Darkwave/industrial three piece, MatteBlvck are based in San Diego, California, and on the verge of dropping the new album Vows, have released the single “PupulaDuplex.”
The cool vocals announce ‘I am nothing‘ above the electronic clacking, pulling you into the track straight away. There are huge lulls followed by intense punching rhythms and synths, inviting you to re-join the manic dance whilst facing your own inner demons.
“PupulaDuplex” most certainly is a throwback to the 90s, recalling the bass and drum filled music of iconic bands such as Prodigy and AphexTwin, which drop you like a rollercoaster and then build up that tension again. But then, they aren’t a carbon copy, as MatteBlvck inject their own underlying darkness into this genre. Gritty and bleak.
Does society feel like it is screwing you over and that the human scum of the world get in your way, trying to drive you insane with their general stupidity? Don’t worry, you aren’t alone! PhobosReactor with guest TFG (TrollFinderGeneral) are assailing your ears with the single, “Hyi, ihmisiä” which simply means ew, people, out on the Pancimachine label.
“Illanvietto” is the first track on Bandcamp, and this means socialevening, though quite frankly, I do believe this requires human interaction. Anyhoo, I highly suggest watching the Youtube videos for a translated version of the Finnish lyrics. The music is a throwback to a more analogue sound, where our hero of the hour is inebriated just so he can deal with others of his species, in his own fashion and delicate ways, all to an electronic sound track that probably doesn’t care about his issues with this night.
Of course, you just kind of know that “Hyi, ihmisiä” is going to go kind of off the rails and leave the reservation, and so behold the introduction of the occasional angry guitar, space aliens and the vocals of a chap who thinks he’s a pretty neat fellow to pass time with, but we all know he needs to remove that stick from his rectum.
The single called “Grip Of Pain” does sound… well, painful. This is the latest drop from Teknovore, as GeorgeKlontzas takes us on an electronic nightmare into Greek mythos, with JanKluge of AnySecond on vocal duties, with this the second single off the soon to be released album, on InfactedRecords, called Caerdroia.
‘Listen to me, no way out‘ grabs you by the nuts and the brutal vocals punch you in the guts. The electronics are laced with urgency, like you are being chased by unseen forces in the darkness. The techno beats echoing around in your head, duelling along with Kluge’s rasped promise of no escape in “GripOfPain.” “Anamnesis” is just throw back to hard dance style techno rave music, full of electrifying energy that builds over and over again, taking you to the point where you have to move, for now your body is not your own.
If you love dance music, electronic music or just good industrial, then you really will have to have a listen to the latest Teknovore. It is really mind blowing how well Klontzas can weave together tracks that are instantaneously likeable, plus accessing talent like JanKluge (AnySecond) to set it all on fire, speak volumes about the man. Get thee the “GripOfPain,” because we seem to have lived this life before………….
Shall we travel into the “BLACKABYSS” where humanity eeks out their days? This is the latest single from Brit MATTHART, and there probably isn’t a better group of acts to remix this single than OpalDusk, Modulate, Teknovore and SPANKTHENUN,
The original track is an interesting mixture of light synths against the bleak vocals of HART and the plunging rhythms, probing the darkest depths that the humans have had to dig themselves into for mere survival. The OpalDusk remix is a highlight of the bright synths with MATTHART’s angst, while the Modulate version is like a slow burn, making you wait on the edge for it to climax, and just when you think it never will, the track picks you up in a swirling maelstrom. The prowess of Teknovore is going to hit you with a dance floor killer, that is constantly on the move and emphasising the desperation of the vocals, while the SPANKTHENUN BOOTLEG MIX has the vocals at the fore, echoing and malevolent, as if there has been that loss of humanity, perhaps devoid of their own souls.
The ongoing tale of flesh versus machine is MATTHART’s opus. A story against all odds and it isn’t over yet as alien machines terraform a planet into a cold wasteland, whilst attempting to exterminate the human pests who must burrow into the soil, towards the warmth and safety of the core. As always, it is so interesting to hear the different takes on “BLACKABYSS” and what each musician takes from the track. From the original version through to the remixes, they all have that wonderful synergy and all belong in the clubs.
The Greek god of industrial beats has to be GeorgeKlontzas of Teknovore, and he is back with a new single “Citadel,” featuring British industrial aggrotech group Biomechanimal. Out on InfactedRecordings, this single is from the up and coming album Caerdroi and coupled with a second track “Oubliette.”
