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Kyle and Kieran return once more, and so too does Imogen; The band even bring Chris Harms of Lord Of The Lost to the track 'Holding On'. This album covers a lot of different sound influences, at least to my ear and it is by far one of the most impressive dark rock albums I've heard. Nighthawks flows in and out of melodies, energies, and sound styles with a timeless grace that few but Auger could accomplish. Melt into a blissful void with us as we listen to Nighthawks. Welcome to Nighthawks, the fourth studio album from Auger and yet, in many ways, the first. After three albums, a plethora of collaborations, covers and singles, Auger have cultivated, carved and solidified their sound. This new album, with inspiration from global art, is the embodiment of that, the piece de resistance. From fluorescent busy cityscapes to distant romance, this album, combined with melodic, driving guitars and deep, natural vocals is Auger's most proud creation yet. Catch Auger at EVM fest on April 9th! With several other amazing bands and free entry to a three floor Slimelight special as well! Click for tickets: Review 'City Never Sleeps' opens a cinematic flash back on tragedy, like the opening of an action film where the hero is on his final legs and the film becomes the days leading up to that terrible moment, this has the same energy of foreboding and quiet acceptance amongst the slow burning rock composition. 'Oxygen' has that oh-so-smooth Auger signature sound of Kyle's slow and deep, deep voice that lends itself perfectly to so many different styles of vocals and song. It is another slow but satisfying piece that touches and acknowledges the listeners' melancholy and turns it into something thoroughly enjoyable. Kieran somehow manages to keeps a very strong and heavy guitar just as smooth as the vocals making for a divine little mixture. One of the best tracks on this album is 'Forever Mine' and takes a turn in a more synth rock direction which then speeds up in tempo into an energetic and powerful cinematic rock anthem. Where this song really does excel however is at 2:49 where possibly one of the greatest synthwave style guitar riffs takes over and really adds depth and flavour to the overall track. The rest of the song retains that synthwave feel and I love it. 'This Pain I Compress' is an interesting track that seems to start off simple but then towards the end seems to become two tracks played one on top of the other. 'Libra' kicks up the guitar level a notch and the vocals and musical structure very much reminds me of Gary Numan's more recent releases which makes for a real nice touch of flare especially at 3:02. 'Holding On' features Chris Harms of Lord Of The Lost which is an incredible addition. Having seen both Auger and Lord Of The Lost at HRH Goth and being blown away by both, this track certainly brings a big smile to my face and this is possibly the most Metal release Auger have made; Like a mix between Cell Dweller and Breed 77, it makes for a very different, and very delicious offering from these talented artists. Next up is 'Sound Of The Machine' which returns to that slow dark rock and deep bass vocals Auger is well known for. It builds up in intensity in the later half but focuses on the lyrics and the story within. 'As The World Falls Apart (ft. Imogen Evans)' is indeed the best track on the album and kicks off with a deliciously deviant and dark guitar rift. Kyle's deep and charismatic vocals take over the scene but are quickly matched in perfection by Imogen who has certainly found a real power in her vocal ability. She was great in the last album's 'Tell Me I'm Wrong'. In this track Imogen has crafted an incredible range of sheer ballad power that also weaves easily in to a softer spoken melody similar in style to Jazmin Bean to my ear and mixed in alongside Kyle's depth, makes for a wonderful duet that is so very rarely done well in the world of industrial and electronics. The guitar rises and falls like waves, the drums carry your attention, the vocal sweep you away, and before you know it the track has stranded you in the depths of your mind's ocean. 'Smother' very much sounds Linkin Park and Nu-Metal inspired with its riffs and drums. Just when you think you have the song sussed, along comes the chorus which is absolutely beautiful and unexpected. It is easily one of the strongest earworms that has grabbed hold of the corners of my mind for quite some time. 'Angel Dressed In Snow' reminds me of the days when everyone would listen to 'HIM' and what's more this is a 'Christmas' track which is a very rare thing in our alternative world! It brings a touch more of the previous synthwave feel and is a great addition to the album overall. 'Sharing Shadows' finishes the album off in return to the slow and nuanced approach of lyrical importance which has a nice romantic touch. Tracklist City Never Sleeps Oxygen Forever Mine This Pain I Compress Libra Holding On (ft. Chris Harms of Lord Of The Lost) Sound Of The Machine As The World Falls Apart (ft. Imogen Evans) Smother Angel Dressed In Snow Sharing Shadows Conclusion A very impressive album from Auger with a selection of diamond tracks placed in amongst the other valuable tracks on offer which also bring a sense of nostalgia mixing with the new world of music making this album a crowning jewel to Auger's journey so far. Make sure you listen to 'As The World Falls Apart' without fail! Nighthawks is an immaculate and beautifully crafted display of talent and craftmanship across a range of dark rock that very few could ever hope to match in enjoyment and scale. Scores Technicality: 8/10 Soul factor: 8/10 Energy: 8/10 Vocals/Samples: 10/10 Re-play value: 9/10 Overall score: 8.6/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

Last year, Vicious Precious set out on a mission to interview as many of the women in the Industrial, Goth, and Electro scene as possible and to ask them about their experiences in the scene. There are sadly not too many around, and so Vicious wanted to ask them all why they thought that was and for them to tell all about the experiences they have had in the music world, be they negative or positive. When Vicious asked me for some suggestions for whom she may interview, I was able to put her in touch with a couple of wonderfully talented women, but Vicious really went above and beyond to get some top class interviews with some very impressive names, some of whom have not been released just yet. Here is the first collection of these incredibly in depth interviews! (Elektro Vox and Pretty Addicted hope to collaborate towards events in future featuring FAR MORE Female, LGBTQIA+, and Minority artist names on the lineups!) EPISODE 1: MARIEKE BRESSELEERS (LORDS OF ACID) EPISODE 2: MAETHELYIAH (THE DANSE SOCIETY) EPISODE 3: AERIS HOULIHAN (WITCH OF THE EAST/FORMER CHAMBERS) EPISODE 4: TARA VANFLOWER (LYCIA) EPISODE 5: LINDSAY SCHOOLCRAFT (SOLO ARTIST/CRADLE OF FILTH/ANTIQVA EPISODE 6: CAITLIN STOKES (CORLYX) EPISODE 7: MIRRE SENNEHED (FOUNDER & DIRECTOR OF SUBKULT FESTIVAL) Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to oaur YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you!

