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’sTRex maybe being a big influence on UnquietDead, 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 DragoNesa. Immerse yourself in the experience of Unquiet Dead’s “Burn My Head Down“.
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 ontrucking 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, UnicornBones, with none of the guitar bull.
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 PeterMurphy 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 “TheParty” 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.
The Batavia, in the early 17th Century, was a ship of the Dutch East India Company and in less than a year after her maiden voyage, would find herself wrecked off the West Australian Coast. A tale of murder, mutiny, slavery and abandonment followed.
TERRI AND ED CRIPPS
Batavia are also a goth, industrial rock group, hailing from Jacksonville, Florida, consisting of Terri and Ed Cripps. This is the married couple’s debut E.P., Graveyard, under this moniker and was recorded in isolation. Keys and vocals are from Terri while Ed gives us guitar, programming and backing (spoken) vocals.
The wind swept feel is prominent in “Field Of Gray” as the synths grace their presence and breath into the intro piece while the angelic vocals hover just above the turbulence. Ed speaks to us, as from another time, perhaps as a marooned sailor who dreams of home as his life slips away.
TERRI “LUCRETIA JAN” CRIPPS
Now for something completely different as far as a cover goes. Not that someone would not cover Duran Duran, but rather the choice of their 1988 single, “All She Wants Is” kind of blew me away. It is raw and pulsating with sexuality and very feminine. Terri’s vocals really capture the fervour whilst being classy and the industrial styling of the guitar work, really lends itself to making this a cover that completely works for them.
“Scab Mask” is grating at the beginning, setting up for the vocals to resolve the disparity. This is the industrial machine, that pounds along and one can’t help but feel that this may be a commentary on the current political turmoil, that their country currently finds itself embroiled in. The anger seems to feed into the slowing, off kilter, loss of hope.
An orchestrated piece with no vocals, “Flyboy” is cuts of air chatter from ground personnel, RichardRussell, which burst through with accelerating urgency as a man losses his sanity while handling a multi million dollar plane. Meanwhile air control tries to talk him around and for historical content, he purposefully crashed in 2018l This is the futile end.
ED “JERONIMUS CORNELISZ” CRIPPS
This is a really neat little E.P. and Bartavia are proving themselves to be storytellers, connecting the past to present, even when that past was not so long ago, for as humans, we seem to have short memories.
We need those that write meaningful human tales with good tunes and a rollicking good cover every so often doesn’t hurt either. Get your education and entertainment with the delightful Batavia and open their Graveyard.
If you are looking for quality industrial music then we might have a lead for you. From Brisbane, Australia, Hostile Architect has released their debut single on Bandcamp called “Hostile Theme“.
This is an independant release which you can find on Bandcamp and the mastermind behind this project is Abelisk, also known as the music producer and musican Mitch Kenny.
“Hostile Theme” is intelligent industrial with wonderful strong synth lines, supported by a pounding rhythm and gritty vocals. This track is a harking back to classic Skinny Puppy with its experimental rawness in a cold cyber world.
The accompanying number is “Wage Slave” which slow burns with its dirty reverb, clear singular note synth and relentless beat.
All in all, a really catchy single and HostileArchitect is hitting all the sweet spots when it comes to electro industrial music so far. We await more but for now enjoy “HostileTheme“.
This May saw the release of Manchester’s, Rhys Bloodjoy‘s album, Human. Pattern. Repeat. In hiatus, ensconced in Spain during the height of COVID-19, Rhys found himself in a position to find inspiration to create.
Bloodjoy’s style is described as shoegaze, sophisticated electro loops with melody. With that in mind, let’s delve into this noise monster.
Instantly you are taken by the electro beat and the almost Joy Division guitar with “Death By Succubus“. The vocals are distorted and the guitar starts to wail as the song picks up speed, becoming more frenetic. And then nothing…….
“Suck” has a middle eastern feel, threading it’s way though this rhythm driven piece. Like a psychedelic trip in a demented hippie van of free love and sexually driven tension.
Single, “Run From The Hunter“, draws on an almost American native rhythm and texture. Feed back upon feed back, as the guitar fuels the claustrophobic feel that you can’t get away from.
An interesting title in “Birth Canal Contemplations Blues” and like a Jim Morrison messiah from under the sheets, Bloodjoy wants to make love with that waggling tongue.
“Celebration” is down and dirty rock and roll that is relentless and pulsating. Not everything is worth celebrating because life can be difficult and painful without being constantly reminded as well that you can do better.
