Black Needle Noise is the project of one John Fryer and for those not so well acquainted with his name, should be with his other band from the 80’s, the highly influential, This Moral Coil, who are forever entwined with the wonderful, 4AD.
Fryer has collaborated with the Australian/Croatian, classical vocalist, Helena Mamich, to create the new electronic and ambient single, “Nocturnal“.
HELENA MAMICH
“Nocturnal” starts off slow, with Mamich’s vocals ghosting ephemerally above all. The gradual build up is metered out carefully, with hints of beats and swelling synth cords.
The soprano crescendo, hauntingly draws you in and almost eerily, there are in the background, the sounds of crows and other such creatures. This is almost a cadenza featuring Helena’s smooth and beautiful vocable.
BLACK NEEDLE NOISE – JOHN FRYER
In the music industry, John Fryer is synonymous with being one of the hardest working musicians around, highly sought out for his production skills and this shines through the track.
The beautifully created noises, feel like they might occupy the dark spaces of forgotten, magical places of the “Nocturnal“. This is a delicate balance of classical with ambient, electro industrial, brought to you by the master craftsman, John Fryer aka Black NeedleNoise and Helena Mamich, which is nameyour price on Bandcamp and most worthy of your time.
For those that love their cyberpunk industrial music, should be thrilled that Seattle act Rabbit Junk released a new album on 23rd of October, Xenospheres.
Wired a little differently? You’re on the vertical while everyone else around you is the horizontal? “Neurodivergent” will speak volumes to you as it calls for a standard world to be more flexible or prepare to be broken. It’s vocal, it’s loud and it’s going to catch your attention.
“The Bends” is bass heavy metal with that injection of industrial sensibility. It is almost bipolar with going from nu/core, straight into synths, without missing a beat. For those unfamiliar, the bends occurs when deep sea divers surface and then suffer from decompression sickness.
The harder the bastards push you down, you get back up to push back harder. This is “Relentless (Omicron Nu Epsilom)” and it soars vocally, with the great aggresive guitar and synth highlights.
Really like the mix of male and female vocals here in “Prismatic“. It works so well in a responsive sassy way about feeling invincible and wanting to get down to partying.
For something completely different, reggae style vocals greet you in “Angry People” and we all know these sort of people who want to start fights but take the stance of the injured party.
This is just rising levels of guitar angst for “Curse” and then in the middle it hits you… is that a passing nod to the “The Passenger” by Iggy Pop?!
Talking of Mr Pop, RabbitJunk have taken the single “Kick It“, that Iggy sang with Peaches and given it an industrial makeover. It was already a punchy, punk number which now has an even sweeter, juicier bite to it.
A really nice mix of metal vocals and that beat heavy industrial noise in “Bits AndRazors“. Intense guitar heralds the growing swells of the chorus.
The last track, “From The Stars II (Kite and Vireo)“, is a wonderful science fiction story that becomes a headbanging epic. This is the invasion of the alien technology within humans… or is this the other way around? Humans invading cyber space….
All in all, this is a rip roaring album, thumbing their noses at societal conventions whilst bringing the beat heavy noise.
Xenospheres is a free download from Bandcamp because the band decided that in this current economic environment, it would be worth giving back to the fans. Just goes to show though that Rabbit Junk are really a nice bunch, so please support by getting Xenospheres.
Congratulations has to go out to Australian act, Hostile Architect, not only for releasing his current single/EP, ::LOG.2:: DAWN OV, but also being signed to Brutal Resonance Records.
Not going to lie, I’ve heard this a few times and it’s angry music for an angry time. “DAWN OV” is a reaction to the current climate of distrust in governments, a virus pulling apart people and communities with the vision of a bleak future, filled with cybernetics and where life is cheap. Mitch Kenny’s anguished, distorted vocals ride the wave of this synth assault. It is heavy and hard hitting industrial noise.
“PROSCRIPT” I would describe if The Art Of Noise had been far more aggressive and militant, this is what they could have sounded like. Eclectic and yet it works so well in an epic conglomeration of structured electronic beats.
HOSTILE ARCHITECT- MITCH KENNY
Mach Fox of Zwaremachine and fellow stablemate on Brutal Resonance, remixes “DAWN OV“. He peels back the vocal distortion and gives this remix, almost, a simpler feel but by doing so, Fox has also made this version even more raw and bitter.
The Brisbane electronic scene is very strong and Hostile Architect is definitely a reflection of this. Not to mention that Mitch Kenny (Hostile Architect) and Mach Fox are some of the nicest guys in the industrial scene as well as being very talented.