Four years of waiting, of hoping, of expectation.. Then Tanz 2020 was finally announced. That elation turned in to shock, pain, and despair when Covid struck. After all that, and only the Gods know how much work it must have taken, Tanz 2022 finally brought us all home.. Tanz has always been the U.K's ultimate pilgrimage for Goths and this time around was almost spiritual in the relief, joy, and nirvana many of us found raving away in the dark. This beloved dark temple of bass, sound, and rhythm once again welcomed dancers and music lovers until they could dance no more and the worship of Gothic music once again ceased. These are the celebrations remembered throughout time, and Tanz 2022 will forever go down in history as a defining moment for the event and for our community as a whole. Putting together all of the photos and interviews between my day job has meant this review has come out a lot later than I would have liked, and my memory is not as fresh one week on but I will try and do all the acts (That I caught) justice! I don't say it on my YouTube videos but if you do like the interviews below and the shows I put out on the Elektro Vox YouTube, please subscribe, I am needing just under 140 more subs to start making something out of the YouTube venture! Thank you. Friday MATT HART MATT HART has refined his sound in to a really impressive power house of dark harsh electronics and gut grabbing guitar riffs. Matt and Jerome did a fantastic show at Elektro Vox music festival the weekend before but having been busy with running things, I didn't catch half as much as I would have liked; So to see them both tearing a new one in to a very impressive sized crowd as the opening act was a really nice beginning to the glorious house of Tanz. The two had a great mix of seriousness, genuine joy, crowd acknowledgement, and the sound felt like a seriously upgraded MATT HART 2.0. If you get a chance to see M.H live, do so! 9/10 Stoppenberg Admittedly, not an artist that I had heard much of, if any before Tanz but oh wow, I'm so glad I got to see this show! For only the second band of the opening day, after I got my initial pit photos, my partner and I RAVED, pretty much non-stop to this incredible set. 'Fearless' really jumped out at me being a big fan of the '40k: Dawn of War' games, this track has samples from that game shouted out by the Librarian unit and if there's one thing that sends shivers down my spine, it's well timed and beloved game samples set to Industrial rave music. Absolutely top class mix from start to finish. My only regret was by the end, I was already exhausted for the day! 10/10 ESA: Electronic Substance Abuse I'm certainly not afraid to admit that I STRONGLY believe ESA should have been the headline act for Friday. Fitting one of the most talented artists on the planet, not just in electronic music but in expression, film creation, and much more, in to a 45 minute set was one of the very few things about this event that didn't feel right at all. Jamie Blacker has a big catalogue of insanely good music, well suited to the Tanz crowds. With his latest album being more experimental however, trying to fit a lot of his new material in amongst the 'bangers' made a set that wasn't as glorious as it should have been and I deeply respect Jamie for what he managed to fit in and the show he put on in that time. We were treated to an early viewing of the music video for 'One missed call' which sent chills through me the whole time. The 1930's style jive of 'Come And Find Me' went down insanely well with the crowd, especially with the backing images of black and white colour tv dancers to which Jamie said "I want you to all dance like these fuckers!" Another fantastic moment being the sheer depth, aggression, and focus of the track 'Disruption only' and the soul rending string instruments set amongst the industrial rave beats. This man is a true artist and certainly deserved much more time to play with his audience. 10/10 Promenade Cinema Emma and Dorian of Promenade Cinema have created some truly epic and beautiful ballads that I love listening to on occasion as do many others when they are in a more relaxed mood. At Tanz after such intense bands however, the placement seemed a little off for the vibe. None the less they put on an admirable performance which sadly did not sound quite as good live as I had hoped. There was also a bit of a sound issue in being able to hear lyrics clearly but they were genuinely enjoyable overall. 6.5/10 Empirion A nice close to the first set of bands. Empirion were very much enjoyable with their energy progression ebbing and flowing, allowing the audience a good amount of tracks to dance to followed by a calmer set of tracks to take a breather on, and repeat; or at least, so it felt! I will admit that I don't remember much beyond that in detail but I remember enjoying the whole set. 9/10 LEXX Although I certainly can't go in to reviewing each DJ from the weekend. There were a few that stood out. Matt Hart and Emmerick Gortz on Saturday were particularly enjoyable. I do however need to give a very special mention to Lexx (Until recently known as GOHMA) Lexx is someone I've seen play live a few times on stage as a bassist, and enjoyed her live stream over the last couple of years, so I was certainly excited to listen to whatever set she had come up with. Opening up Friday evening's DJ's, Lexx absolutely devastated that dance floor in the best possible way with dark, filthy, intense, and shadow trance-inducing industrial techno. So imagine my joy when she dropped the entire set on Soundcloud! Lexx is definitely one to keep your eye on in future. Saturday Sadly I was not able to watch Vanguard or Antibody due to filming interviews, I have heard wonderful things about Antibody's first ever live show however and urge you all to go check out his music! Craven How to describe Craven? A horror synthpop madman perhaps? With a merchandise perfume titled and reportedly smelling like 'Rotting Flesh' then maybe that's the case! This was one of the most entertaining acts of the weekend. Jumping around the stage with his crazy attire, stroking a doll baby one minute, to rocking out on a guitar and cutting off his (fake) tongue the next, this was a wonderful start to Saturday! 9/10 SIRUS The wonderful and ever amazing SIRUS, all the way from Australia. I have never seen a room that packed out for a band at 16:00 and this band bring all the feel good vibes and dance floor favourites. There was a huge amount of energy pouring off of Josh, Keeva, and Ryan. Each track had clear vocals, and they played some true classics like 'Neon Dominion' to my delight because I LOVE Keeva's section in that song. The way Josh was able to distort his voice with that control strapped to his left hip was beyond impressive to a music amateur like myself. I was lucky enough to catch them after their set for an interview. 9/10 The Gothsicles It's just not Resistanz now without Brian and every moment was bliss. This man throws himself around the stage like a hyper-fast superhero that I am never able to get a clear photo of! We were treated to the track 'Continue' which follows on from the first and last band to play Resistanz tracks. We had otters, we had stag beetles, we had squidface, and most importantly we were treated to moon knight with a surprise reveal which you can hear about in our interview below. We also had a stage invasion of other artists to join in and jump around for 'Konami Code' which was a beautiful moment. 10/10 Empathy Test I didn't manage to get any decent photos somehow, and I will admit I certainly was not in the right headspace to watch a slow ballad band again at the time. A friend of mine seemed to be off on cloud 9 the whole way through their set and I did enjoy their performance for sure, having listened to their music before, but for Resistanz festival, it was just too slow and out of place which is by no means any fault of the band. 6.5/10 Rotersand This was a great band to end on, there was a plethora of emotion and connection with the spirit of the event coming both from the band and from the audience. There was a lot of love in that room for this Industrial hall of fame band. There was rave and there was chillout, there was dance, and there was fulfilment. The best moment? Someone let out an inflatable Dalek during the song before 'Exterminate, Annihilate, Destroy' which was all fun at first until you saw the staff rushing around trying to grab it because it had caused several ceiling lights to drop and a piece of a central pillar threatened to fall on the audience, held back only by a hasty wrapping of duct tape by staff who angrily carried the Dalek off with them. Still.. Can't say Rotersand didn't bring the house down! (See the end of the below clip for some of the damage) 10/10 Sunday Wychdoktor Another band I wasn't familiar with but one that really blew me away. This dark and eerie industrial rose and fell in waves of intensity and speed, making for a real treat for the darker side of your soul. I remember agreeing with my partner that it all sounded like the ideal soundtrack to a new Underworld movie or something similar. Another great way to start off a day. 9/10 J:DEAD This was only the second live show for J:DEAD and a replacement for Massive Ego. This was one I was excited for because personally, I have been following him since his first single 'Haunted' with Elektro Vox and I have loved everything he has released so far. Each word, each scream, each note was belted out clearly and made for a very unique and satisfying show. Jay engages with his audience and that bit of down time to participate along with him makes for a nice little feel good boost. Every moment was great, a little bit too slow to start off with with the first song but it soon picked up with the energy and fury Jay is making himself known for! 10/10 Cyferdyne You could tell Cyferdyne were having a great time back on stage, so much so it got a little bit strange at times. This felt a little like being at a familiar gathering, like watching some of your friends in a band down the pub with banter flying back and forth. The band were calm and collected one moment, and laughing their heads off the next but it was all thoroughly enjoyable even though they certainly stood out amongst the sea of Goths watching! What's more the band was a real delight to chat to backstage, very friendly, and I really enjoyed getting to interview them. 8.5/10 iVardensphere Here is a man I admire beyond words. Scott Fox's equipment was lost in transit and he had only one drum machine in his backpack still on him. So this was never going to be the iVardensphere singularity set that was planned but somehow Scott pulled out a jaw dropping set with just that one little machine. I have never known anyone to be so calm, poised, and flexible in their approach to what others would consider to be a disaster. There were no excuses from Scott, just a show to the best of his ability with the tools available and we all LOVED IT. 10/10 Because that's beyond impressive! We interviewed Scott AND Karkasaurus together who I REALLY wanted to see but by 1am Sunday, there was no way I could stay awake until their set started at 2:30 am! Memmaker Memmaker were a last minute replacement for Minuit Machine which made me so very happy as this band are one of my all time favourites! They annihilated the audience with non stop rave industrial nirvana. Scott Fox even sneaked on stage to feed them crisps (included in the interview below) Every moment was blister crafting dance fun and these guys really threw their all in to that performance. 10/10 Horskh Sadly I only caught the first two tracks before having to rush off for interviews but from what I heard and saw, Horskh were on top form and slayed the crowd with a very serious and metal heavy sound. For what I saw, I very much enjoyed it! 9/10 Straftanz Oh wow, where do I even begin.. This was less of a band set and more of a well rehearsed and planned out celebration of the better parts of lockdown. The introduction was one of sheer beauty and celebration of all things Tanz and the industrial crowd.. After this Biomechanimal and Sirus exploded on to the stage to perform 'Enter The Animal'. We were hit by track after track of Straftanz goodness. The stage was decked out like Jorg and Miss X's living room just like their isolation rave streams with the cross as the background and a table full of drinks that were shared out with the crowd. Soon, even Brian of The Gothsicles was on the stage throwing himself around too. This was not only a celebration of industrial but a comedy show poking fun at it all. One new track called out bands such as Nachmahr and Suicide Commando, as well as Matt doing a dramatic reading of 'Pong', and all pretending they were going to play Nova (Shine A Light On Me) by VNV nation. All in all a very wonderful and beautiful experience that became a real comedy show and performance of theatre rather than just a band singing songs. There were bubble guns, an Antifa flag, a book being eaten, and much more. I don't have the words to do this all justice but it was a one off masterpiece and I wish everyone was able to see it. Conclusion From the very chilled out and friendly staff, to the amazingly welcoming energy of everyone who attended, to the bands giving everything they had, and of course, to Leighton putting on this dream festival for us all.. This Resistanz was everything we hoped for and more. It was a truly safe place to relax and unwind with friends new and old and I'm sure no one will ever forget it. Let's see what the future holds for Resistanz.. 11/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you!

