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When it became October the 15th, Orrphoiz dropped his debut album, Kill The Gods. German based, Orrphoiz, is a mixture of dark synthwave and EBM with a much harsher edge.

It’s an angry and emotional album, raging against the injustice of the world we live in and the systems we live under. – Orrphoiz

When they tell me they have an album and it turns out to have a lot of extra stuff on it….this is Kill The Gods, chock full of original tracks, some featuring guest artists and guest remixes, with a rich variety of styles. There are eleven original tracks, with feature artist, grabyourface, plus a further six remixes, done by ES23, SynthAttack, STAHLSCHLAG, Miss Suicide, BolPaVoX and RNZR.

Let us kick off with “Impostor” with a message of doom and Orrphoiz’s rate of verbalization really impresses me, like a machine going off and without missing a beat. Vocally, “The Lost Ones“, is creepy, dissolving into far more soulful tone. All the while, the synths hypnotise your senses. “Electric Crash” might be the song to sum up the album with its pumping beats and circular rhythms, about being under the influence of electronic music, unable to get enough. The intricate and sparkling instrumental track, “Gathering The Tribe“, wends it’s way like an Arabian tale. The grabyourface collab, “Eat The Rich” makes you wonder how one can say so much without seemingly taking a breath. There is a venom within the overwhelming sound and the vocals. The dance grooves let fly in “Kill The Gods“, pounding, pounding, pounding to remind you that those smiling plastic faces, want to lull you into a false sense of security.

The premise that all human bleed the same and have all the same fears and needs, so why do we feel the right to wage war and take another’s life is “Industrial Hate Machine“. It is abrasive and feels like splinters of metal under your skin. “Synth City” is yet another instrumental tracks with a beautiful array of whirling electronic synthwave, pulsating and seductively warm. The synthesized Hatsune Miku features on “Plastic Popstar“….wow, so smooth and the vocals are to die for. How do you express the perfection of a track? We are somewhat back to harsher vocals, intermingled with the smooth in “Femboy Incubus“, and I have to say I have flashbacks to early Eisbrecher. Last of the original tracks is “Dancefloor Annihilator” and a instrumental to finish off with. Musical sirens and techno inspired beats consume you.

The RZNR mix of “Kill The Gods“, throbs with demonic intent, while the keyboard work on “Electric Crack“, has SynthAttack’s fingerprints all over it. ES23 also gives us another version of “Electric Crack”, heavier and dirtier, then we get the crunchy beats of STAHLSCHLAG, as the light and darkness of “The Lost Ones“, are given an epic soundscape platform. MissSuicide imbues “Femboy Incubus“, with a glittering synth dance makeover and “The Impostor” mix by BolPaVoX, has a rather enticing rhythmic noise attitude.

First of all. I was not expecting that voice. When Orrphoiz drops the growling and sings, that voice is as smooth as silk and as deep as a placid, dark lake. Utterly stunning. The album itself is a tapestry of styles, carefully woven together and it works. The feature artists and mixers have really gone to town with the tracks allotted to them and it is a treat to get to hear their work and interpretations. Well worth the money as you get a lot and there is so much to explore in Kill The Gods by Orrphoiz.

Kill the Gods | Orrphoiz (bandcamp.com)

Orrphoiz | Facebook

https://push.fm/fl/qctamjws

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It seems the guys from Biomechanimal have slapped us with the single, “From The Mouths Of Beasts“, the latest unnatural, animalistic track from the London based band.

The sound from the outset is huge. There is their signature hardstyle mixed with industrial but also there is the introduction of something akin to symphonic metal, swirling in morass, while the vocals snarl and growl, for there is no taking back that which comes from the mouths of beasts.

I don’t think it’s my imagination, when I say, Biomechanimal are getting heavier. Sure there are the bass drops that you expect but a bigger, more epic metal aspect has been creeping in. How much heavier can they go? Watch this space.