Matthew L. Simpson’s vocals rasp out the lyrics he has penned, grating along the raw nerves that are vibrating with the super crushing bass and beats. There is a air of heaviness and impending doom should one re-enter the “Citadel” with spiralling electronics booming into the darkness.
“Oubliette” is more a thumping race against time with the female vocals repeating Is this a dream?, as if the question will snap them out of the techno terror. The synths are scintillating, pushing your muscles to move with a mind of their own.
Both tracks are dance floor killers, and I have to say we are spoilt for choice with two very different industrial pieces. As a forerunner to the album, a Caerdroia is a Welsh term for a maze, with the single being called “Citadel” which is of course a fortified city and “Oubliette” being a type of dungeon with one small opening….. is this all to do with the legend of Theseus, the Minotaur and the Labyrinth? Time only will tell but in the meantime get lost in the “Citadel.”
Yeah, there was no way I was going to give up the chance to review an EP called Fuck, from a noise artist by the name of ConanTheAccountant. Is this all adding up yet and does he get upset by magic? We have not all the answers, but I can tell you that the three tracks on the EP have been woven with whatever noise that Conan (known to his friends as Ben) can push out of a Fender Stratocaster.
There might be a ghost in the machine when it comes to the first track “Of Death And Taxes,” as strange vocalisations issue forth from an miasma of laid back noise. It is off to the demon faire to see the “Clown Girl From Hell,” and she does sound like a sassy lass performing in a circus of heady oddities, where the music see-saws between show time and walking the tightrope. It seems to almost seamlessly slips into “Conan TheAccountant And The Cave Of The Cursed 1000,” where our hero shall slay all before him with his calculator as it computes and warbles, plodding down his foe with mathematical precision.
Why is this EP called Fuck? I really have no clue on that one, but hey, it catches your attention in case Conan The Accountant doesn’t. Rock noise with a tortured Fender seems the way to go and it is a fun concept, plus it is pretty amazing how many different sounds can be extruded from the one instrument.
Arguably, Robots In Love is one of the best dark electronic rock bands in New Zealand right now, lead by front woman Elenor Rayner (vocals, synths, programming), with AlexBurchell (drums), TonyLumsden (bass) and BrettLemmon (guitar). These very experienced musicians have dropped the new single “Unbreakable” with two bonus remixes.
A slow and purpose filled build up from the start, with the rumbling affirmation of the title, wrapped up in tendrils of a classical edge, enticingly liquid next to the unwavering, steeled vocals of Rayner. Of the two remixes, the first is the EBM remix by Rayner, which has adopted a faster pace, and has a really tribal ambiance with enhanced electronics, while the second, Magnetique remix, happens to be bandmate Burchell behind the desk, creating a second dance track that again exudes an indomitable spirit.
“Unbreakable is about how we feel the minute we walk on stage. It’s about being in the place where you feel at your strongest, and connecting with other people to increase that strength.” – Elenor Rayner
Oh my, for me Rayner exudes feminine power, not to mention wearing that lovely corset, made me think of that other female warrior, Xena, in the video, which makes my heart melt a little more for Robots In Love. This is a boot stomping affair, which I associate with epic anthems such as Queen’s “We Will Rock You,” with its positive declaration that doing something you love with like-minded people can make you “Unbreakable.”
US industrial rock band, WarmGadget have signed to the label Re:Mission Entertainment and soon will be dropping their new album Sorrows, but for now you can get a taste with the second single “Annoyed,” with a b-side remix by DreadRisks.
The drums of discontent lumber forth, herald in the the heavy bass that blasts your senses, while the vocals are violent, directing you to the maelstrom, coated in bombastic floods of tarred frustration. The DreadRisks remix pulsates with an electronic smirk, pulling off a perfect balance of dance and crushing noise.
TimVester (vocals, lyrics, samples) and ColtenTylerWilliams (guitar, bass, keyboards, drums, programming, production, additional vocals) are bringing on the heavy in a throwback to the late 80s, when industrial metal was taking off and the choice of having DreadRisks doing the remix is the icing on the cake. We are not “Annoyed.”
NikolaStanojkovski (guitars, bass, synths) and ChristopherCronce (vocals, lyrics) make up Pennsylvania based industrial metal group Agremorta. Their single “Adrocitas” is also their debut and herald’s in the March 15th release of the EP Anomalia.