It's been over two years since EVM was originally meant to hit the stage and how things have changed. Each band has certainly grown in fame, fury, and industrial glory since! This was the original EVM article with detailed insight to the bands: HERE So I wont go in to too much detail again but certainty recap where the bands are at now. Remember tickets at Beatcancer.info are currently only £12! This includes free entry to Slimelight after. Not to mention, the return of the Beat:Cancer raffle! If you have anything you'd like to donate to the raffle be it relevant music related, merch, or a promotion pack of your creative art side etc let us know! Please remember however NO ID, NO ENTRY 18+ This is a policy Slimelight has to follow in line with Islington Council. Although there are no Covid passes required for entry we do please ask that everyone is considerate and take a lateral flow before attending to keep the event as safe as possible for yourself and others. Biomechanimal and Karkasaurus took part in our first online EVM fest (Cyber EVM) to make up for the Covid cancellation of the original show which was an amazing success. Also taking part was God Module, Modulate, iVardensphere, Corlyx, Mechanical Vein, and myself DJ Elektro Vox. You can re-watch these killer performances HERE This gave rise to other EVM streams, the most notable of which being a second Cyber EVM including the likes of Iszoloscope, ESA, Memmaker, Seraphim System, Zeitgeist Zero, Mechanical Vein, and myself again; This time in aid of Slimelight and the late and incredible, Mak.. See those performances HERE Unfortunately due to unavoidable circumstances, Still Forever have had to leave the EVM line up but we hope to have them return to a future event! Whether you are attending the event or not, please would you be kind enough to share this article or the facebook event so that others may hear about it and help join the good cause and good time! Event page: HERE Get warmed up as you read with the official EVM playlist: The Artists Auger have played some incredible shows such as HRH Goth and released some killer albums including the latest release of Nighthawks including a track featuring Chris Harms of Lord Of The Lost (Our review HERE) Auger were also busy doing some fantastic live streams of band sets and acoustic sets and Kyle's voice really did master some of the cover tracks he performed which you can find HERE Biomechanimal have changed their line up, refined their sounds, added a live drummer, and made incredible releases - collaborating with some of the best artists around including Moris Blak and Zardonic. Not only this but Matt of Biomechanimal put on some brilliant live streamed DJ sets during lockdown which has made them a real corner stone of the British industrial scene. Chamaeleon Will be performing their first ever show in the UK fresh off the release of the new album 'The Game' which is an absolutely stunning Aggrotech album which I sadly have not got round to reviewing but it is something I listen to regularly. Not only will Nikos (Right) be flying over from Cyprus for the show but so too will Maria Xoniki who you can hear on the track 'Vibe'. You may even see a friend and I get up and dance on stage with them too for a bit if you attend.. Just saying! MATT HART has also released some great music since the original date and most recently released the new album Below the Terra which you can find our full review to HERE I'm really looking forward to his particular form of metal heavy industrial at EVM. MATT was also one of the great artists creating live streams to keep us entertained, he did so in the form of 'Outlaw Vision' This incredible duo are the boys behind Beat:Cancer itself and the true heroes of EVM and lockdown. These guys have been absolutely tearing across the country playing hardstyle gigs left, right, and centre and occasionally put on Industrial sets that are mind blowing. The amount of effort these guys put in to mixing, BPM increasing, and their visuals is just insane. Some of the best Livestream sets were performed by these two and I honestly think Karkasarus will be incredible to watch live, not just at EVM, but also at Resistanz! Check out the video below for the previous Cyber EVM industrial set of epic proportions which was only one amongst many! DJ Simon Penguin has performed live streams during lockdown for Beat:Cancer and Elektro:Vox and been involved with some other great events too. Sadly we have no recordings to show you but take my word for it, this man really knows how to play a filthy industrial set that absolutely slaps the look off of your face and replaces it with this: Stage times (Subject to potential change) 18:00 Doors 18:30 Simon Penguin (DJ Set) 19:00 Matt Hart 19:45 Chamaeleon 20:45 Karkasaurus (DJ set) 21:25 Biomechanimal 22:05 Beat:Cancer raffle draw and announcements 22:15 Auger (Keep scrolling!) Also coming up in the world of Karkasaurus and EVM events: Thank you and please help us spread the word! #ElektroVoxMusicFestival #EVMFest #Beat:Cancer #Lineup #March #Industrialmusic #Elektrowerkz #EBM #Goth #Slimelight #London #Charity #Event #Auger #Biomechanimal #Chamaeleon #Karkasaurus #MattHart #StillForever #Aggrotech #Industrial #CyberGoth #

PreEmptive strike 0.1 return with a concept release that could also be considered a 'best of' offering. This is a great release of aggressive energy and vibrant synthetics showcasing an incredible time frame for industrial. These tracks are previous songs revamped or since unreleased and are worthy of another listen without a doubt. For the first time a PREEMPTIVE STRIKE 0.1 release in cassette format which includes new unreleased versions of songs written during the period 2006-2015 and initially released by Infacted Recordings plus a brand new track. The band has chosen 5 of its biggest hits which always play in their live set plus a new unreleased track that was found in the archives of Yiannis Dseq. With absolute respect to the original versions, Jim the Blaster recorded new vocals and Yiannis Dseq added additional synths. All tracks have been reproduced by Yiannis Dseq! THE BASE WAS OVERRUN: A new track that Yiannis Dseq wrote in 2014 but never found the way for Epos V as the style was totally different. Hellish dark with a slow unconventional rhythm and old school dark electro references is the ideal way to open this release. LETHAL DEFENCE SYSTEMS: It was a song that due to its success, "everything started" for PES01 and the doors to the electro industrial scene opened for them! Based on a version that appeared in their DEMO 2005 but never found the way to our debut. PREEMPTIVE STRIKE: This song was initially appeared to "EXTINCTION REPROGRAMMED" cd in 2008, and is still today one of the highlights in their live performances. A real trademark song for the band! DECLARATION OF WAR (2021 ENGLISH VERSION): Initially appeared in ‘’THE KOSMOKRATOR’’ cd 2010 as KRIEGSERKLARUNG 1955 with vocals in German language. Still their most successful song as it remained 7 weeks in the DAC and GEWC and climbed until position 7! Now Jim the Blaster has replaced all the German lyrics with English! ROBOTIC DISINTEGRATOR: Initially appeared in "THE KOSMOKRATOR" cd 2010 including Guest vocals by Deranged Psyche from NEBULA H/EX-ES. Now his parts are replaced by Jim the Blaster’s vocals and surely this song remains one of their best and one of their most "in your face" songs they have ever written! EPOS OF THE ARGONAUTS (DARK MIX): Initially appeared in "Epos V" cd (2015) as a song with many Folk elements including Greek language and a Cretan lyra player. This is a totally different version keen to old school dark electro!! PreEmptive Strike 0.1 is a Greek harsh EBM band formed in Agios Nikolaos, Crete, Greece in 2002 by Jim 'The Blaster' and Cryon. They combed the harsh EBM sound with powerful melodies, eastern elements and sci-fi thematology. On 2015 Yiannis Dseq joined the band and since 2020 the band has become a duo with Jim 'The Blaster' and Yiannis Dseq producing new material. Interview Q. Hi Jim, you've had quite a few changes in the band since 2019 and your last live performance was Belgium in 2020, what has happened with the band since then and are there any plans for new shows soon? JIM: Really everything changed in the band since October 2019 and the release of “Progeny of the Technovore”; Then George Klontzas (currently TEKNOVORE) and a founding member of PREEMPTIVE STRIKE 0.1 left the band. Since then we have had a new line-up (which I mention below) we released again on DWA, the mcd “The Dread Files” in the summer of 2020. Unfortunately, since then DWA remains (mainly due to Covid19) a ghost label and due to this in the summer of 2021 we decided to release the only tape work “Redeclaration of War 2006-2015” in which there are some of our songs from the golden period of the band (especially 2006-2010) re-recorded. It was a release for our die-hard fans, but also a reason to stay in the spotlight…. As regards shows after the last one in Belgium the things are much worse. We tried to book some shows abroad but nothing happens. I could easily arrange something in our island but I don’t think that it is worth doing…. Q. Who is in the band now, how did you start working together, and what are your musical backgrounds before Preemptive Strike 0.1? JIM: From October 2019 is me “Jim the Blaster”: vocals, lyrics, drum programming, samples and “Yiannis Dseq”: synth programming, production. Yiannis joined the band back in 2013 and we were a trio then. As regards me in my teens and until my early 20s, I was a drummer in metal bands with some of them to have a career later(ie HORIZON’S END and DEVISER). Then in 2001 I was establish the death industrial band EXTINCTION REPROGRAMMED and a little bit later the industrial metal band TRANSMITTED TERRORPULSE. Yiannis: My musical background is a combination of genres, basically of Metal and Electronic music. Mainly death metal and with concern to the electronic scene I’ve mostly been in EBM, Industrial Trance, and Techno. Q. Which song on this release were you most happy to take another look at and include for a modern day audience? JIM: It was definitely the song “Robotic Disintegrator”. It has always been one of my favourite songs of the band and we played it constantly on our gigs. Of course it's original form was completely different and this was because Deranged Psyche from NEBULA H, FUZE BOX MACHINE sang in the verses but also because in the same old version my vocals had come out chaotically mainly due the (wrong) way I sang that period. So catching the song from the