From The Mouths Of Beasts | Biomechanimal (bandcamp.com)

Biomechanimal | Facebook

https://www.instagram.com/biomechanimal/

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French duo, The Shadow’s Gone Out, are sounding the Final Alarm, an EP released on the 23rd of September. From Tours, Nourtier Julien (drum, samples) and Enault Anthony (bass, samples) are bringing the instrumental industrial to you.

Sped up ragtime frivolity, followed by industrial tribal rhythms introduce you to the single ”Pills“. It is angry and voluminous, see-sawing with bridled near contempt. Welcome to the crazed circus of “Sous La Pluie” which means in the rain, as it climbs from peak to peak, gathering strength with the military cuts pervading the rising pressure. “Final Alarm” is the last track, full of foreboding and the promise of annihilation, klaxons calling out and military chatter join the ferocious drumming and underlying bass.

Always nice to hear a real drummer in the industrial scene, as it adds a richer tone to the music, especially when joined with heavy bass. There is a strong military feel induced by the samples as The Shadow’s Gone Out seems to be issuing an ominous warning. So beware the Final Alarm.

Final Alarm | The Shadow’s Gone Out (bandcamp.com)

The Shadow’s Gone Out | Facebook

https://www.instagram.com/tsgo_officiel/

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Riveting Music are a US label, whom have decided to make a stand and with the help of a whole bunch of artists, created a compilation of twenty-one cover songs, all previously recorded by powerhouse women of pop/rock. The recording of this compilation is in reaction to the overturning of the historic Wade Vs Roe and the degradation of a woman’s rights to have autonomy over her own body.

There are three singles off the album consisting of The Joy Thieves robust kick arse version of Pat Benatar’s “Love Is A Battlefield“, Laurie Anderson’s “The Day The Devil” by The Blue Hour, which I think is much better than the original, and File Transfer Protocol with their rather stunning recreation of Eurythmics’, “Here Comes The Rain Again“. Of course there are plenty more musicians and their cover versions to encounter here and most of the song’s originate in the 80s, going into the 90s, so there is a chance to find music you do or don’t know, as well as checking out current electronic/industrial musicians.

All money raised will go to the Global Fund for Women but not only that, it is about raising the profile of this subject and saying that this new trend against the rights of women is not okay, because if this is happening in a first world country such as North America, then how long before other countries decide to go down the same path? My body, my life. So fucking Regulate This!

Regulate This! | Riveting Music (bandcamp.com)

Riveting Music | Facebook

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Melbourne’s Snog, with David Thrussell firmly at the helm, stole a place in our industrial hearts, from the first time we heard “Corporate Slave” back in the early 90s. Now in 2022, a new EP, Jaded has been released on the Australian label, Lightarmour Editions, in both digital and limited coloured vinyl. The track “Jaded“, was previously released on the album Eight Offerings For The Undead, but now you get to hear it remixed, with others, rounding the EP to six tracks.

“Jaded” is a bit like rant poetry but with an electronic twist. Thrussell airs his grievances about a world that had left him more than a little dusty. Hushed tones creepily balance over the music. Brisbane based, Nam Shub Of Enki remixes “Jaded“, with his style described as grimecore, though I like to think mad man let loose and having a damn good time. Nam Shub lays it down with his signature tones and enthusiastic rhythms. One last remix by Sir Real, of “Jaded“, gives us an almost darkwave feel with those synths mixed with a modern tribal beat, lulling you into a trance.

Oh my, it’s the “Spaetzle Machine” the DiscoMachine RMX!. As expected, one machine mixing another is going to result in a robotic love fest. The Morpho RMX of “The Sweet, Sweet Treacle (Of Surrender)” trickles through your senses, the electronics burying into your brain. Last track has a near magical aspect to it. The Theme to “The Great Reset” has never been released. Brooding and languid, it runs at its own pace, which highlight the brighter synths that meander. It reminds me very much of work the late Vangellis.

I might be a bit biased as Snog gave the Australian electronic and industrial scene a good kick, back in the 90s, showing that world leading quality music was not something just from Europe and the USA. Thrussell has been at the forefront of some pretty kick arse albums since then and this special edition EP proves he’s still forging ahead with some powerful allies.