An intense build up to “Infernal Regions” that winds around your senses. Reminiscent of The Cramps‘, Lux Interior, both vocally and suggestively in a lurid wanton manner. This lascivious and dark.
RHYS BLOODJOY
Final number is the title track, “Human. Pattern. Repeat.” It is a short explosion of screaming noise and reverb that rings out, then suddenly fades to nothing.
Death and sex are often thought of as two sides of the same coin, just like genius and madness. Bloodjoy likes to use the references of one for another or double entendre to evoke those feelings and ideas through both the lyrics and the tone of the music.
It is a clever use of off kilter psychedelic with raw guitar mixed with that industrial sensibility, which makes it a tad unusual and extremely interesting.
It’s got a little bit of everything for those that love experimental, noise and shoegaze styles. Check out Rhys Bloodjoy’s album as it is name your price for the download or you can buy the vinyl LP and remember Human.Pattern.Repeat.
Neurobash are a two piece electronic/ industrial group from Sweden and in April, they released a new album, 2K2X.
On vocals and keyboards is Ewan “Oberfunk” Kelley and on electronic wizardry is Patrik “G-Nome” Nelson and they make up the stellar Neurobash.
We begin with “Consumed“, a high energy piece with great crisp vocals. And this also sets the overall feel of the album. Doom, questioning, desperation and spiraling decay.
NEUROBASH
Next is “Blame“, the insanity that comes about by being held responsible for terrible truths. The vocals are brilliant and it melds into the virtual maelstrom of music and yet the synths are kept so light.
Kelley has such a wonderful voice which rings effortlessly over the music and in “Screamer“, he is plaintive and evocative with a techno beat pairing with industrial crunching.
Just when you think the synth genre could not surprise you, music like “Fake” hits your ears. Distortion with heavy bass and a rhythm that is inconsistent and experimental, yet it works so well.
I almost cringed when I heard the internet dial up tone from another era. “Firewall” could be taken in this digital age as the protective shell people put around themselves to stop others from polluting or hurting them. Definitely more thought provoking and low key number.
Last year’s single, “Bloodlines” has a trippy feel to it with falsetto vocals! It’s groovy and yet ominous at the same time. This just moves along nicely as we reminisce on how we ever survived our youth. Beautiful big cords on this.
Club beat kicks in for “TheNight” and this really hits the sweet spot. As Neurobash lose themselves in the night, we can lose ourselves in this great song. It winds like a snake and squeezes you with the fabulous keyboards.
Slow and rolling, like a lake, is “Amber“. It is might be not be fast but do not underestimate the depth. This is slightly off kilter and a little bit dangerous in a experimental way.
NEUROBASH
Another single from the end of last year is “SolidState“. Angry electronics bleep out along with the vocals that threaten to make you go away. This is punchy and makes no apologies for its brashness.
The b- side for “SolidState” was “Impulse“, which makes an appearance. This is darker and dirtier than its angry brother. It oozes a contempt with a wonderful synth wall of sound.
Last track is “Reminder” and Neurobash are going out with a bang rather than a whimper. Big beats with a glorious synth lead array. Futuristic and oh so danceable.
Nice production but also this is rich in texture. These guys have a lot of style and class and if this is your first time hearing them, go listen to the 2015 album Doctrine, which will equally knock your socks off.
They still are looking to push the genre with experimenting whilst giving us simply stunning music and great dance tracks. If you love great EBM and Covenant makes your toes curl, then you need to check out Neurobash and their album, 2K2X.
Zwaremachine are from Minneapolis and on the 20th of May , will release their latest EP, Ripping At The Fabric. Over the years, they have become a three piece with original member, singer/synths and writer, Mach Fox at the helm, D–bot on bass/vocals and Dein Offizer creating the rhythm on drums/percussion. They describe their sound as ‘minimal, hypnotic, industrial bodymusic‘.
This is also one of the first releases on the new label, Brutal Resonance Records and if that name sounds familiar, it might be as it is the same group that have been responsible for the long running music Zine of the name.
Mach Fox is a rather interesting fellow who has been heavily involved in the industrial scene since the 90’s and has a healthy respect for Gary Numan and John Foxx.
Can you “Resist” the 80’s feel of the first song on the EP? This pays homage to Skinny Puppy in its vicious simplicity. The synths are understated and this makes it feel even more in your face.
Time to feel the groove flowing through you with a “New Design“, guaranteed to get your body moving. The beat is like something from old Front 242 as it angrily stomps into your head.