beginning everything was done exactly as it had to be done to make it perfect! In fact in this song we’ve made the most changes compared to the original. And I clearly consider it the best track of “Redeclaration of War”! Q. Do you have any new music in the works, maybe even working towards a new album? JIM: Yes we have already finished two new tracks plus 2 cover versions. As for a new album, I don’t know…. As I've always said I don’t find any reason to write new music without been able to present this material live. In fact, that was the reason we changed the band line up because of the exact opposite view on live shows. I have also sworn repeatedly that I would never write a single note, not a single lyric since we were in quarantine because of Covid19. And I kept my word!! What was written in the “Dread Files” and in “Redeclaration of War” has been written since society opened again and I was not locked in the house, writing music in order to escape from my misery. However as I said we have 2 new songs and maybe we will compose another 2 but we think that we should probably find a new European label to move to! Finally I would like to add that we make remixes with other bands from time to time. Q. How has the sound and direction of the band changed over the years since you started and what direction do you expect to take in the future? JIM: There is always a slogan that says: “PREEMPTIVE STRIKE 0.1 never release the same record again!” So even though our basis remains the industrial genre and sound, we have mixed it with different styles as dark electro (“Lethal Defence Systems”, “Through the Astral Cold”, “The Dread Files”), aggrotech (“Extinction Reprogrammed”), goa trance(“Progeny of the Teknovore”), extreme metal with hard guitars(“Eternal Masters I+II”, “Pierce their Husk”), folk and traditional elements and organs(“The Kosmokrator”, “T.A.L.O.S” and most of all “Epos V”)!!! So we change our style and music direction from record to record. But if I had to make a prediction I would say that we will continue to the pure dark electro style!! Yiannis: I believe that each period of our life has different elements in general. This is reflected on the way I express myself through music. The main direction is for sure dark electronics but elements from techno, industrial and trance will always be there. Q. Who have been your top three music inspirations of the past, and who are your current top three inspirations or favourite artists in the industrial world? JIM: Very good question! When I started PREEMPTIVE STRIKE 0.1 my top 3 music inspirations were DECODED FEEDBACK, SITD, SUICIDE COMMANDO and I will add also E-CRAFT. Currently my top 3 industrial favourite bands are FRONT LINE ASSEMBLY, NUMB, DECODED FEEDBACK and if we talk for all time favourites I would added FEINFLUG and FUNKER VOGT (until “Companion in Crime” and the departure of Jens Castel) Yiannis: As I’ve mentioned before, I find myself related to different sounds and styles according to the current period of my life. So during this period my main inspirations are HAUJOBB, RHYS FULBER, NOISE UNIT and also to mention DECODED FEEDBACK. Q. Is there a favourite funny or important moment story from your music career you can tell us? JIM: As regards important moments yes, it was in our gig in Belgium back in 2020 when I really felt proud and for the first time I saw so many people to ask for autographs and to dance like mad to our songs! And I have a funny story to share with you as well: It was 2012 and 4 days before a festival I was playing football as a goalkeeper and I cut the tendon of my little finger! When I saw it cut in 2 I thought, it's all over, I'm undergoing surgery, and the concerts are over, everything gone! Eventually I tied it with bandages and it fixed itself. The concert went fine but my left hand was like a mummy from the so many bandages!! Q. What life lessons has being in music taught you all, and what would you change about the scene if you could? JIM: Being in music over 25 years taught me one and only thing: The only that counts in music scene is the GIGS!! Everything else is currently fake and digital! The views, the likes, the shares are all a lie!! Do you want to grow? Do concerts, otherwise you will remain nothing! You will remain a digital presence and then another digital presence will listen to your music today but tomorrow you will be forgotten… But if they see you play live they will never forget you! If I could change something yes I would like more print magazines to be published as the old glory days and of course to be able to organize festivals with smaller bands and not all the same and the same big ones… Q. Anything you'd like to say to your fans? PES0.1: We are still alive and we will write music if there aren’t new quarantines and if there are concerts on the horizon. Do you want a new album of PREEMPTIVE STRIKE 0.1? Go find your local promoters and suggest our band for a gig!! Then we will have a serious motivation to write a new album full of energy, emotion and passion and not an uninspired and miserable one!! Review Starting off with 'The Base Was Overrun' makes for a chilling setting. Having been playing a lot of dystopia games recently, the softly spoken samples that has been added in to its beginning this time around about losing a base to an overwhelming attack, certainly creates quite the atmosphere! This track is both a calm before a storm and the quiet devastation after a previous one. You get a little lost somewhere in the middle of hope and despair as you sway softly to the beat. 'Lethal Defence Systems' is a nice stompy piece of industrial dance aggression with the signature cyber drum beats and the chillout sessions between, not quite one for the dancefloor with its tempo but definitely one that provides the ideal at home feel of industrial you want that mixes all of the good and heavy parts of industrial in to a smooth and easy listening piece. "Resist, resist, resist and fight!" Of course this release would not be complete without the self titled 'Preemptive Strike'. It's one of those classic industrial rave like tracks that all of the last two decades did so well. Just the right amount of synths, samples, aggro vocals, drum loops, and section drops. A great piece that really does deserve another play or twelve! 'Declaration of war' strums out the military march drums and drill Sergeant-esque samples amongst the sirens, drums, and foreboding of warfare. A visceral aggrotech vocals backed up subtly by distorted guitars makes for a heavily destructive piece to damage dance floors to. Maybe not most reassuring track for the mind considering the way the world could end up very soon but at least it would make for a great soundtrack! 'Robotic Disintegrator' carries on with that same amazing aggrotech growl and dancefloor stomp vibe that we've all known and loved over the years. it's nice to hear that voice sample say 'JUGGERNAUGHT' again! I had almost forgotten about that great little hook in the track. We are treated to an industrial telling of Greek Mythology in the form of Jason's Argonauts. This is a slower more progressive beat that again is an easy listening piece that can be both background industrial chillout, or turned up loud to get dancing to which makes for a fine balance. Tracklist The Base Was Overrun Lethal Defence Systems (2002 Version) Preemptive Strike (2021 Version) Declaration Of War (2021 English Version) Robotic Disintegrator (2021 Version) Epos Of The Argonauts (Dark Mix) Conclusion This release is a really nice touch. It's always great when bands release unheard demos or mixes and give them a modern day production upgrade. Releasing in cassette format does bring out the retro collector vibe but as a digital release will certainly (Or at least should) put Preemptive Strike 0.1 back on DJ sets and playlists everywhere once more, which is where fan bases are made... Scores Technicality: 7.5/10 Soul factor: 7/10 Energy: 7.5/10 Vocals/Samples: 7/10 Re-play value: 6.5/10 Overall score: 7 / 10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

Against I release an impressive EP that really showcases Fredrik Croona's signature sound. Mix that in with a damn fine overall concept and remix from Teknovore, and you have yourself some dancefloor smashing audio! Swedish industrial act, Against I has just unleashed their new EP, O.M.G. Against I is fronted by Fredrik Croona (Cynical Existence/Menschdefekt). O.M.G. stands for Obscene Morbid Gore. The four tracks on it brings together the darker parts of humans. death, murder, greed and hate. The red line that goes through all tracks are these things. Musically the songs continue what the 'Scum' single built up, but with some more refinement. The EP also contains remixes by Teknovore, and DeathVerified. O.M.G. is available NOW in digital format on all streaming platforms including Bandcamp! Review The title track 'O.M.G' (Obscene Morbid Gore) kicks off with a throaty guitar riff that gives way to flowing electronics in a waltz of electronic stand off with one another making for a really interesting basis for the sound of the track; It is both heavy and relaxing at the same time, a real mind screw of pleasure. Fredrik's vocals are that same beloved growl he is known for that really add a fine tuned edge to the emotion of the song. Lyrically the tracks lends itself to what I imagine to be a great sing along hook for live shows! 'The Other Half' builds up a nice electronic sense of excitement, a little like the Mortal Kombat theme does. This track follows a similar fashion to the opening song but the vocals take on more of a punk visceral guttural punch. It retains that electronic rave energy in amongst the guitars that really peaked my love for the music of Menschdefekt; A really energetic bounce of a track that gets you moving, and thanks to the lyrics, thinking too.. Quite strangely 'Disgust' doesn't seem like a separate song to the last, instead it sounds like a continuation of the previous track but cranks the electronics, guitars, and vocals up a notch. Like someone mid argument suddenly swinging in to .. "And here's another thing..!" before carrying on their angry tirade. Next up is 'Scum', check out our full 8/10 scored review of 'Scum' HERE Next up is Teknovore's remix, an artist who I only just gave 10/10 for his new album in the article before this. Once again Teknovore has given his Midas touch to music. This track has now been sharpened in to a fine rave industrial point, desperate to be loosed from the bow of the DJ decks and through the hearts and chests of everyone of everyone within ear shot. The treble has been toned down, the sharp lyrics have been smoothed and streamlined, and the electronics have become horrifically deadly; Especially in the tasty drop and change of pace at 2:53. 'Scum' now sounds like an Aggrotech classic! Finally Death Verified's remix pulls at the threads and essence of what makes the track up, using little pieces here and there to warp the sound and pull at the threads of the electronics bringing emphasis to some pieces and leaving behind others in a loose trance format. Tracklist O.M.G The Other Half Disgust Scum Scum (Teknovore Remix) Scum (Death Verified Remix) Scores Technicality: 7/10 Soul factor: 6/10 Energy: 7/10 Vocals/Samples: 7/10 Re-play value: 8/10 Overall score: 7 / 10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