Jaded E.P. | Snog | Lightarmour Editions (bandcamp.com)

Snog | Facebook

Lightarmour Editions | Facebook

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The label Machina ad Noctem, is back with another compilation, inspired by author Philip K. Dick, called PDK II. As like the first compilation, this is a group of musicians whom have pursued their love of the science fiction, written by Dick, though the music they compose.

The beginning of “VALIS” by Edge Of Decipher, starts off hesitantly but soon grows in sweeping assurance, waking out of dream perhaps, into another plain of reality. Cumsleg Borenail gives us “Man Has Not Eaten God, God Has Eaten Man” is as quirky as the name suggests, synths like synapses sparking in a metaverse, unable to be contained by man or God.

A train has set the rhythm in “Second Variety” by Non Union, on a journey to who knows where, but it seems otherworldly and ominous, before we are met again by Edge Of Decipher. The track, “The Future We Create“, inspired by Ubik, speaks of stars, moons and whirling galaxies beyond ours. The experimental HyMettus Woods, bleeps, fades in and out of static in “A Scanner Darkly“, trying to find the rapidly fluctuating channel but constantly on the knife’s edge until the fuzz clears momentarily, rapidly gaining veracity.

The only track with vocals is Priestessdeath and their “Like Tears In The Rains V” with smoldering female singing that meanders like rivulets of water down a pane of glass, inspired by the Orient. A change of pace for Edge Of Decipher as the music becomes urgent and the synths are trying to catch your attention for “The Agentic State“. There is a movie like quality to this track which leads onto the final number, “Eye In The Sky” by Non Union, as the electronics reach out in waves, invading all spaces and detecting all.

The music is eclectic, electronic and often experimental just as science fiction is. The tracks are like points of light in a sea of literature and dark electronic music, bidding you to further sink into the worlds of Philip K. Dick with them. So I bid you adieu on your journey as you experience this new adventure with PKD II.

PKD II: Philip K. Dick | Machina ad Noctem | machina ad noctem (bandcamp.com)

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Chicago based BOUNTE released on September the 1st, the decidedly strangely named EP, THE GRAUPNER DICOTOMY. Now, you might say…hmmm, not the Brian Graupner of legendary Gothsicles and Gasoline Invertebrate fame, who also runs Tigersquawk Records? To which we would say, indeed tis the very same Graupner of those very bands and on this very label….. and low there was much rejoicing for this union of BOUNTE’s Dean Dunakin and Brian of the Graupner.

Straight off the serial killer’s bat, we have “Acid Bath” featuring Gasoline Invertebrate, with the creepy whispered vocals of Graupner backed up by grooving guitar that somewhat invoke the ghost of early Rage Against The Machine and some rather delightful electronics. In complete contrast is the second track “Tear It Up” with its 8bit, industrial, glitching computer game feel but even better, Graupner’s far more glorious Gothsicles vocal persona (which is always amazing) and Dunakin’s deeper tones.

Tigersquawk Records is a acid trip of a label, with bands that are both eclectic and super fun, including the ultra busy captain at the helm of this spaceship, with especially comfy couches. These tracks are a credit to the musicians involved, BOUNTE utterly deserving a place in the galactic ark. And really after all this, what else is there to say but YEEEAAAHHHH!!!

The Graupner Dichotomy | Bounte (bandcamp.com)

Bounte | Facebook

Bounte – moving indietronica

The Gothsicles

Tigersquawk Digital – Tigersquawk Records

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Did you like the last single from Germany’s FabrikC and the UK’s j:dead? Did i hear you say yes?! Well, then we have a treat for you, as September the 30th, there is a new single, “Perfect Happiness” where we get to hear the lads getting down and heavy.

The rhythm is that of a laboured thundering heart beat, joined by the screaming vocals of Taylor, when he isn’t whispering his snarling discontent. The synths break out, through the vocals, prodding and urging on the cyclone of noise.

