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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, EK Product 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 “Static Noises 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 Blade Runner and the manga/anime Ghost In The Shell. 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.

https://11grams.bandcamp.com/album/humanicide

https://www.facebook.com/11grams/

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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!

https://crunchpod.bandcamp.com/album/alive-crunch-185

https://www.facebook.com/STAHLSCHLAG/

https://m.facebook.com/crunchpod

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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”!

https://kingvenus.bandcamp.com/releases

https://m.facebook.com/kingvenus

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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/

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This has been a strange year so far with uprisings and COVID-19 bringing the world, it feels, to a grinding halt. Australian act, Dirt Factory have been working hard and not only have they a new single out on August 22nd, “Salvation“, but a whole album is about to hit us.

This is not a happy, reassuring song and I would never expect anything less from these guys. It’s redemption through vice and sins of the flesh. There is a constant rhythm that is neither slow nor fast but bores into you while Daniel Allen’s guttural vocals give you the litany of what he wants, needs and desires. Michael Gillman creates a lot of the synth lines and these are heavy and brooding with twinkling highlights.

All in all there are five tracks on the release, with two remixes of “Salvation“, the Cosmos Synthetic mix which has a Skinny Puppy feel and the NyteShade – Dirty Dog mix which smacks of earlier Nine Inch Nails.

The last two numbers are the Appealing to the Dead and He’s Dead, Jim remixes of the track, “United Appeal For The Dead“. The first of these remixes reminds me of the Birthday Massacre to begin with due to the delightfully tinkling keyboards. While the second is a mix of trap beats and creepy sanatorium giddiness. I was not giggling at the lines that you should know what to do when you are dead…. don’t drive a car. Obviously I was and I love it.

DIRT FACTORY- DANIEL ALLEN & MICHAEL GILLMAN

The “Salvation” is the premier release for the new label, Viral Records, based in Brisbane and Dirt Factory are the first band to have been signed up.

As always, the ingenuity of these two brothers, in two different cities, continues to amaze and surprise me. If you like good to honest industrial music, then you need to check out Dirt Factory and their single “Salvation“. Accepting shekels, pigeons but preferably dirty cash to keep making those wonderful sounds.

https://dirtfactory.bandcamp.com/releases

https://www.facebook.com/FactoryOfDirt/

https://viralrecordsau.bandcamp.com/

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Even in these times of isolation and social distancing, we really don’t need much of an excuse to party in our own homes. Biomechanimal have released, as a single, one of their most popular live numbers, “Enter The Animal“.

Don’t let the slow beginning mislead you, as Matthew Simpson’s vocals slam your senses. This is a song about partying and enjoying life, all to an intense techno beat with screaming synths, that lulls and then comes back at you full force.

There are also two remixes included. One is by Melbourne act, Sirus, done in a more aggrotech kick arse style with what sounds like rapid fire at times and a jack boot stomping rhythm.

Second remix is by Mexico’s C-Lekktor and is a joyous, hyper version. This is a dancefloor killer which you can bounce joyously around to the beat.

Released by Hybrid Blak and mixed/mastered by X-Fusion Music Production, this obviously is a song the band really are invested in and they asked close international friends to participate in the remixes.

These are the people you want to party with and Biomechanimal don’t fail to deliver with their Bruce Lee musical style, smack to the head, “Enter The Animal“.

https://biomechanimal.bandcamp.com/album/enter-the-animal

https://m.facebook.com/BiomechanimalMain/

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Welcome to the era of big brother is watching you and using your fears to control you. This is the theme explored in the latest Vexillary EP, SurViolence which was released at the end of July.

New York based musician and chemist, Reza Seirafi, is Vexillary, who has four previous EP’s under his belt and his style is dark electro/techno/industrial.

Kicking off with the single “Maritime Panic“, which is the current single from the EP and this sets the tone for Seirafi’s very electronic style which feels at times clinically modern… almost futuristic and yet there are lapses of stability. The music quivers and becomes almost uneasy feeling and slightly oppressive.

“Annihilation” at first feels very upbeat and light with its techno heart beating. But this just seems to be the cover for what is in store. The complacent move to the ordered beat of the hierarchy.

VEXILLARY – REZA SEIRAFI

With technology, authority figures can feed the populace information, track them and even surveil them from a far. “Forged Skies” has a cold feel about it, the imperial rise of the machines as the synths bleat at us like we need them.

The starting beats are like the ticking of an overwound watch. In “The Geneticist“, we finally get to hear Reza and implores us to see how humans are becoming more computerised and that even sexual voyeurism is being used to control people through fear. ‘A snap of his fingers, and the beast is in your land‘.

This could be science fiction but then looking at today’s current global geo-political climate, this could be very much reality.

This EP flows well with its electronic instrumentation without vocals until “The Geneticist“, which gives an extra punch of impact. If you like to close your eyes and have the music take you away or just love good synth based pieces, then Vexillary’s, “SurViolence” could be what the government never wanted you to hear.

https://vexillary.bandcamp.com/album/surviolence-blaq120

https://m.facebook.com/Vexillarymusic/

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The 3rd of August is the release date for British duo, Unquiet Dead’s new single, “Burn My Head Down“.