Recently I gave Teknovore's single 'Anachronist' the highest score on E.V so far (HERE) and I have been very excited to move on to this. Industrial music as one of my main interests goes without saying but throw in Ancient Greek Mythology and Philosophical samples in to that mix and you've really cornered me in to loving something! The ship of Ancient Greek hero Theseus was a ship Athens kept maintained for posterity however once all of the pieces had eventually been replaced, could it really be called Theseus' ship anymore? As I listened to this album and felt it bend my mind in and out of reality I thought to myself.. If our personalities are made up of our experiences and choices, with every track listened to can anyone truly claim to still be who they were before they started listening? Having since read the below info for the album, it seems Teknovore really can engrain a masterful story concept in their music without prior knowledge of it! The Theseus Paradox is the debut album from Teknovore, the solo project of George Klontzas (formerly of PreEmptive Strike 0.1, Croona and Cynical Existence). It was created following a period of introspection and driven by a desire to experiment with a variety of electronic genres. The album takes its name from the Ship of Theseus, a thought experiment that raises the question of whether an object that has had all of its components replaced remains fundamentally the same object, and how it applies to the human condition. As we live and grow, and every cell in our body is gradually replaced over time, where does our consciousness reside? What ensures the continuity of the self? The Theseus Paradox showcases Teknovore’s uniquely personal blend of dark electronic genres with influences ranging from mid-tempo EBM and EBSM to dark Psytrance and Techno. The tracks hit hard and aggressively with tribal beats and massive melodic sequences, and feature guest vocals by rising star Jay Taylor (J:dead), and scene veterans Fredrik Croona (Neon Decay) and Jay Ruin (RNZR). The Theseus Paradox is set for release on 18th March 2022 on Infacted Recordings. Teknovore is the solo project from George Klontzas (formerly of PreEmptive Strike 0.1 and Croona) created in 2020. They first drew attention with the release of their first songs Olethros and Take Me Away leading to interest from labels and their collaboration with rising star J:dead on the hit single Tearing Me Apart. Soon they were signed to Infacted Recordings and released the single Anachronist in February 2022 in advance of their full-length debut The Theseus Paradox which is set for release on 18th March. Teknovore takes inspiration from a range of electronic genres, from brooding, mid-tempo EBSM to aggressive dark Techno and Psytrance, while keeping one foot firmly planted in EBM/Industrial to forge something uniquely personal. They explore the themes of cosmic indifferentism and the metaphysics of identity through their music. Review (I had finished this review with some of my best writing so far when Wix crashed including all of the restore saves! This review is a desperate and somewhat unsuccessful attempt to remember the original and more eloquent version of my review!) 'Take Me Away' opens up with what I can only describe as industrial ASMR, it soothes and tingles the brain with anticipation. We are once again treated to the vocals of Jay Taylor aka J:dead, which is an artists E.V has covered a few times now; I originally likened his vocals to the 80's synth style that makes him sound like the next Human League but from a modern generation. These vocals continue in that electric fashion. This is a tale of two songs, the first of which feels level and controlled, the second of which seems bound full of frustration and fury even though they are essentially the same. What divides them? Jay's vocals come to a close at the first half, introducing a faint radio broadcast to the listener, desperate to make itself heard. The listener is then audibly thrown back into the simulation but now the second half to Jay's vocals sounds furious and frantic at the revelation. The track fades out with a touch of loneliness leaving way for the broadcast once more. There is a real intelligence and creative mastery to the way this song is crafted. 'Apotheosis' continues with similar energy with philosophical messages of man and God set amongst intense, dance heavy industrial alongside the mind expanding feel good of psytrance. This track and album as a whole should be labelled 'Serotonin Dispenser' because that's how powerful it feels for the soul, and it sends actual waves of pleasure through my skull. The voice samples certainly continue to add to the concept of the album. Deep .. 'The Seal Becomes the Gate' is basically the ultimate theme track to a horror film in a trailer. From spoken Demonic samples and retro spooky slow piano section, to the fierce beat industrial and the stomp-demanding drum loops.. This IS the track 'Christian Moms' try to warn people about! This song both creeps me out and spikes my adrenaline excitement in equal measure. It's great to have some fresh Terror EBM to hit the scene again! This sudden jump in to the heavier side of things is certainly an interesting surprise. We are treated to another story revelation with the opening of 'Vox Machina'. The opening drop is teased a little longer than you'd expect but jabs you in the face as soon as the first hint of doubt enters your mind. This is the musical equivalent of being on a canon shot rollercoaster. The genre itself has slipped back in to that powerful mix of industrial and EDM, and continues the non-stop dancefloor power of this album. Any Psyclon 9 fans? Well 'Relinquish Your Flesh' gets its claws in to you thanks to the distorted growls and yells of Neon Decay in the best kind of Hellektro kind of way. There's a real emotional feel to this track.. Deep, angry, and invasive. The change of direction is again surprising but mixes in amongst the album seamlessly. To flow in and out of sub genres from track to track is an impressive feat few other industrial artists could match! (Although ESA certainly is a master at this too!) I had listened to 'Make Us Whole' a few fair few times before I realised in amazement that the song samples, and references the 'Dead Space' game franchise. I instantly had to ask George if the inspiration and samples were indeed Dead Space, and its true! This choice of sample and addition layer to the story story's overall concept, is impressive. This techno rave of epic audio ingrains a deep sense of foreboding and further provokes thought and mind altering twists. I recently reviewed 'Anachronist' with a score of 9.8/10, the highest E.V score yet! You can see the whole article on this awe inspiring stomp fest HERE 'Split The Sky' slows down the pace to a chilled, bass heavy beat which still continues the deep thumping of industrial creating deep satisfaction within your core. The female vocals weave themselves trough the tracks and around your ear canals in an almost mystical resonance. This ability of Teknovore to flow in and out of genres and tempos at will is like strolling through a display of different fine works; It's easy to get lost in this audio and it feels like an art gallery for the mind. With every track my mind has been blown and I'm not sure how safe that is to keep doing in a short amount of time! 'Every Beaten Bone' was the first track I heard after reviewing 'Anachronist' and I jumped for joy hearing the instantly recognisable vocals of J:dead. The sheer aggression and passion launched from the visceral vocals males for one hell of a mosh pit candidate! To have two J:dead vocal tacks on this album makes it all the more sweeter. Just like Metal has sub-genres that have become their 'almost' individual genres, Industrial of course has this as well as we all know.. However this track feels like a whole new branch of industrial metal unto itself and takes on a much more faithful approach to industrial as a whole approach. Once again Teknovore absolutely belts us with a sub genre we were not expecting. This powerhouse of a song is an adrenaline shot to the chest and a skullf**k for the mind and is quite possibly going to be my personal song of the year because never before has music that crossed my desk been THIS GOOD! One of the translation for 'Olethros' is the destruction of flesh and is not the the goal of psytrance to take your mind out of your body? This track indeed feels like it is stripping away the last remaining layers to expose your soul before the musical universe. There is a real feel of the ancient in the female vocal chants, as well as the spoken samples that bring reference to 'Oletheros' (Also being the Greek deity of Destruction.) This touch of ancient smashed in amongst an intense dance firestorm of modern energy really does strip that metaphorical flesh from your bones leaving you ready for the final track.. Human cell replacement and the perception of self within the human condition introduce 'Continuity'. There is a profound sense of analysing consciousness and what it means to be alive and perceived by others both from the sampled words and the cinematic audio. Not only does this format so brilliantly bring to a close the concept of the album.. It makes you realise that it has conveyed the concept and story in not only subtle and in clear ways, but also if you allow it.. interactively. It's an incredible journey for mind, body, and soul. The outro feels lonely but enlightening, leaving yourself open to either the void or to an awakening, your choice.. The end feels full of trepidation and heavy with expectation much like the cliff hanger ending of the Dead Space saga now I come to think of it! Tracklist Take Me Away (feat. J:dead) Apotheosis The Seal Becomes the Gate Vox Machina Relinquish Your