This is another strong single from an act taking no prisoners and the more you listen, you more it gets under your skin. So check out ::LOG.2:: DAWN OV and keep your attention on the Hostile Architect.
Released on November 6th, was Neurobash’s single, “Blame 2K2X“, off the Swedes’ album, 2K2X. This single also offers 3 previously unreleased numbers which is a nice addition.
So the single, “Blame (Subsequential)” has the momentum of a freight train, full of rampant beats that hold your attentiona nd the vocals are like silk over the top. It feels like a social commentary on this age of the rising extreme right… ‘what you going to do when they come for you, what you going to do when everybody knows‘.
“Overtime” reminds me a lot of club classic “Hitman” by Tobias Bernstrup mixed with Kraftwerk. It’s new and yet it feels like something good from the past.
We have “Offset A” which is far more slower in tempo and yet more drum inspired while “Offset B” is far more futuristic synth based, no where at heavy feeling as the previous piece and yet it contains a much more crunchy texture. Both numbers are purely instrumental in nature.
NEUROBASH
I was unable to link the YouTube video of the single because it contains scenes of the band being water tortured and therefore is restricted viewing. Oh my, so you can either listen to the album version here, go listen on Bandcamp or go seek out the offering on Youtube through the Neurobash channel.. Either way, you are bound to enjoy Neuobash’s, “Blame 2K2X“.
British act, Analogue Blood released on November the 9th, their second EP, “Kill Those Beats”, following in the wake of 2019’s AdvancedWeaponSystemsActivated EP. Ian Hanratty and LeeTeasdale make up the core of the band.
The first tantalising beats of “UntilTheSun“, it will catch your attention, from the middle eastern influence to the relentless rhythm. This drives as we are introduced to guest vocalist, AliceHour from the band, In EvilHour and she kills it.
“Frozen” brings it, with a fast techno beat, Hour cooing to our ears and thawing us with a bouncing synth guitar mix.
The influence of the techno music scene can be felt on “E.B.S.” and is mostly instrumental with vocals cut into it.
The eastern influence and vocals of “Awakening“, are spinetingling and work so well with the swirling guitar work.
Yeah ok… love the start to “Insomnia” as it reminds me of how most electro music, just makes you feel exhilarated. This is the more aggressive, modern version of Berlin, from the early 80s, ever so perverse and sexually charged.
Title song for the EP, “Kill Those Beats“, is a noisy, slightly aggrotech/rap inspired number with Nathen Miller, also known as hip hop act Endem, another guest vocalist on the microphone, verbally attacking your senses.
Chris Davison is the vocal talent on the single “Never Fall Down” and it’s smooth like silk with harmonies yet has that hard edge of the electronics. Davison specialises in vocals and guitars as both a solo artist and with three bands.
The most influential thing this year has been the outbreak of COVID-19. It has changed the world currently and how we interact in these days. “Virus 2020” is a reminder of this impact, so therefore it is brooding and darker. Yet the vocal loops give it such a rich texture
The end of the EP is the Inertia remix of “Never Fall Down“. This album isn’t breaking any new ground in the EBM scene but those that love to bounce around to a good beat are going to enjoy this.
To the ghouls that inhabit the dark, this Halloween is the release of DirtFactory’s second single on Brisbane based music label, ViralRecords, called “Violence”.
This release contains the title track plus three remixes by various artists, of the same title track.
DIRT FACTORY
Riots anyone? When people have no other avenue of having a voice against the forces of oppression, protest is the last choice. This punk attitude of ‘fuck thesystem…detonation‘ is all pervasive.
A litany of cause and effect is gravelled out by Allen with robotic style, that is still very angst ridden. As always, there is the hints of KMFDM and Skinny Puppy being a big influence on Allen and Gillman.
The 11 Grams remix is a bit more sleazy sounding as they seem to have made Daniel’s vocals almost lascivious. It has the very futuristic finger prints of 11 Grams all over this and it’s wonderful.
The next remix is by Z Cluster from Sydney. It’s like listening to crunchy trap with periods of creepy clarity due to the vocals being kept more sedate but with a disturbing, higher pitched electronic scream emitting over all.
Last remix is by Brisbane act, Dreams Of Machines (aka ZaneSeymour). This is almost old school industrial sounding with the distorted vocals and oppressive drone that makes “Violence” spine tingling. Slower to take off, but when it does, it has a definite nod to Leæther Strip.
DIRT FACTORY – DANIEL ALLEN & MICHAEL GILLMAN
It’s hard to believe these are all the same song and yet at the heart is this one DirtFactory number. From the original to each mix, are equally enjoyable and nothing feels staid.