Jason and Lora have created a video piece, featuring the world’s only chain rope aerialist, Californian, Drago Nesa, who also does firebreathing as well, hopefully not at the same time. Spectacular talents indeed.

As always, you can hear that 70’s glam sound bubbling up through this number. Previously I mentioned Marc Bolan’s TRex maybe being a big influence on Unquiet Dead, just as they were on the post punk scene.

This single is the protest song of getting your freedom back when you are being oppressed and kept down. There are the outburst of adrenaline/anger and more emotional acceptance within, all washed down with that driving enthusiasm.

The video, though made in this time of isolation, is just as energetic and absorbing as the song itself. I’m still wincing at the whole swinging around on a metal chain thing which is done so elegantly by Drago Nesa. Immerse yourself in the experience of Unquiet Dead’s “Burn My Head Down“.

https://unquietdead.bandcamp.com/track/burn-my-head-down

https://m.facebook.com/unquietdead/?_rdr

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July has seen the release of the EP, Unicorn Bones, by Chicago duo, Karen Righeimer and Ivan Russia, also known as Bellhead. I can definitely say the rhythm section for this band is tight. Both Righeimer and Russia both play bass, low and high respectively, both share vocal duties, though Ivan is very much the lead singer and are backed up by their dependable drum machine.

The band in their bio, make reference to their influences from goth rock legends, Bauhaus to the alternative rock royalty that is the White Stripes to the gothic/post punk stylings of She Wants Revenge, yet truthfully, they definitely have a sound that is very much their own.

BELLHEAD -KAREN RIGHEIMER & IVAN RUSSIA

“Snuff Film 1974” is straight off the bat with it’s thumping heavy rhythm that grabs your attention before dragging said attention to the graveled out vocals of Russia and the disturbing lyric content about a small female child murdered in film for others entertainment. This is the only track not written by Bellhead but rather penned by Sheriff Michael Scabs of the Sheriff Scabs band of which Russia has also been a member of. A thing of nightmares.

Really dig “Unicorn Bones” as it is a very nonchalant, grooving number that just has that keep on trucking feel. The vocals play tag as they paint a vision of glittering violence and sad demise of those that live in the shadowed, dangerous places. Sinister and sleazy.

A song about a conman or less than reputable fellow, trying to stay one step in front of oblivion but wanting to take to take one last stab of having the person they have always loved. A final last chance is of happiness is “Always (Running After The Sun)“. This is a far more poignant track, slower and thoughtful with intensity.

Annnd serial killer/psycho time. “Knife” is sexy whispers with the intent of maiming and destroying. Low and distorted noise backs the bass just for that extra creepy ambiance.

“Sidewinder” has a more rock flare about it, but it’s all the dirty bits of rock. The low and high bass building the sound up in such a manner that it feels angry and greasy, finishing off the EP.

The choice and use of high and low bass without any regular guitar is an interesting marriage of instruments but works well for Bellhead. Bass brings on the rhythm and produces a rich, big sound.

So if you fancy the darker, more nightmarish side of the industrial, gothic rock genre, then do catch up with Bellhead and their not so sparkly but equally intriguing, Unicorn Bones, with none of the guitar bull.

https://bellhead.bandcamp.com/album/unicorn-bones

https://www.facebook.com/bellheadband

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Whilst in isolation, Tesla Cøils from the Gold Coast, Australia had been working on a single with video and now in July, “The Party” is out for our entertainment.

The band is made up of Jed A Walters, the writing mastermind/renaissance man on lead vocals, keyboards, guitar and programming with drummer extrodinaire, Chris Dennis.

Jed A Walters and Chris Dennis of Tesla Cøils

“The Party” is aptly, as the name implies, the experience of attending a party…. and hating every second of it because you are a gothy antisocial, not a smoker, rarely drink or just dislike humans.

Love the line about latching onto the dog so they don’t have to interact with other people. This is very much tongue in cheek dark humour and yet so very relatable.

It has your attention from the beginning with the rumble of drums that suddenly come to the fore with Jed’s very distinct voice. The chorus it just a wonderful swell of sounds, jangly guitar and it just barrels you over. Just so good. Even after listening to it several times, I’m still finding new layers to marvel at. Even to the low baritone vocal sound in the instrumental interlude which makes it so rich.

I first saw Tesla Cøils live when they were the support for the 40th anniversary Peter Murphy and David J (Bauhaus) tour of the album, In The Flat Field, which left enough of an impression on me to video a portion of their performance.

Not only is this a cracker of a song that will worm its way firmly into your head but the music video is genius. Highly recommend having a look as it is really well done.

Whether you like or hate parties, this “The Party” is so danceable and really deserving of airplay and you can find the lads on Bandcamp or support them on Patreon. Tesla Cøils are delivering the quirky yet intelligent, dark electro industrial we need in these times.

https://teslacoilsmusic.bandcamp.com/

https://m.facebook.com/teslacoilsmusic

https://www.patreon.com/teslacoilsmusic

http://www.teslacoilsmusic.com/