federations, within the Thunderdome, though currently it seems more like an echo chamber.

Your current project is, of course Seven Federations but what was Todd up to, in the years before this project? 

Since 2005, I’ve been heavily involved with my project, IMMUNE SYSTEM, which I started while I was living in the UK. IMMUNE SYSTEM was more electronic than “industrial” and I had a bit of success with the releases and with placing some tracks in indie films.  But around 2018, I started feeling like I had painted myself into a corner, musically. I felt like I needed a total change and that change was SEVEN FEDERATIONS. Now, with a bit of hindsight, SEVEN FEDERATIONS doesn’t seem like such a seismic shift away from IMM SYS, but it was the shift in my mindset that I needed to feel “creative” again. 

Todd, you live in North Dakota. What is the dark alternative scene like in North Dakota?

I don’t know. I don’t think it exists but, even if it did, I doubt that I’d be invited to the party. However, we are fortunate to have a really wonderful underground radio show in Fargo called Adam’s Archive on 89.1 FM.  Adam, who is also a good friend of mine, plays some of the coolest and darkest music you’re likely to hear on the airwaves. Both IMMUNE SYSTEM and SEVEN FEDERATIONS get some airtime on his show and it’s been quite a help.

When did you first get caught by the industrial/electronic bug and decide this was something you wanted to try? 

I think it was probably when Pretty Hate Machine came out, although I had also really become enamoured with Depeche Mode by that point. But PHM really hit me sideways. I hadn’t been exposed to super dark, harder electronic music like that. I had heard some Skinny Puppy but, honestly, I couldn’t make heads or tails of it at the time. Pretty Hate Machine combined song structures that I could relate to, but used a whole different sonic palette. And then, of course, The Downward Spiral just changed the game entirely and I caught “the bug,” as you say.

Who would you say are your musical influences… the people and acts that got you into the music? 

Since I’ve been a drummer for as long as I can remember, my first influence would have to be Buddy Rich. I grew up with his Swingin’ Big Band live album. But pop and rock always resonated with me more. I LOVE Billy Joel. Except for his “doo-wop” phase. (Billy Joel Doo Wop sucks.) And you’re in Australia, right? I always loved Colin Hay and Men at Work.  I have to admit I also loved 80s glam rock when I was a teen and that made an imprint on me, for better or for worse. And then later, I got way into heavier music but always had a love for metal with a hint of industrial that also had a GROOVE. I think that’s important. So much of what we term “industrial” music is full of cool SOUNDS but no there’s no real SONG to speak of. You need both. And again, Trent Reznor became a hero of mine, in the way that he could marry musicality with a real knowledge of digital sounds and soundscapes.

Todd, your first album, “The Arrival”, was released in 2019 and far as I can tell, this is the first offering under the banner of Seven Federations. What inspired you to create this project? 

“The Arrival” was the first record, correct. It was fairly ambitious, as it’s a concept record but not so “concept” that you can’t just enjoy the songs on their own. It’s sort of a modern gnostic storyline about drawing down the Demiurge and the events that occur with the main character.  Without getting too mystical, “The Arrival” almost literally wrote itself. It really just appeared, one song at a time. And apart from that, I barely remember making it.

You have released your newest album “Bengamin” and the origin of this name is Hebrew. Why Bengamin, why a buzzard/vulture on the cover and is the buzzard, Bengamin?

Bengamin is the Buzzard of the Apocalypse, mentioned periodically in the Old Testament and referenced heavily in Revelations. He has the gift of prophecy. He can also tap dance.

The track “Bengamin” seems to have a swing/boogie feel to it. Was this intentional?

Yes. I imagined it almost as a soundtrack to some scene in a honky tonk bar somewhere on the outskirts of town.

The track “Brickface” is getting a lot of airplay. What do you feel about this track appeals to people?

I think it’s just a catchy, anthemic track that gets stuck in your head a bit. It’s sort of custom-built for an arena sing-a-long . . . in my MIND.

Overall, the album has that harder edged guitar sound to it. Is this a preferred musical element?

It is with SEVEN FEDERATIONS. If there was one thing I was going for with this project, it’s a much heavier, guitar-based sound. That’s probably the main element that separates it from IMMUNE SYSTEM.

Martin Bowes of Attrition fame, mastered the album at his Cage Studio. What was it like for you having Bowes do this for you and why did you choose Martin?

