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.”
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 –
When you mention a video with floating Margret Thatcher heads in it… well, that just piques my curiosity. Bite Marcus is an independent musician from Manchester, and his single “Society! (There’s No Such Thing),” is the third, just before the release of the debut album, Amalgamation.
There is something delicate about the electronics and programmed rhythms in “Society! (There’s No Such Thing),” which leaves you focused on the smoothly executed vocals. An exercise at dissecting the current British politics, where the ruling party seem to have forgotten the people they are meant to be working for.
The bonus track is a demo called “G O D ! (Is A They/Them),” a clever hybrid of two other tracks, ie LadyGaGa’s “G.U.Y” and Whitey’s “G.I.R.L.” It is subtle and wonderfully dark, and for a demo it feels very complete.
This is something that is very close to my heart…. music with something to say. The commentary condemns the Tories for their seeking status and making money out of those who need the most protection. “Society! (There’s No Such Thing),” is a call to notice the injustice and recognise the treachery, served to you via a post-punk track that hits all the sweet spots. All there is left to say is BiteMarcus before Marcus bites you.
2007 saw the birth of Swedish EBM group Spark!, with original members StefanBrorsson (vocals) and MattiasZiessow (synths, programming), dishing out the beats. However, in 2013, Brorsson left the band, citing personal reasons, leaving Ziessow to continue on. Fans can rejoice, as the lads are back together in 2023 with the single “66 Ton Krom,” which will be on the new album out in 2024, on the ProgressProductions label.
The direct translation is ‘66 tonnes of chrome‘, and with the frenetic pace of the rhythm, they can only be referring to a large vehicle, such as a big shiny truck. And behold there is a big shiny buff truck on the cover! Brorsson’s vocals dance between the programmed electronics that come on in rapid succession, while the synths rip down the road burning rubber with those beats.
There is something quintessentially Swedish about the EBM that comes out of that country, and it not just singing in the native tongue. A lot of joy can be felt from “66 TonKrom,” as if the break the guys have had from each other, galvanised their sound. Industrial electro-pop from Spark! that is going to get your motor running.
The daring 80s synth inspired duo from Doncaster, PeakFlow, have released the remix for their single “RunningToYou.” And in that vein, we invite you to enjoy this new dance mix extravaganza .
Mobile phones have become a staple of modern living. We constantly check them and break into a cold sweat when we cannot find them. New Zealand’s FrauKnotz, explores our dependence on social media, though the single “Cellular,” as more and more people live their lives online rather than in the real world, and where popularity is the acknowledgement of others on these platforms.
There is a delicacy about “Cellular,” and maybe it is something to do with the lack of a rhythm section, relying on the piano to carry the music, but it is also in the vocals, a blatant honesty. You can hear the British early 80s, post-punk influence in the track, where there is a purity of simplicity and passion, giving the song a core of undeniable strength.
MizaanTurner is a fourteen year old dancer from Taranaki, and it was they who choreographed the video for the single, making the video for FrauKnotz, aka LaurenNottingham, an alluring affair. Mobile phones are a marvel that have definitely changed a lot of things for the better, and yet, as “Cellular” soulfully points out, it has also caused isolation, anxiety and changed the way we see ourselves in relation to the world..
Out on InfactedRecordings, is the latest single “Harbour” from J:dead, where JayTaylor has enlisted AestheticPerfection and genCAB for remix duties. This is officially the last release for J:dead for the year 2023, but in 2024, we can expect the unleashing of the thematic EP ROOTS, which will contain seven original tracks, including “Harbour,” plus 8 remixes.
“Harbour” has this rolling flow whilst also laying down dance rhythms. An electronic melding of the many faces and personalities we are and show others, topped by the molten vocals of Taylor. The AestheticPerfection mix is filled with a bright jauntiness that the progenitor of industrial pop, DanielGraves is famous for, while DavidDutton of genCAB’s version is slower and darker, like you can feel the shadows enveloping you in a cocoon and only the vocals can drag you to the light.
The line ‘look hard and you will find me, lonely I will never be‘ doesn’t refer to multiple personalities but rather all the different facets that make us up as humans. We are not one thing such as a joker or the introvert, which would leave us as one dimensional aberrations, instead of the wondrously complicated creatures we are. As always, this is a polished track with two stunning mixes and if you want to know what you will be getting in the EP, then “Harbour” is an excellent place to start. I have already had the pleasure of hearing the original tracks and can promise that you are not going to be disappointed, yet that is for another day………..
Scenius are a dark synthpop duo, hailing from Leeds in the UK. Composed of UK producer SteveWhitfield (The Cure, TheMission) and French singer FabriceNau, they released their album LifeIs A Thing, back in May but we are going to touch upon the single off the album, “ChineseRoom.”
There is a simplicity to the track that makes it entrancing, almost dream like. The sound of electronics harken back to late 70s and early 80s acts like JohnFoxx, GaryNuman and German pioneers, Kaftwerk. Nau’s vocals are seductive and unhurried, with that French accent only enhancing the cool of track.
Together with the video for the single, I do feel “ChineseRoom” is a reference to heroin. The video is a party slowed down, where those participating in the drug use are only existing in the moment and Chinese rock is a euphemism for heroin, a la the Ramones single “ChineseRock.” I do love the throwback nod to past electronica heroes, but they have a distinct modern touch all over this track. You should listen to the “ChineseRoom,” but be warned, you may become addicted to Scenius.