What strikes me first is the blending of styles within the one track. A combination of clean and heavily growled vocals, plus there are fluid classic guitar solos by LouisSnyder that would not sound astray in AmonAmarth or some other European band of that ilk. The chorus harmonies are a throwback to LinkinPark and tempered by the synths and howling gurgled utterances.
Verbose and powerful guitars, matched with booming rhythms, dynamic vocals and you have “Adrocitas,” a track about self loathing, doubt and never feeling good enough that soars high.
California’s BestialMouths, headed by vocalist and lyricist LynetteCerezo, has been creating their own style of industrial/synthpop infused music with a punk edge, since 2009. 2024 has brought with it the album BACKBONE, a seventeen track remix of songs off the 2023 studio release of R.O.T.T. (In My Skin), complete with an extraordinary guest list of artists. The lovely Lynette was kind enough to chat to us about BACKBONE, music and her influences, but also, maybe more importantly is her fearlessly pushing to prove that women, and especially ladies of colour are very much spearheading great dark electronic music.
Welcome Lynette Cerezo, of BESTIAL MOUTHS, to ever inviting darkness of Onyx and its denizens.
You are the core of the project BESTIAL MOUTHS, which has been around since 2009. Looking back now, what do you think were your motivations for bringing BESTIAL MOUTHS into existence?
We started Bestial as an outlet to create something new. We were not trying to fit into any genre but wanted to make new art/music. Honestly, when we started, we did not think of much – like, will this go anywhere? What is the future? What’s the plan? etc. We were clueless, really, on the music business and felt a need in our hearts and souls to express and perform. We did not think; we just did. It’s crazy to see this and realize it has been that long, and I still feel so novice; I’ve been told it’s the whole “imposter syndrome” thing.
What is the current configuration of the band? Is it just you with guest artists and if so, who do you love coming back to play?
Me, Lynette Cerezo, as vocalist and main head with Brant Showers of AAIMON and SOLVE as the other main person and producer. Live I had been joined for a while with Raphael Gaudino on synths, who also contributed to writing I AM THE SPELL or HEX. Plus Ely of CRUNE on synth and Theremin Live. Recently, you can see Wanda playing electronic drums ~ and yes, these I love & have my heart (all so much talent and dedication).
“R.O.T.T. (In My Skin)” was the album released in 2023, that you wrote with Rhys Fulber (Front Line Assembly, Delerium, Noise Unit). Can you tell us what went into making “R.O.T.T. (inmyskin)” and what it is like working with Fulber?
Everything went into it, as it always does writing an album. But this one was a lineage from the previous two, INSHROUDSS & RESURRECTEDINBLACK. It was the next phase or culmination. The name means Road Of Thousand Tears, referring also to the trail of tears tragedy. It was time to tell my story and be more open and direct with what has happened to me. To own who I am and also why I chose to sing in Spanish and English on Road Of Thousand Tears song. I actually had the concept and lyrics for quite a while till we started making the music and taking form. I wanted something that had more repetitive lyrics or hooks to capture people and more dance-oriented – to draw people together as one and so people could all relate.
Working with Rhys was like a dream for me- I just kept thinking if teenage me knew this would happen (or back in 2009 let’s say). Of course, at first, I felt nervous and intimidated and wanted to prove my worth. Show Rhys I am professional. Rhys’s calm demeanor and amusing stories and humor made it a blast. I was really impressed by how much he really drove into the songs/music and created for this.
As the title might suggest, this is a pretty personal album it seems. How close to the truth is this and what are the underlying themes running through it?
It is written in truths from my life experiences. The truth of traumas and PTSD and what I have been through (my divorce, betrayals, abuse). I knew many have had similar experiences in this world, and I wanted to reach them to say you’re not alone, and that means I am not alone. One topic is bullies, being bullied and picked on and the pain it brings and how unfair and how helpless you feel. So for myself, I tried to reclaim my strength by continuing on and “taking back what’s mine.” This album is to show you have not destroyed me but I don’t think I can take any more in; I am exhausted; I show the scars, but we still find a glimmer of hope “we vomit the stars and gather new moons.”
2024 has already started with a bang for you, with the huge remix of “R.O.T.T” called “BACKBONE.” Was this a project that you enjoyed doing and what is it like for you hearing your music through the ears of other artists?
It is such a huge honor to collaborate with other artists you admire. It’s incredible to think your baby is getting this much attention from others. They have taken the time to dive into your music and lyrics and channel it through them and create new visions. I truly find it magical. Same with covers; maybe one day that will start happening as well.