Flesh (feat. Neon Decay) Make Us Whole Anachronist (feat. RNZR) Split The Sky Every Beaten Bone (feat. J:dead) Olethros Continuity Conclusion This may very well be the album that truly kicks off the Industrial Psytrance sub-genre exploration for other artists. One of a handful of artists who are really smashing the Industrial world apart with their incredible talent and genre bending. George Klontsaz has made some great music before but this 'debut' album for Teknovore is an incredible display of artistic audio mastery and thought provocation; This is Michelangelo's David! Just like Heilung reach out with living history ritual music, Teknovore reaches out with modern electronics and engrossing synths, both of whom create a similar spiritual ecstasy experience. Music is an expression of the soul and this album creates a fugue like trance to examine yourself and the world around you. This release is full of positive endorphins and smashes out memorable dance heavy track after track and I am in absolute awe of how many tingles this album sends through my brain no matter how many times I listen. This is one of only a handful of albums I know of that can intoxicate, bend your mind, and send you high as Olympus; So how on Earth this album is pre-order for only $9.99 is beyond me because it truly is A grade material. I cannot begin to imagine how good all of this would sound like! Lets see what the future holds for EVM events.. Pre order HERE Scores Technicality: 10/10 Soul factor: 10/10 Energy: 10/10 Vocals/Samples: 10/10 Re-play value: 10/10 Overall score: 10/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

A powerful, emotional, mosh rave anthem comes your way in the form of 'Get Out'. With the current situation in Ukraine it is great to be able to feature BLAZERJACKET who are Ukrainian; Never more so has a song felt so poignant! Ukrainian dark electro band, BLAZERJACKET is pleased to unleash their new video and single, "Get Out". The song addresses the ease of being drawn into Stockholm Syndrome and the severity of the consequences. You have to get out of the abusive and parasitic society. By just noticing the first signals, you will feel better. BLAZERJACKET is a couple of crazy creators who are constantly experimenting with sound. The change in the vector of their art is as unpredictable as our lives. Danceable beats, powerful bass, and crazy synths are always part of any new BLAZERJACKET formula. With "Get Out", BLAZERJACKET plays in the arena of Dark Electro and EBM together with DIRTY BIRD 13; a band known for inhabiting this territory. BLAZERJACKET is a resident at the International festival Comic Con Ukraine - a speculative fiction entertainment, annual exhibition and fan convention of computer and video games, TV series, and comic movies in Ukraine. In 2021, the song "Get Out" was first performed at the Comic Con Ukraine music stage before the official digital release. The band managed to capture the moments of that performance and insert them into the video. Review There's nothing quite like a good shouting fest of lyrics mixed in amongst blistering electronics. There is plenty of bass, synths, drums, and aggression to lay out a feast for the soul in the form of musical satisfaction. This track has a little something for everyone with different hook and loops that will get even the most stubborn person bouncing along to the beat.. There's even a little hint of B-Movie sounds in the form of I presume a Theremin at 2.56 which is a real nice touch. The track over all has an edge of industrial metal but it really does incorporate a lot of genres influences in to just over four minutes. The emotion and passion in the song is potent and full of life, It's a rare thing to see industrial mosh pits but how I would love to be in one during this track! If you find the edge of aggression a bit too much, the single also includes an instrumental version which when listened to without the lyrics, feels like a real flex at other artists in the form of mixing together a lot of ingredients and creating something truly outstanding. It's pieces of music like this that are the sound track the world needs! Nah... Who cares (about) his principles Falling down the stairs And get lost forever from my line of sight Get out! You better believe me Get out! They want to control Get out! You better, believe me Get out! They want to DESTROY Tracklist Get Out Get Out - Instrumental version Scores Technicality: 8/10 Soul factor: 8/10 Energy: 9/10 Vocals/Samples: 7/10 Re-play value: 9/10 Overall score: 8.2/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

There is a renaissance happening in the dark electronic UK scene and the wider world, genres are mixing, artists are pushing boundaries, and the incredible releases I am hearing recently are really setting the stage for UK artists in the Goth electronic and industrial world to take centre place. This album is a fantastical dance of pure bliss. The Bitches Potion had me under its spell immediately and I reviewed it in one sitting of the album, something very, very rare for me which is a testament to how entertaining it is. (Well, I did listen to the track 'HEX HEX' A lot though!) Following on from their successful debut EP, "BEAUTIFUL DESTRUCTION" (self-released March 2021), UK's SIMON CARTER has again decided to team up with Germany's original bad witch FABSI to release the full-length album, "THE BITCHES POTION". This dark, gritty, dirty, and oh so witchy Industrial-Techno album is sure to conjure up a bit of magic on any dancefloor. Listeners are treated to 11 original, DJ-Friendly tracks, accompanied by 7 remixes courtesy of TEKNOVORE, MOAAN EXIS, MATT HART, RUINIZER, HUMANS CAN'T REBOOT, SD-KRTR and NARCONIC. Review Firstly this is a big album, with eleven great tracks followed by seven remixes, it's one hell of a good value release. Therefore I can't fully comment on every single track but I will certainly shine a light on the finest parts. Dark industrial techno with female vocals, plenty of which are in German is certainly one way to get my undivided attention and this album pretty much hypnotised me the whole way through which I suppose is something witchcraft and music have very much in common.. The power to bring their marks' to their knees, and their jaws to the floor.. The album opens up in a very pleasing manor of introduction to the style of techno in store but takes the training wheels straight off with 'Hex Hex'. The thump, thump, stomp of the track entrances you and makes you feel safe within comfortable memories of dancing in nightclubs on only the best of nights out. At '1.44' the lyrics and the magic begin. The techno beats heavier and stompier, the sense of serenity becomes overwhelming and the sense of flirting with danger on an ever more dangerous dancefloor takes hold in your mind. What you are experiencing is a trance fugue state only the most talented of techno artists can cast, each build up and drop sends waves of adrenaline and dopamine spiking in equal force. The lyric's are also fantastically poignant.. Wir sind die Hexen We are the witches Wir lieben es zu hassen We love to hate Wir sind die Hexen We are the witches Wir werden dich nicht bestimmen lassen We will not let you determine Wir sind die Hexen We are the witches Mit Kräutern und Kerzen With herbs and candles Wir sind die Hexen We are the witches Du kannst uns nicht beherrschen You can't control us As if that wasn't enough 'Beautiful Destruction' continues to enthral with a similarly powerful bass and beat set. The break down at 1.42 had me hooked and left me deeply satisfied for the remainder of the track. It's easy to get lost within audio like this. First premiered by MATT HART during one of his Outlaw Vision stream's, this track deserves a lot of recognition. It is great that every track on this album does sound very different to one another even within the usually limited confines of techno. 'Pink Queen' takes on a more chaotic range of samples, and 'We Are The Witches' takes on more of a song structure and 'house' style sound to it whilst seeming to carry on lyrically from 'Hex Hex' which is a nice touch. 'Manifestation Spell' hits hard, fast, and deep, with a great progression of samples loops, and vocal affirmations. This track seems to be shining a light on the real side of witchcraft, the helpful and positive, empowering magic and thought process of witchcraft through the medium of music; And tune fed serotonin is certainly a beautiful representation of it that the world needs far more of! Take a deep breathe in with the industrial and out with the techno as it flows in waves during 'Musik Makers'. This is the heavier, darker EDM the scene has been leaning towards but in such a smooth and meditatively primal sense of connecting with the rhythm and samples and letting yourself go completely. You remember that bloody awful Doctor Who episode with the creepy A.F WW2 children? (Yea, I wish I didn't either!) Well buckle the F up.. Simon Carter and Fabsi are about to make you really uncomfortable but in the most comfortable of formats, through dance! I both absolutely hate and absolutely love 'Nanobots (Are You My Mummy?)' in equal measure. Proper horror show stuff this banging grove.. *Shudders* I don't remember much before the drop in 'This Is Only A Test' at the 1.54 mark because my brain melted.. I thought I had them just about in my skull again until 3.48 and I proceeded to spill them once again.. The strange thing here? The track is quite simple and doesn't overly stand out amongst the rest but something in its composure sent the weirdest waves through my neuro-divergent brain that can only be described as a cheesy grin with two thumbs up! By 5.34 I think there had been some permanent damage.. Love it. Now for the remixes.. Enter Teknovore's first official remix with his 'Hex Hex' remix and wow.. this sends chills down spines, and stomping feet through floors. It is somehow more ominous and powerful. This is a rollercoaster of dreadfully awesome proportions, like dancing in a Vampire nightclub and feeling vulnerable yet untouchable the whole way through. It sure is great to see Moaan Exis listed too, and they bring quite the thrill and injection of speed freak energy to 'The Witching Hour' that packs one of the hardest punches music can deliver. MATT HART also bring a stronger trance and EDM vibe to 'We Are The Witches' which is so out of character for his music which makes this truly special and unique! Ruinizer (RNZR) brings a chaotic melody of distortion and hell-scape fire in his impressive remix of 'Pink Queen' which makes it so full of depth and meaning beyond words which only a truly talented artist like Jay Ruin can achieve. The final three remixes are much more towards the trance and lighter side of EDM which makes for a nice exit to a very intense album! Tracklist The Witching Hour Hex Hex (Wir Sind Die Hexen) Beautiful Destruction (Album Version) Pink Queen We Are The Witches Manifestation Spell Musik Makers The Wiccan Dance Nanobots (Are You My Mummy?) This Is Only A Test Get Out Of Here ..... Hex Hex (Wir Sind Die Hexen) (Teknovore Remix) The Witching Hour (Moaan Exis Remix) We Are The Witches (MATT HART Remix) Pink Queen (Ruinizer Remix) Manifestation Spell (SD-KRTR Remix) The Wiccan Dance (Humans Can't Reboot Remix) Hex Hex (Wir Sind Die Hexen) (Narconic Remix) Conclusion Simon Carter and Fabsi have crafted something truly epic in this album. Each track is like a different barbed arrow specifically designed to get you hooked and stick fast into your mind for a very long time. It is not often such an incredible album is conjured up and blasted out to set ruin to dancefloors everywhere but here one sits. Ready to ruin and break in fresh Goth and raver boots of all fans of electronic music. Truly a fine piece of work that deserves all the success in the world. Scores Technicality: 9/10 Soul factor: 9/10 Energy: 10/10 Vocals/Samples: 9/10 Re-play value: 10/10 Overall score: 9.4/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