SignalsFromTheSun is the debut album for American duo, CraigDouglas and MichaelGoldberg, collectively known as SonumUnum, a dreampop project. You know they have to be something incredible when they have been signed to the NegativeGain label on the strength of the first track, but also having the mastering done by RobRobinson of KervorkianDeathCycle fame. With that in mind, we thought it was time to speak to CraigDouglas for the low down on SonumUnum.
Welcome to Onyx Sonum Unum, where we are hungry like the wolf for music.
First of all, what does the band name, Sonum Unum mean, if anything at all?
Craig: It means “One Sound” in Latin.
The band is made up of you, Craig Douglas and Michael Goldberg, with both of you being multi-instrumentalists. Has this been a long term friendship and have you created music together previously?
Craig: Mike and I met via a Craigslist ad in 2023 so this is all very new for us.
Where are you both based and what music projects have you been involved in?
Craig: I live in western, MA and I have been in a number of projects that range in style throughout the years. I currently have a solo project where I record and play shows under the moniker “Neonach” doing experimental vocal ambient drone and improv. I also recorded two albums under that name that are sort of ethereal and progressive rock formulated.
Both of you were swapping computer files over the winter of 22/23. Did this just start out as a clear idea of a band you wanted to create or did it just seem to evolve into something that just really worked?
Craig: The original intention was to make ambient music with super ethereal vocals. We wrote one track “Holding On Forever” which is the last song on the album. We were aiming for that type of sound but things evolved and got more dynamic as we wrote more tracks.
Who does what on the album?
Craig: We both contributed heavily to the music and arrangements, whether it was Mike writing something musically and sending it to me to arrange and add things or me sending him some synth structures to write instrumentation around. I am the vocalist on the album but Mike does sing lead on two tracks, “Snow Days” & “Know It All”.
The end result is the synthpop, ten track album “Signals From The Sun,” yet there actually isn’t a track on the album with that name. Is the name a reference to the idea that there is something bigger than us out there or something else?
Craig: I sort of had a concept for the artwork before we had a title. These sort of triangular waves beaming out from the sun. Our first track “Rescue” has a lyric that goes, “The lost will follow signals from the sun” so putting the visual element of that and the art together it seemed like a fitting title.
There is a lot of harmonization on the tracks, giving them a very warm feel. Was this a conscious thing and do you think it was influenced by the cold weather?
Craig: I appreciate the perspective of associating it with cold weather…but no… it has always been ingrained in me as a singer to incorporate vocal harmonies in all of the songs I’ve written. I always found harmony makes a song more interesting and keeps listeners a bit more engaged. I don’t think you will ever hear a track I sing on without some type of harmony.
Do you have a favourite track off the album, and if so which one and why?
Craig: I like them all but if I had to choose I think I would pick “Misinteraction”. It was the quickest song we wrote together and I am quite proud of the results.
You both are producers, and in fact, both of you produced “Signals From The Sun”, so how hard was it to agree on the production values?
Craig: I found working with Mike has been incredibly easy. Like most bands there are disagreements or opinions that clash. We had a few of those probably but overall we tend to work well together. I trust Mike entirely with mixing our material because I think he is a much more proficient producer than I am in that regard. I am more into the arrangement side of producing.
The mastering was done by Rob Robinson of Kervorkian Death Cycle, which is beautifully done. How did you get Robinson involved?
Craig: Big thanks to Micah and Roger from our label Negative Gain for getting Rob connected with us. Rob is an incredibly sweet guy and was so easy to work with. I agree he did a beautiful job.
Your debut has been released on the mighty Negative Gain label. What has that been like?
Craig: It’s been incredible. Micah and Roger heard one demo we uploaded to Bandcamp and they immediately reached out telling us they wanted to hear more from us. They were there following us every step of the way through the creation of this album and I am so grateful for that because I think that motivation helped us. We are so appreciative of them and their support for us. I’ve always wanted that from a label and Negative Gain absolutely delivers.
What are the bands/acts that brought you into the music fold?
Craig: My early days bands like Voivod, Fates Warning and Vangelis. My later years The Cure, Cocteau Twins, Radiohead, Sigur Ros.
What or who do you currently listen to that you find inspiration from?
Craig: From a vocal standpoint Liz Fraser from Cocteau Twins for sure. Early Nine Inch Nails when Trent would incorporate tons of dynamics with his vocals. Peter Gabriel too. I know I sound nothing like any of them.
What is next for Somun Unum?
Craig: We want to play gigs for people. We already have some new material in the works so recording will be a thing too.
The latest single from RobotsInLove is here, with a video included, for the track “GossipInYourHead.” Ex-pat Aussie, ElenorRaynor, who is based in Ōtepoti (Dunedin), is the driving force behind the project, and the other current members are Alex Burchell on drums, guitarist Pierre Higbee and bassist Tony Lumsden.
“This year, friends The Sound Key played me some of their music and I was particularly enthralled by a song called ‘Gossip in Your Head’, and so it was recorded in the Robots In Love studio with Pierre Higbee on guitars and Alex Burchell on drums. Alex then produced a remix which was even more atmospheric than the original recording, emphasising the haunting vocal harmonies. The depth of emotion in the remix captivated everyone who heard it, and so it became the A-side of the single release: a masterpiece of beautiful dark pop.” – ElenorRayner
The gossamer tendrils of this song are hauntingly beautiful and are only enhanced by Rayner’s delicately phenomenal vocals. The words are weighted by melancholy, as the speaker seems to have an internal discussion, torn by the voices that feed self doubt, plucking at mental health. I love there is such a simplicity to the music that showcases the play between the vocals and guitars. Robots In Love have most definitely brought out the darkness in “Gossip In Your Head,” and it is a jewel of a track.
Onyx Music Reviews 