I’ve been very lucky to have had two of the biggest names in industrial music master my tracks: Martin Bowes and Jules Siefert, both in England. It’s just a sense of being in good hands with them, and knowing that they understand this style of music. And they’re both super-easy to work with. Even though they’re both big names, they are still open to suggestions from the Peanut Gallery; i.e. ME.

One has to wonder if you have a time machine, as you state that “Ite Missa Est” was recorded live in 2030, in Prague…..is there something you aren’t telling us?

Time travel has long been an interest of mine and I’ve had a fair bit of success with it.

Who do you get a kick out of listening to now?

Mostly “Yacht Rock” artists: Christopher Cross, Michael McDonald, Air Supply. That kind of thing.

What is in the future for Seven Federations?

Promotion of the new record, considering the next step for new music and having a long talk with myself.

Thank you for joining us in our contemplations!

Well, thank you for having me!

Bengamin | Seven Federations (bandcamp.com)

Seven Federations | Facebook

End of last year saw the debut album, Blacken The Skies released on Metropolis Records, by the South African band Terminal. The end of June, they released the official video for the track “Godfire” which comes off the aforementioned debut album. It is an epic track with driving guitar, huge drum beats and a bludgeoning chorus that should have you up on your feet and dancing. “Godfire” or holy war, but who is right and who is wrong and when does God’s name mean peace instead of war in the name of religion? The video is full of confronting images of modern warfare but as always it is the music that has last word. So if this tickles your fancy, then you need to check out Terminal’s whole album.

Blacken The Skies | TERMINAL (bandcamp.com)

https://www.facebook.com/terminal.industrial

Deathline International have been around in the industrial scene since 1991, when they formed in California before releasing their debut album, Reality Check in 1993 on the label COP International. 2022 will see them drop the newest album, Pax Americana, 11 years since their fourth album Cybrid, but before that happens, we have been getting tastes of what is to come from the group in the form of singles. The latest is called “Parasite” which hit us in December of 2021. The current lineup for Deathline International is Th3Count (Christian Petke), SLam (Simon Lam), James Perry [Ashes Fallen], and John Fryer who has a curriculum vitae that might take some people several lifetimes to rack up. His most iconic band was This Mortal Coil and is a part of the super group The Joy Thieves, while riding solo as Black Needle Noise. As a producer he has worked with luminaries such as Depeche Mode, Fad Gadget, Nine Inch Nails, Die Krupps, Cocteau Twins and so many more.

DEATHLINE INTERNATIONAL

The original single version is done by Fryer, the master of mixing and he has made this a far more sinister piece. The synths are just perfection as they roll over the words ‘only in America is it controversial for me to start the programme declaring that global warming is really happening‘.. There is the list of the four horsemen of the apocalypse of which humanity brings closer each passing day to the brink of no return by not finding ways to protect our planet. Pestilence, War, Famine and Death. There is the perfect mix of guitar versus electronic, all beautifully balanced and brutally laid before you with the bones of the future generations.

Stabbing Westwards are stablemates at COP International and the remix by Chris Hall is actually the first version of “Parasite” off the rank and it is so smooth, that Petke’s vocals ooze all over it like the Exxon Valdez. I like the fact it has retained the heavy electronic component and layers those elements with ease so that it just grooves along. They were not lying about the Sonic Assault remix. Electronic blasting beats full of anger and passionately promising to bludgeon you to death like the wide eyed harpy seal you might be if you don’t take notice of Sick Jokes emphasizing the end is nigh. It feels as if is it spinning out of control and imploding towards the end. Again Sick Jokes are signed to COP International

Yep. The production is spot on. The song is catchy. Three versions to keep everyone happy. A plethora of talent. Well that was easy. Listen to Deathline International, reduce your carbon footprint, recycle, re-use and maybe there is a chance to make things just a bit better than just being a “Parasite“.

https://deathlineinternational.bandcamp.com/

Deathline International | Facebook

https://stabbingwestward.bandcamp.com/

Stabbing Westward | Facebook

https://sickjokesnew.bandcamp.com/releases

https://copinternational.bandcamp.com/

COP International | Facebook

Plastic Assault Network (PAN) is a new super group to hit the scene. Founded by singer/songwriter Robert Andrew Bowman (Randolph’s Grin) who has pulled talent from across three continents, including fifteen musicians into his cyberpunk collaboration. Their second single was released in November called “Wall Breaker“.