Thorsten W. D. Berger is the composer, while Jay Taylor penned the lyrics in this flying aggrotech track that is meant for the dance floors. Is there such a thing as “Perfect Happiness“? Only a fool would think so, or even want such a thing. But music is pretty close to pure joy, so get yourself some FabrikC vs j:dead.

Perfect Happiness | FabrkC, j:dead | FabrikC (bandcamp.com)

Music | J:dead (bandcamp.com)

FabrikC | Facebook

J:dead | Facebook

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MissSuicide is a one person project from Cologne of the dark electro/industrial persuasion. Demian’s (MissSuicide) latest EP is Herbivor, set free as of the 1st of October with guest artists. STAHLSCHLAG and GRENDEL.

A gypsy violin, ominous synths and a sound clip from Breaking Bad start the odyssey of “Persona Non Grata“. Dance beats enhanced by spinning synths. Like a tape in reverse, we are hit by the title track,”Herbivor“. There are dueling synths and the rhythmic signature feels like it is in constant flux, itching to fly free. “Präzisionsarbeit“, featuring STAHLSCHLAG, the maker of the rhythmic crunchy noises, just leaps out at you. Those static oscillations, tweaks and synths are great but the banging beats get the heart working.

“Ocelotte” is mentioned as a part of a video game sample and the track itself is dark and sharp. The GRENDEL remix “Herbivor” is most definitely geared towards the dance floor, with JD Tucker, tightening the synths and condensing to an almost science fiction flavour of sound. Sebastian Lohse (ex- Letzte Instanz, Die Feine Gesellschaft) does guest vocals on “De Profundis” which has been given the STAHLSCHLAG treatment. The remix has those tell tale sounds of Sünkler tweaking the track with his crunchy static, while Lohse’s singing is just the icing on the cake.

There are tracks on here that are going to to be club floor fillers but also, others that will truly tickle the taste buds of industrial connoisseurs. The mixture of styles between Demian and Sünkler, as well as Tucker, makes for very enjoyable listening. Be the Herbivor in the MissSuicide buffet.

▶︎ Persona Non Grata | MissSuicide (bandcamp.com)

https://www.facebook.com/misssuicideofficial/

http://www.misssuicide.de/

https://www.instagram.com/misssuicideofficial/

Music | STAHLSCHLAG (bandcamp.com)

Music | Grendel (bandcamp.com)

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This year saw Belgium project, Psy’Aviah, celebrate twenty years of music, with the label Alfa Matrix releasing a huge best of, called Bittersweet, that had been re-recorded with guest vocalists. On September the 22nd, Yves Schelpe, founder of Psy’Aviah, is asking “Is Everything Going OK?“, a maxi single/EP of the highly successful single “Ok“.

Huong Su takes on the vocal duties for “Ok” (rediscovered), so very sweet and sentimental, with classical instrumentation. After this version, the gloves come off, so to speak, as the HeiG trance mix takes hold, onwards and upwards, followed by the magical Miss Suicide mix, which is also guaranteed to hold a crowd on the dancefloor. There is the beautiful trance mix by LLM, Digital Factor with their slow burn electronic mix and the After Dark remix from Am Tierpark that builds a world of lightness encased in darkness plus some stellar synths. But wait there is more….. Pulse Mandala remixes into an ethereal glow, the trippy Nethermere breakbeat remix before the ALUCVRD breakbeat mix that glitches and lunges with a Middle Eastern soul and then there is the stripped back version with Huong Su and violinist Irina Markevich.

I am not even going to get into the 12 inch remixes, of which there three. Yes, you are going to get bang for your buck on this single/EP. “Ok” has been lovingly handled by each musician, shaped into tracks to ignite the soul from heartbreaking sensuality to dance floor fillers and it started with a song from Schelpe’s Psy’Aviah. Good music does not age and this is a corker of a release.

Is Everything Going OK? EP | PSY’AVIAH | Alfa Matrix (bandcamp.com)

Psy’Aviah | Facebook

Alfa Matrix Records (alfa-matrix-store.com)

Alfa Matrix | Facebook