The artists on remix duties vary greatly in style, with names like ACTORS, genCAB, Bedless Bones, Snowbeasts and Trace Amounts turning up. How did you go about organising this mammoth task and did you know most of these guys before “BACKBONE”?
Thank you for recognizing it was a large task; it was for sure, but a great one! I listen to various genres within this scene and these are some I love. I have been fortunate to have met many along the way touring and the like. Some I went out on a limb and held my breath and contacted them like REBEKA WARRIOR and Broken English Club have never met in person yet. I wanted to have a variety just as it reflects Bestial’s more diverse style.
Are there original songs of your that you particularly liked and that really now pop or have you found some of the remixes have made re-estimate certain tracks, and made you love them even more?
That’s the beauty of a remix; you now have two or sometimes more versions of a song each with its essence. Luckily, I still love the originals, haha! But look forward to hearing the remixes on the dance floors.
You are on the Negative Gain Production label. How has it been working with them and having them support you with this mammoth remix?
NGP has always been amazing and truly cares about us artists. I love that they foster community and a team and connect all of us artists on the label. Having this support means a lot emotionally, mentally, and is very helpful in many ways.
Lynette, about three years ago, you said that as a woman of colour, you have basically spent a lot of time pushing to be seen and heard. Do you feel this has in many ways influenced your music writing and visual aesthetics?
Without a doubt it has; how can it not. I write and perform from who I am, which is emotions, experiences, and challenges. Being a woman in music is a challenge to be seen and taken seriously. I really fought to be seen as a human/a person as we all should be. Lots of disappointments because life is not fair a lot of the time. But I want to leave an impression that I will fight and believe in you and do it.
It also hasn’t always been a smooth ride for women, and especially females that are not white, in the darkwave/industrial scenes, so I am wondering if you personally have seen a change in attitudes from fellow musicians and the public that consume this style of music, notably with the release of the last two albums?
I believe I have, especially from when I started. Especially because we originally played a lot with the noise scene which was very male and the same with electronic music as the woman was more the eye candy of it. I like to think as this world becomes more diverse and women get more power it reflects into music. We still have a long road with the way some are fighting back and trying to take all that away again though (and I will say honestly I fear that but do all I can to fight it and with the movement).
You have worked an amazing array of producers and musicians, however one name really caught my eye. One Mick Harvey who was a member of the wonderfully explosive The Birthday Party (prev. Boys Next Door), as well as Nick Cave and the Bad Seeds and having a very extensive solo career. So how did you end up working with Harvey and what was he like, as he always seemed to be the most down earth type?
I had the pleasure of working and meeting Mick in a project unrelated to Bestial Mouths. Mick had written a record on Mute Records with a friend of mine Richard Barker. I was fortunate to come sing making vocals on air during radio sessions. No practice, just pick up from the airport and here you go. Was also quite impressive to tour mute offices!
The lyrics you write are darkly descriptive, like you are creating a picture verbally but also the visual side seems equally important to you. Do you perceive that visuals give your music a more tactile quality…a sense of realism?
I do tend to write more in a cut-up or poetic way that is often more vague and less direct. I like people to use their minds and emotions, to draw upon their experiences and themselves; this way it really lives through them, then they can connect to it. The visual aspect is also very important as I feel Bestial is immersive in both sounds performance visuals. What is real? I often wonder and I feel our visuals play on that as well and are often open-ended as well in terms of story- or if wanted someone can choose to take them more directly and figuratively. Once again, it’s up to the listener or viewer.
Who’s music captured your imagination and brought you into the dark alternative fold when you were younger?
How young are we starting?? My first concert alone was The Ramones at 12 or 13. I even got to meet them in the local independent music shop and get an autograph. I remember I got to go with my friend’s older brother who drove us. He ended up getting kicked out of the show for moshing. He went across the street for snacks and got into a small car accident. I got home super late, and my mom said, “Well, you have to go to school tomorrow.” I said gladly. I can still remember being shy and feeling someone’s spike bracelet in my back too nervous to say anything.
Who do you listen to now that illicit great joy and that you find inspiration in?
There are so many contemporary musicians, artists that catch my soul – oftentimes you can hear or find them when I DJ or our mixes. Inspiration is sound, usually birds or streams, rivers, the ocean cities for me.
Lynette, thank you ever so much in taking the time to speak with us and release the bats!
Thank you for wanting to know more and letting me ramble!
-Is your BACKBONE willing to break – Never did I promise you –
Onyx Music Reviews 