Walls are funny things. They have been built to keep people safe while keeping others out, then others have been built to hold humans in so they cannot escape. Those are the physical walls but even when they crumble the mental ones remain. “Wall Breaker” is about overcoming all barriers that cause conflict, hatred and bias. The vocals are passionate about the fear used to control the masses. This gets nice and bass heavy, with the electronics swirling and filling every space with sound, making the song come crashing down on your senses.

As you would expect from a project with several studios involved, the sound is seamless and crystal clear production. Have to say it is always satisfying hearing a real drummer smashing it in the rhythm section and this is Jörn Schwarzburger (Randolph’s Grin). Co-producer is Per-Anders Kurenbach (ex Psyche, The Eternal Afflict, Shock Therapy, Dark State, reADJUST, Nine Circles) who is well known for his mixing skills and keyboard wizardry, while on backing vocals duty as well as drums and guitar is Reyka Osburn of Death Valley High fame. So what is next for Plastic Assault Network? I guess we watch this space but it is a rather exciting prospect where they take this. Industrial music is the beating heart of resistance, speaking for those who that cannot.

https://plasticassaultnetwork.bandcamp.com/track/wall-breaker

Plastic Assault Network | Facebook

From the wild open spaces of Oregon comes Warm Gadget, ready to help you get your metal industrial on, with their new EP, Rituals, released in April. Tim Vester is the lead vocals and effects, Austin Williams on bass and backing vocals and then it seems Colten Williams maybe the insidious, evil mastermind who plays everything else, did backing vocals, wrote the music and produced it. This makes him a busy fellow.

WARM GADGET

First cab off the rank is the first single we previously reviewed here, “New Industrial“. There is the head to head clash of guitar versus electronic, that smacks of derision and angst at the system.

Full Of It” is just angry, so very angry. A fuck you to the world who uses, then casts you aside when there is nothing left after giving promises of false dreams. Full on raging guitar and Vester screaming his discontent.

Not many relationships end on good terms and it seems “If I Only Could” is very much in that vein. I’D REMOVE ME FROM YOUR MEMORY; (YOU’RE DEAD TO ME) IF I ONLY COULD is a very telling line, conceding most songs talk about forgetting the other person. It’s a bit like if Tool met Queens Of The Stone Age in a fist fight.

Symptoms” could be a commentary on the modern lifestyle where everything can be fixed taking medications. The music is steady and the vocals raw with emotion of wanting to live with the ‘disease’, so that they can just live.

The guitar riffs are great in “Dead To Me“. It’s a more electronically crunchy number that really rocks. The concept that love is binding and that the other person can suddenly turn on you, leaving you wanting to get the hell out of Dodge.

The last two tracks are remixes of “Symptoms“. The first by Witch Eyes which illicits a more old school industrial sound. The second is by Snowbeasts and this propels the track into a whole new stratosphere, going far more electronic and cutting out all the vocals.

This looks back to the metal bands of industrial such as KMFDM, Ministry and My Life With The Kill Thrill Kult, while giving it a more grungy effect, making it dirtier and slightly more unhinged. Keeping the blood pumping with their musical force, Warm Gadget gracing your lobes with Rituals.

https://warmgadget.bandcamp.com/album/rituals

https://www.facebook.com/warmgadget/

Last year, Normoria released the EP, Voyages and at the end of January, this single, “The Judases” was let loose. Based in both the USA and Sweden, they describe their sound as, ‘a fusion of many elements: primarily dark electro and rock/industrial‘. 

An interesting take on the concept of karma and what happens to those who are friendly to your face but would happily trip you into a bottomless pit. ‘What goes around, comes around‘ is the shouted chorus of affirmation. It graduates in fury with the non stop beat.

I would have to say this song probably does well live due to the fact its a stompy number that they can also yell back to the band in the throws of jumping around. From what I’ve listened to, Normoria are passionate about the environment and their fellow humans. Will you follow them to the land of Normoria, to where “The Judases” are not allowed?

https://normoria.bandcamp.com/album/voyage

https://www.facebook.com/normoria/

Late December was the release of the single, ‘In My Dreams” by SINthetik Messiah with The Other 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.