How to instantly put a smile on my face: Play me a track that mixes dark techno, aggrotech, and a hint of trance/psy-trance in a 'crunchy' formulae and I am hooked. This 4 track release has me STOMPING! This is one of the finest pieces of music to grace my inbox. Please get yourself acquainted with it! Teknovore is the solo project from George Klontzas (formerly of PreEmptive Strike 0.1 and Croona) created in 2020. They first drew attention with the release of their first songs Olethros and Take Me Away which led to various remixes, interest from labels and their collaboration with rising star J:dead on the hit single Tearing Me Apart. Soon they were signed to Infacted Recordings and are set to release the single Anachronist in February 2022 in advance of their full-length debut The Theseus Paradox. Teknovore takes inspiration from a range of electronic genres, from brooding, mid-tempo EBSM to aggressive dark Techno and Psytrance, while keeping one foot firmly planted in EBM/Industrial to forge something uniquely personal. They explore the themes of cosmic indifferentism and the metaphysics of identity through their music. Anachronist is the new single from Teknovore taken from their upcoming album The Theseus Paradox to be released on 25 February 2022 on Infacted Recordings. The song features hard and aggressive Industrial Techno beats yet maintains a melodic edge throughout. Vocals, guitars and additional programming were provided by RNZR (Ruinizer), hot off their comeback single Celebrity Slave. The song is about changing one’s perspective as the world ever shifts around us. It is a condemnation of those who have let the world pass them by, sleepwalking through life, becoming obsolete. The single releases digitally alongside a cover of Dark Soho’s dark Psytrance classic 'Save Me God' with vocals by Siva Six’s Z, and remixes by XOTOX and Aircrash Bureau. Review 'Anachronist (feat. RNZR)' - (RNZR being the rebirth of Ruinizer who was kind enough to do one of Elektro Vox's two theme tracks.) This track has a lot going on. From the lowkey introduction with a female sample and an increasing beat reminiscent of the great industrial tracks of the last two decades, to the dark techno pulse pounding jaw gurning beats; Topped nicely by premium aggrotech style growls, only to be slowed down and taken a step in to the realms of absolutely slapping psy-trance; This track has it all. How on Earth it has managed to do so and still remain a coherent and structured track is beyond me because this track is the beauty of historical chaos made in to perfect modern day beat order. It's like being lead through a timeline of industrial styles with effortless clarity and it is absolutely beautiful! 'Save Me God (feat. Z from Siva Six)' certainly doesn't break the pace, even with a spookier intro during the beats and the creepy voice samples during a quiet phase to set the tone. The track belts back in to life with the vocals, more reminiscent of Hocico's style. This is a powerful and foreboding nightmare of Gothic dark dance macabre. The perfect anthem for Halloween or a supernatural endeavour. The guitars near the end add a real flourish of energy and intensity to the pace. This cover track sure does justice to the original. 'Anachronist (Xotox Remix)' brings the 'oontz' and focusses the song down to just one style with its thudding loops and rave synthetics. A simple yet effective track that breaks it down to the bare bones of what it is to enjoy industrial music and is almost primal in that sense. 'Anachronist (Aircrash Bureau Remix)' follows the same focussing line as the previous remix at first but on the other end of the spectrum with it's heavier bass and beats; It then powers you through those Aggrotech growl sections and slows you back down for the melody and samples which start getting you ready for your brain to flush out those endorphins.. Then.. One of the best psy-trance drops I have ever heard blows your mind.. This remix magnifies that display of industrial styles from the original version even more so. Getting lost in this audio is like a full service and MOT for the mind! Tracklist Anachronist (feat. RNZR) Save Me God (feat. Z from Siva Six) Anachronist (Xotox Remix) Anachronist (Aircrash Bureau Remix) Conclusion I've never found it easy to review a single before, usually writing more about less content is a difficult hurdle. This Single however just made the words flow out with ease. Each track sounds different so you're only just about aware you're listening to 'Anachronist' three times, so it feels like there's a lot more to offer in this single than usual. Anachronist is a fantastical journey through time, space, and bass! A mind bending journey of epic proportions crafted in to just a few incredible tracks. I am already extremely excited to review the upcoming album 'The Theseus Paradox'! Scores Technicality: 10/10 Soul factor: 10/10 Energy: 9.5/10 Vocals/Samples: 9.5/10 Re-play value: 10/10 Overall score: 9.8 / 10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

We return to the universe of Outlaws desperately surviving against machine overlords in an a total war for Mankind's survival which has always been MATT HART's concept but never more so than with his last album TERRA 3808. In this recent release we find the Outlaws in an ever more perilous endeavour. The music itself has evolved in multiple ways bringing rich variation to his sonic arsenal. Anyone played Frostpunk? Think that set in the Terminator world and instead of Steampunk, it's cyberpunk warfare. MATT HART - UK industrialist, dark alternative, electronic artist–sophomore album, BELOW THE TERRA PT.1(15/03/2022). Following on from the success of the first single TO THE CORE(15/11/2021–reached #1on the Twitch 2021 chart countdown via the premiere dark DJ channel InsertScaryNameHere) and most recent single DECIMATE(17/01/2022), this album will undoubtedly build anticipation for what else is to come! 15/03/2022–MATT HART–BELOW THE TERRA PT.1 Welcome back to 3808. The icy wastelands: the year that defies time.... a frozen overworld, barren and owned by the machines. Below the surface, barely surviving are the outlaws. The last of humanity, persevering and worked hard, mining as deep as possible. Their journey to reach the FIRE WELL, the lone source of heat and energy, has begun. Join them and feel akin in their struggles as the soundscape of this album delivers dark electro through industrial and industrial bass to create club anthems and dystopian in-your-face grit. Moving forward from the guitar driven TERRA 3808(02/11/2019), this more electronic direction delivers intensity and destructive beats, while having catchy melody. On these 9 tracks, conjure up some hope–while realising the reality of the challenges which lie ahead for the outlaws. For fans of: ESA, 3TEETH, Hocico etc. MATT HART’s signature sound of industrial electronic metal forged with driving beats makes this album, pounding and relentless in energy, but also takes on layers of complex instrumentation–which will have you excited to get on a dance floor and then to hear more from this artist. Written and produced by MATT HART. Mixed by Adi Calef of DNA Studios. Mastered by Krischan Wesenberg of Rotersand. Artwork by Vlad McNealy of Kallisti design. Catch MATT HART performing live at Elektro Vox Music Festival (EVM Fest), the Pre-Slimelight concert on the 9th of April. He's also playing Karkasarus and Elektro Vox present iVardensphere in Camden June 1st! Review Opening with a more chilled and melodious style of industrial than we are used to with MATT HART helps to set the concept setting. The heavy guitars on this album certainly haven't gone but blend much better in to the over all sounds and allow for more of the electronics to take centre stage. Check out the music video for 'Decimate' below. 'To The Core' flows smoothly between verse and chorus with an almost chilled out 3TEETH style of sound. It captures essences of cyber, industrial, and EBM and swirls out a dancefloor track we are not used to hearing from MATT. It's a fantastic electronic foot stomper. 'To The Core' video: 'I Am Overlord' kicks in with the more old school EBM spiced with dashes of aggrotech and really strengthens the album's narrative in such a stylish way that only EBM can achieve. 'Terrorfying v.2' is a great remix that really hammers home the fear, hopelessness and frustration not just for the outlaws but for our own world as a whole. The choice of electronics as music samples is unique.. I love that this is so industrial it sounds like someone is being eaten by a rogue printer! 'Walk In Shadows' has a wonderful Kraftwerk-esque electronic voice and slow steady stomp progression that really flares a smile on to your face. It's like the ultimate anthem for technophiles or theme tune for the Adeptus Mechanicum of the Warhammer Universe. Following a similar style to the previous two tracks, 'Cathartic' sounds like MATT would only have buzz saws and chainsaws on stage in place of guitars when played live! It breaks down a little in to a more recognisable industrial groove making for a really interesting track over all. My favourite track on this album is by far the aptly named 'Last Rave' which kicks up the tempo of electronic dance. With a powerful narrative and catchy loops, it's a great outro in expectation of Part 2. Tracklist Conclusion A well rounded and intriguing album that showcases some of the most conceptual features of story telling that suits industrial so well. Each track is well placed, thought out, and follows a different avenue of musical exploration within the synthetic 'machine'. A Powerful addition to MATT HART's catalogue of brutality and the clash of musical brawling of metal on metal. Scores Technicality: 7/10 Soul factor: 6/10 Energy: 7/10 Vocals/Samples: 6/10 Re-play value: 8/10 Overall score: 7 / 10 Pre-save below: Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