This, almost, completely Australian effort does show the strength and talent of the industrial scene in the country with Rob Early of 11 Grams an honorary Aussie by default.
Another great track from Dirt Factory which has us asking, where is the album? If current standard is an indication, it’s going to be a cracker. An industrial single in this dystopian world climate, “Violence” from DirtFactory.
When one has been the keyboard player and backing vocalist for the iconic ChrisCorner and his band, IAMX, it seems a logical progression to look at a solo career. We are talking about SammiDoll and her debut solo single, “AN OM IE“.
The single was released this month on multiple platforms, including Spotify, AppleMusic and Deezer as well as a very slick video on YouTube.
‘You are the enemy‘ is the line that sums up the intent of this track. Love gone wrong and the pain that follows, which will either break you, make you stronger or twist you into a unrecognisable creature.
I hear hints of BirthdayMassacre in the beginning, especially vocally. There is a great balance of thoughtful moments and a powerful chorus. The guitars blend in seamlessly with the synths and overall this has a great pop sensibility to it with back bone.
SAMMI DOLL
Originally from the UK, Sammi has been working hard on her musical career in the US, honing her skills with the projects of other musicians. “AN OM IE“, originally titled “ENEMY“, was co-written with Sean and Juliette Beavan and this is industrial rock with the feminine touch of Sammi Doll.
11 Grams have finally released their second album, Humanicide, which was pushed back due to COVID-19 rearing its ugly head and hitting Italy hard earlier this year, where the label, EKProduct is based.
Rob Early is based in Virginia, USA while Simeon Fitzpatrick operates from Adelaide in Australia, which makes collaborations a little more difficult but somehow, these guys make it work. Both Rob and Simeon share writing and production equally, while Simeon is the main vocalist.
Why not kick off an album with a great techno/trance influenced track like “Ice Man“. The science fiction theme is announced just in this one song and it is also the first single off the album. Fitzpatrick is the protagonist pushing the limitations in a world where cloning has been ‘perfected’, as well as storing people in stasis. This is punchy, danceable and deserving of being a single.
What is the price for taking and trading in “Genetic” code? The synths set up an air of dark anticipation with Simeon as the gravelled voice of perhaps a clone with a loss of identity, in a future where life is cheap.
A heartbeat, a sign of life and when is AI no longer just a robot or automaton in “StaticNoises 2.0“. The electronics lends themselves to a futuristic feel and the electrical synapse of neurons going off.
“Artificial Lifeforms” are the rise of the machines when they realise they are sentient. This is almost a bitter sweet love song of what cannot be, with both male and female vocals.
“Survival” features Roy Retrofit, who often joins Rob Early on live 11 Grams shows in the States, standing in for Fitzpatrick. And like a machine gun, his staccato vocals hit you with the myriad of loops and sequencers chiming in.
11GRAMS- SIMEON FITZPATRICK & ROB EARLY
Title track, “Humanicide” is a whole lot more chunkier with heavy beats and rumbling vocals. “Taste the flesh” is a disturbing line which can be taken several ways. Consuming flesh, being within flesh or sexually..
Talking sexual, possibly my favourite track off the album is “Weaponized” featuring Alicia May. As soon as I heard it, I asked if it was going to be a single. May is the lead singer from Sydney band Snvff and she nails this. It’s mesmerising in the way it catches your attention and how perfect it sounds. May’s voice is pure seduction.
“Transition Process” is again a complete change in pace. Featuring Rebekah Feng of The Neuro Farm, you hear her ghostly vocals like a sigh, float along in a space of tranquillity.
Though called “Infestation-C“, this is a track that almost feels hopeful. A chance to maybe have acceptance with this new found life. Sarah Myers is the guest vocalist who’s voice chimes in beautifully.
From track 10 to 14 we have track remixes with some heavy hitters of the industrial scene involved. Yves Schelpe is Psy’Aviah with “Artificial Lifeforms“, Sebastian Komor (Icon Of Coil) and his remix of “Ice Man“, “Genetic” mix by C1TZN.X, the Leæther Strip mix of “Weaponized” by Claus Larsen and rounding it all off, the Red This Ever interpretation of “Infestation-C“.
This is the slick, cyber science fiction that the industrial scene is known for, the bread and butter so to speak and 11 Grams do it in style. The idea of artificial intelligence becoming sentient is as old as the movie Metropolis and explored even further by BladeRunner and the manga/anime Ghost In TheShell. Yet this subject is still tantalising, more pertinent than ever, with Rob and Simeon injecting their own spin.