BUG GIGABYTE – SINTHETIK MESSIAH

A bombastic piece of engineering by Bug Gigabyte, the sounds are grating and huge, leaving you wanting more. He has taken The Other 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 My Dreams“.

https://sinthetikmessiah.bandcamp.com/track/the-other-la-and-sinthetik-messiah-in-my-dreams

https://www.facebook.com/SINthetikMessiahOfficial/

https://www.facebook.com/theotherla/

Fancy a little gothic Christmas? Nothing says cheer like a carol and Vazum have released for those that aren’t inclined to listening to the regular fare, an EP of dark, tormented odes to the Yuletide, Vazumnacht. If you are unfamiliar with Vazum, they are a gothic/deathrock/shoe gaze, two piece made up of Zach Pliska and Emily Sturm, who are based in Detroit.

VAZUM – ZACH PLISKA & EMILY STURM

There are three numbers on this EP, starting with “Carol Of The Witch“. This is a parody of the traditional song “Carol Of The Bells“, which is instantly striking from the start, done as guitar riffs but after the beginning, this become a gothic dirge of pagan proportions. Discordant guitars sit with Pliska’s almost groaned vocals, while Sturm’s singing, storm through like light breaking through darkness. There are resurgences of the original tune but it just ties it all in.

Me thinks a bit of devil may care is a foot in “Unholy Nite“. Like a chant to summons the dark lord, this shadows “Holy Night” with references to the dark saviour and sulphur.

The synths almost feel off beat in comparison to the guitar, giving an off kilter sensation to “Bark The Hellhounds” and yes this is a nod to “Hark The Herald Angels” but done in the creepy, hurdy gurdy style that Vazum excels in.

In essence, Vazum have taken the bones of three highly favoured carols and not only putting their spin on those songs but for the most part, created new songs. So darklings, get your gothic finest on and celebrate the doomed side of Christmas with Vazumnacht.

https://vazum.bandcamp.com/

https://www.facebook.com/VAZUMROCKS/

This year has been a big one for Jacksonville based duo, Batavia. Earlier in 2020 was the release of their first EP, Graveyard and since then, they have been signed to Tigersquawk Records with the new EP, Quite Mean Spirited.

Terri and Ed Cripps tell true historical tales of the grotesque through their music, bringing them to life. With this in mind, this EP is the story of a young woman who was taken away to an island, somewhere in Russia, a prison that she never deserved to be incarcerated in. She was assaulted and raped by the guards and then her fellow prisoners did not offer help nor comfort but rather murdered her and cannibalised the corpse.

The title track is also the first cab off the ranks. “Quite Mean Spirited” thumps in with one Charles Bukowski’s spoken word soliloquy about ‘people are not good to people‘ before Terri brings forth her sweet vocals.

Upside Down” hits you full on with its up beat rhythm and grungy guitar plus distorted vocals. This is a cover of the Jesus and Mary Chain song and it is a rollicking, industrial interpretation.

The water and the waves flow with the acoustic guitar and lilting synths giving “Ab Initio” a near dream like quality. A reality skewed with Terri whispering to you to be aware that not all is that peaceful.

With heavy gothic over tones, “Finis” is the beginning of the end for our heroine. Russian can be heard after the frightened breathing of the young woman. The dominant piano with the organ beneath, create a feeling of madness. A litany of the terror issues, as the noise builds on a maelstrom of desperation.

ED & TERRI CRIPPS – BATAVIA

For a awful way to go, “The Absinthian” seems so light and free… maybe it is when the flesh is no long the cage of the soul and the pain cannot be felt any more. Angels to take her away to a better place than she was.

Quite Mean Spirited” (Leæther Strip remix) finishes up the EP, which brings you full circle of the horror humans will put other humans through. Claus Larsen was very impressed with Batavia’s previous release, so he came on board to do this remix and it has the Leæther Strip lead’s finger prints all over it. It’s a beautiful and thoughtful enhancement with that industrial harshness running deep under it. Such a brilliant way to conclude.

Batavia know how to blend gothic horror with intelligent rock and industrial blends. They have created an EP with a darkness that makes the the breakout tracks shine even brighter. The Leæther Strip remix is like the icing on the tasty, gothic- industrial cake that is Quite Mean Spirited.

https://batavia.bandcamp.com/

https://m.facebook.com/officialbatavia/

https://m.facebook.com/tigersquawkrecords/