The first single off this EP is also the title track, “Ripping At The Fabric“. It sort of reminds me a little of those science fiction movies with the electronic soundtracks except this is more full on blunt force trauma. Fox growls that this is not the beginning of the end and we certainly hope not. There is no surrender!!
The assault to your ears doesn’t stop there. “International Hero” belts you over the head. This is like electronic overload with distortion and delightful synth tones which keeps making me thinking back to Ministry’s “Stigmata“.
MACH FOX photo by Roger Op Den Camp
Last track is “What We Are” and is feels fresh and fast, with a high energy rhythm. This is a great number that really shows Mach’s writing ability, even though he’s snarling lyrics, the music in the background is almost ethereal in its delicacy.
The energy is aggressive and definitely punchy throughout the whole EP. It is hypnotic and will suck you in. I hear so much of the timeless, classical industrial sounds with Zwaremachine, who are smashing their own apocalyptic, minimalistic, agrotech noise into the mix, doing exactly what makes industrial music so interesting…. experimenting with whatever gets a great a sound.
Zwaremachine’sRipping At The Fabric isn’t re-inventing the wheel but rather, taking said wheel running you down with it and you’ll enjoy every bone crunching moment of it.
This year, the band, Amaranth, in conjunction with SoundsAndShadows, released the epic goth/EBM/industrial compilation, Tiny Gods Who Walk Beside Us. All songs were donated by the bands for a rather wonderful cause.
Most dark alternative types will tell you they are very fond of animals and especially cats. When band member of Amaranth, KenMagerman found out his young cat, Freya, had cancer in her leg, Ken was devastated and desperately wanted to save his feline companion’s life. This is an expensive procedure, so musician friends from around the world offered songs to help pay for this treatment, so began this complilation.
The classical undertones of LoreleiDreaming bring us “Edge Of The World” (I.X.XI Remix), which is grand beginning with beautiful choral touches that give this great depth and a glittering beauty.
“For Freya” is a very raw piece from Amaranth, but then this is understandable knowing where this song is coming from. With bluesy overtones that expand to anguished gothic rock.
A quieter synth lead piece from US act, Covenant Of Thorns in “Dahlia” (The Joy Thieves remix). A sweet number that is both darkness and light at the same.
Got to say, Corlyx‘s “Deform” (ESA remix) is a really a great song and remix. A mixture of trap syncopation and lazy beats keeps this very entertaining.
Antipole and their sexy song, “1983” featuring the completely sexy Eirene (PeopleTheater remix) show you their brilliance. Danceable, pop electro synth number which you can’t help but enjoy the airy joy it exudes.
Like silk, Ego Likeness “Darkness” (Dracos Deep Mix) will grace your ears. This is smooth, electro beats and oh so catchy to boot with this remix.
Machinery Of Desire drip with gothic honey in the form of “Forever Remain“. I would not be surprised in the least of they were influenced by Wayne Hussey’s The Mission. That similar winding flowery style.
The synth musing of Adoration Destroyed in “Both of Me” (Authentic Impulse Remix) as they try to reconcile the two sides of their personally. Those that like Third Realm will really enjoy this number.
CryingVessel “Illusions” (remix DeadAgent) is a throw back to the early 80s electronic period. A simple, clean track with a light touch in the remix, making this a really danceable track.
The haunting number of “CodeBlue” by I Ya Toyah (remix Arcontas Blank) rings out with that wonderful heavy organ based synth filling it out. A song close to singer AniaTarnowska’s heart, about the loss that comes with suicide.
Really digging TwinTribes the more I hear them and “DarkCrystal” is a great example of their post punk, goth electro sound. Really fabulous tune that chimes away and gets into your head.
Radiograph is in essence JohnEdwards from PalaisIdeal and he has contributed “Catnipped“, an instrumental piece centred on an electro beat/ synths with guitar accompliment. Edwards is well known musician in the scene and a deft hand at penning a tune.
SilverWalks has remixed “FuckThatFascistBeat” by Caustic. This already a good song which now is even more urgent in the remix. The song is probably more poignant than ever before and is old school style industrial done well.
Straight from the beginning, you hear that this is going to be a bit special. Seven Federations gives you “Syzygy” or a celestial alignment. It is reminiscent of Attrition’s classic “Into The Waves“, with its simple beauty.
Vlimmer “Schnittstelle” is ethereal and unearthly as they try to interface. Even though ethereal, it feels so organic at the same time, natural.