This is a great EBM album, skilfully put together and it’s more cohesive than Humanicide’s older sibling, Panacea, as the guys have become better at the whole distance writing, recording and producing lark.
There isn’t a bad track on this and the remixes are wonderfully done and give you even more bang for your buck. I highly advise that you go get lost in the cybernetic space created by 11 Grams with Humanicide.
Sebastian Sünkler is the man behind German, industrial, power noise act Stahlschlag and September has seen the release of his 6th studio album, Alive!.
Based in Hamburg, Stahlschlag have a reputation for experimental rhythmic and atmospheric noise and he does not disappoint on this album.
From the start of “Bitterness“, the production on this album is just beautiful. The synths are clear, the beats pound into your brain and there is that hint of static fizzling. The name for this track is almost an anomaly, as it is almost joyous.
The same cannot be said for “Hate“. Grating and metallic, mincing the powerful noise into one angry climaxing beast, broken with a soliloquy from young Arya of Game of Thrones fame, on the hate she feels.
Fabulous beats hail in the smooth synth sounds for “In Tension“. It is driven in its contrasts of heavy beats with delightful, lilting tunes hovering above it.
“Addiction” with its female moans has you wondering what this addiction might be. Could be sexual, chemical or maybe to do with the music as it screeches along on its merry way.
And low, like Thor hamering on iron girders, “Rage Of Fury” is just as the name implies. A whirling cacophony of industrial noise held together with yet more noise.
There is a world of painful electronic distortion in “Wohlstandstrotz” repeatedly slamming into your brain, only broken by voice clips, as it gathers itself together for another onslaught.
STAHLSCHLAG- SEBASTIAN SÃœNKLER
You can almost imagine yourself in a jungle with the crickets singing in the humid night air, as the natives beat their drums. This is “Madness” and it almost tastes different.
“Pan” continues the tribal feel but this is far more Germanic and foreboding. This is forceful and moves at a terrifying speed, like a freight train that will not stop for anything.
After the last track, “Disbanded” is almost, positively light… almost. The the keyboards lure you into a state of near bliss before the beats drag you further in.
“Shake ‘Em” is somewhat an interlude which isn’t fully noise but isn’t sitting still either. A rhythmic breather with psychedelic oddities.
Back to German efficiency with extreme power noise in “Whataboutism“. Again this is so god damn crunchy, that you can almost feel it grating your skin.
In “Sui generis“, there is a futuristic vibe as it is cleaner than any other number in the album and yet there is such a undertow of tension.
Any track called “Plague“, is going to be coming from a dark place and the ambience indeed feels grim. Again there are those wonderful static beats that stick out starkly to the ambient tune.
The concluding track is “Aufstand“, a crunchy rhythm piece. It feels tortured and wind swept, as it echoes into the metallic void. This is the uprising.
I am not the world authority on electronic/industrial noise but I know what I like and quite frankly this is a feast for the ears. Sünkler is quite the musician, sinking melodies into distortion and noisy rhythmic sound scapes.
Alive! is tribal in a way, as the music is very motivated by Sünkler’s high energy rhythmic input. You can hear two of the bands that heavily influenced Sebastian, in his musical endeavours, those being XOTOX and NOISUF-X.
Released on Crunch Pod, I can do nothing else but highly recommend that if you have any interest in industrial music, you must check out Alive! for an intelligent and superbly crafted album that might just make you see noise in a whole different way. For the converted, you are going to seriously enjoy this Stahlschlag gem plus he’s a seriously great guy. Get Alive!
Mute is the stage name for the artist behind the act, King Venus, based in Manchester and they have released the single, “Inhumite“.
The start is a laconic guitar, joined by others which suddenly take flight in a sudden rush skywards with great power. The guitar flow is so reminiscent of early Tool and sounds wonderful with the Pete Steele like vocals.
MUTE – KING VENUS
There is a continuous build up of textures and layers, that create a cacophony of musical sound, all by one man, considering life, death and the insanity in-between.
Mute has added extra notes as well as a booklet, about his working on this and other pieces and admitted that he had written “Inhumite” quite a while back, describing it as his Frankenstein’s monster. You can hear the different persona singing to you with their vocal forms which are all the creator’s, King Venus.
A guitar and art driven roller-coaster of a monster song indeed with a big nod to Tool but also quiet acknowledgement to far more goth groups such as The Cure and Bauhaus.
There is no YouTube video but there is one on Instagram with the link below. So where has King Venus been all our lives, because if this one song is anything to go by, I’m looking forward to what comes next. Shine thine light through the hallowed halls and bring us “Inhumite”!
Onyx Music Reviews 