Dogtablet are kind of a mini super group. “Showtime” (Melodywhore Slave Remix) is a rhythmic groove piece with piano as the standout instrument amongst the electronica.
If you like pure instrumentals with some sublime synths and an interesting configuration, then Kiss Of The Whip has “This Pain Is Ours” for you.
Welcome to Steven Archer’s “The Showroom“. It’s s little dirty and has a bassy chorus which is never a bad thing. Archer who is also Stoneburner, is all class.
This isn’t even mixed and Cliff and Ivy have a tremendous earworm in “Will To The Power“. I have to say, Christian Death. It smacks of many the great things about Rozz Williams and company in the 80’s.
The off kilter start by Orcus Nullify, launches “March Of The Lost“. Very much in the vein of the Bauhaus vibe with a experimental edge. A dirge to the those forever destined to wander without end.
The sombre tones of Ritchual‘s “You Lied” lilt with a plaintiff anguish. This is clean, delightful synth wave with a European flavour even though they are based in Austin.
Sister Sarin is the project for Hemlock and she gives to you “Split“. This is a percussion heavy piece with all the keyboards rounding out the beat heavy sounds.
Get ready for the nightmarish spokenword performance of Swansect with “Clovermouth“. This is claustrophobic and sinister in the modern era electro.
RobEarly and SimeonFritzpatrick are 11Grams and you are going to feel them in your “DNA“. This is a blend of old school industrial with a clever reinvention, which they are well known for. Slow and menacing, as it gets under your skin.
Ego Likeness is the last track on the album for the digital download with “Breedless” (Sombre Remix). The lyrics are truly interesting to listen to, with ‘maybe my mother was a hydra‘ as well fae folk and other such creatures making EgoLikeness the crooning sexy beasts they are.
This is a great showing of gothic, synthwave, EBM, darkwave and industrial being represented and definitely worthy of many listens. The best part of this story is that Freya may have lost a limb but she is still with Ken and a truly loved being.
My last cat passed away at 20 years of age and I mourned her death for many years until l adopted a rescue cat and to be honest, fell in love all over again.
Once cats were revered as celestial beings in Egypt and one can understand why. We love their arrogance, sass and let’s face it, they can be completely selfish pricks yet if you do love them, they will give you so much in return.
So show some love for Freya and her kind as well as all the wonderful bands that have been so generous.
Last year, Matt Hart brought out the concept album Terra 3808, based on a post apocalyptic Earth where humanity scratches away, trying to just survive.
So in March, came the release of his new EP, Tales Of Terra: Triolith, which is a continuation of this storyline, as the last stragglers called The Outlaws in their struggle with the Machines, find a large three tower structure coined Triolith.
“Chaos Rising” throught to “Mechanical Dominion” are off previous releases, most now remixed by various artists and given a new lease of life.
The first number is the title track, “Triolith” and an alien voice rumbles forth to be accompanied by a beat as it rolls across the futuristic landscape. This is the single off the EP and it instantly gets your attention.
The song, “Requiem” has a wonderfully off kilter sense to it. Though not an overly fast number, it gives the impression of being relentless and constant. Xavier Swafford from 3Teeth is no stranger to the remix and you can tell.
“Chaos Rising” is the Nitronoiseremix which is about the survivors of apocalypse. Gritty and angry with power guitars in the chorus that builds this up. This isn’t a new remix but what the hell… it’s still bloody good and fits in well.
The dub of a club DJ is strong in “MechanicalDominion” (MXD_BLD remix). This power noise inspired piece just oozes with static as the machine rule and destroy all that does not fit the new world order.
There is a spooky remix of “Mercury Flow” by Witch Of The Vale and it’s low and smooth like quick silver and similar to the poison, it’s going to get under your skin.
MATT HART
Unlock the level “Chaos Achieved” (metalogueremix). Like repetitive fire comes the rhythm, thick and fast as if a massive metal colossus is whirring away with purpose and intent.
The remix by monomorte, is a lovely drone sludge in the second retelling of “Mechanical Dominion” and it sounds so completely different yet so perfect, finishes off this EP.
I am starting to wonder if Matt is, or ever has been a player of Warhammer 40K. It’s that style of enthusiastically enjoying putting together a story of light versus dark and humanity hanging on by a thread, becoming less human due to circumstance.
So far, it seems to be that the machines are going to extinguish the light of man and if a collapsing futuristic world of trauma with fabulous remixes is your bag, then you need to listen to Tales of Terra: Triolith and support Matt Hart so we can see how this all ends.
Onyx Music Reviews 