j:dead is one of the most interesting and ear catching artists on the scene, putting out tracks that feel not only brand spanking-ly fresh but also full of nostalgia for what makes electronic music great in the first place. Let's explore his latest vision.. After the release of their album “A Complicated Genocide” in early 2021, j:dead are back in quick succession with their latest 6 track EP “Vision of time” via Infacted Recordings. The first single from this EP “I’ll wait” was released in Dec 2021 alongside a music video and remixes from Lights of Euphoria and TeknoVore. Vision of time will be released via Infacted recordings on the 18/02/22 both digitally and physically (with the physical edition featuring an additional 7 remixes from acts such as Rotersand, The Saint Paul, Nature of wires, Life Cried and Station Echo) The concept around the EP covers a range of situations and perspectives on time being the only thing we cannot change. And time itself can change things for the better, worse or for change's sake. j:dead have kept to their foundation of powerful vocals and strong danceable melodies yet developed their diversity of influencing - further enhancing their position in electronic music. As Vision of time is released j:dead will already be in the final production stages of their 3rd release, expected late 2022. 2022 will be the year you are never far away from a j:dead release with these two EP’s alongside further collaboration tracks and remixes. Review 'I'll Wait' opens up with the signature synthpop-cyber wave j:dead has already finely tuned himself in to. There is a good amount of energy and crystal clear vocals as usual. There are some points where Jay has pushed his voice a little far and sounds a little forced, but the rest of the vocals are on point and more than make up for this. There's always a great structural mix of meaningful lyrics swathed with catchy as hell electronics and this track is no different in that formulae of dance endorphin highs. 'Whole' has a nice and soothing chorus amongst the relaxed first half of verses, which is met by emo like aggressive retorts in the later half intermixed between that soothing chorus - making for a very interesting juxtaposition of emotions. 'Hold Tight' is a progressive stomp of similar fashion to the previous song. The array of emotion and ways to display them mix well in amongst the memorable electronics. 'Afraid' has a much more powerful scream range and dance heavy beat similar to that of the previous release of 'A Complicated Genocide', this is the type of track Jay really excels at. Finding that fine point between what makes metal music and industrial music blend well together but more balanced towards the electro-industrial rather than the metal as is the usual standard mix amongst other artists. In short.. This is a great track that promotes a formulae of music rarely heard before. 'Evil In A Bottle' seems like a tragic lullaby for the senses after the previous track; The type of song that plays out the end of a very, very long night as you slip in to spiritual satisfaction and bodily exhaustion. A very peaceful track overall. 'A Little Time' is another great addition to the j:dead catalogue to finish off with. It seems to be a jubilant mix of all the other tracks on this release in to one last sortie of dance and emotional outpour. It's constant and steady beat makes for easy listening. Where this release truly becomes a must buy however is in the remixes available on the CD! Part of me really hopes j:dead releases them on to other platforms like Spotify eventually however so I can easily add it to my driving playlist! The Teknovore and Rotersand remixes are my two favourites amongst the host of great remixes. Each mix brings a whole new life and feel to each song and ups the ante and energy 10 fold, you really do need to go hear them. Tracklist As you can see, the CD version has a lot of great remixes to discover as well! Conclusion Another fine release from one of the rising princes of industrial. Although not quite as favourable as previous releases personally, I still find this release worth a spot on everyone's playlist none the less. As I already mentioned, Jay has bridged that much needed gap of industrial and Synthpop meeting metal vocals that makes for a unique and relatable musical experience, one in which the industrial scene has been surprisingly lacking; Usually favouring heavier metal intermixed with industrial rather than joyous synthpop mixed with some metal aspects. This makes j:dead stand out and I for one will be routing for every release he can manage to blast us with in future! Scores Technicality: 7/10 Soul factor: 7/10 Energy: 7/10 Vocals/Samples: 8/10 Re-play value: 7/10 Overall score: 7.2 / 10 (Add +1 to all scores if counting the remixes) Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

Having heard most of the new tracks live at HRH Goth (Full review and video interview with Massive Ego HERE) I already knew that this EP was going to sound great. Not only does it radiate the wonderous and joyful electronics and sheer class that Massive Ego is known for, it also continues to accentuate the depth of concept the band can play so well on. Marc is always singing lyrics with a far deeper meaning than you might realise at first. This EP goes down like a decadent absinthe for the soul.. Powerful and thoroughly satisfying. After a long period of forced isolation, distanced from a pandemic weary society, starved of any interaction with their fellow earthlings the new EP reflects on where we are now as a species. THIS IS OUR REALITY. THIS IS THE NEW NORMAL. There’s something for everyone on the new EP. The opening song and somewhat controversial first single You Will Comply (released 01/10/21) saw the band comment on the pandemic generation and the current reality the world finds itself in. “It certainly wasn’t anti-vac as some seemed to think, instead it asked that we remember to question authority instead of being silenced for fear of being coined ‘tin foil hat wearers’ or being shut down by a public that’s quick to jump on those who speak up in today's cancel culture. The lyrics are ambiguous to open dialogue, and not just accept being under the rule of corrupt Governments, the powerful and global pharmaceutical companies”. The artwork is self explanatory, it's the New Normal of the title that we have to be vaccinated to carry on with our lives, this is the normality of our being at the moment. It's a visual interpretation of that , neither commenting for or against being vaccinated. - Marc Massive (Singer) Fake Star reflects on an ever-changing night sky overpopulated with Elon Musk’s man-made machines circling above our heads, questioning mankind's interference with the solar system given our track record here on Earth. The lyrically dark and pure electro sounding single Dead Eyes Black brings the tempo back to the clubs and the dance floor, where jolting and pulsating beats guide the listener down a solitary road of self-destruction, revisiting a familiar subject matter for the band. With an equally dark and nightmarish vision directed by video visual artist Javier Gallego Escutia. “We’re known for producing tracks you can dance to and Dead Eyes Black proves this with its kick drum beat that anyone would find hard not to move to. My favourite kind of track to play live and watching the audience react is everything”. - Oliver Frost (Drummer) Whilst the gothic undertones and subject matter of The Vampires Wife with its clean synth-pop driven sound is sure to strike a chord with the dark scene. The four on the floor future club hit Not Without Consequence could almost be the big sister to the popular live Massive Ego track ‘Haters Gonna Hate', complete with acidic vocal delivery and banging hard beats, this rounds off The New Normal EP. As eclectic as usual, the new songs on the EP play to the bands’ strengths of what made the first album 'Beautiful Suicide’ such a fan favourite. The EP marks a return to form perhaps, characterised by catchy synth-pop melodies, but with a sprinkle of darker 80’s sounds. No surprise then that Marc Massive made a cameo appearance in the latest video for legendary 80’s band Duran Duran for their single Anniversary. Massive Ego has already began working on a new album for 2022 with a new line-up and a returning familiar face in the form of Lloyd Price who was a major contributor to the sound and production of their first album on Out of Line and biggest club hit ‘I Idolize You’. A fourth new member in the shape of Porl Young comes with a healthy goth-pop history behind him as an ex member of the 90’s UK goth band Rosetta Stone, and guest appearances on tracks by The Mission, bringing a guitar element to the Massive Ego sound ahead of a string of festival appearances in 2022 including… Plage Noire - Germany 6-7th May Out of Line Weekender - Germany 12-14th May Castle Party - Poland 8-10th July Alongside other European festivals to be announced and a European tour later in the year. Massive Ego might just have teased an exciting new future, not afraid of change, with an eye on the past but with a most definitely forward-thinking mind. Massive Ego is Marc Massive, Oliver Frost, Lloyd Price and Porl Young. Review 'You Will Comply' is another track where the band directly take on modern events and people's relevant behaviours in the world we find ourselves in. This track does exceptionally well in its story telling through structure and form of the beat and vocals. 'Fake Star' brings a sense of the nostalgic with a telling of the new world overtaking the old. There is a tonal feel of decades past in its almost retro-wave beat structure but still undeniably modern and poignant of lyric. 'Dead Eyes Black' is another great addition to the Gothic dance floor anthem catalogue Massive Ego has produced thus far. This track would feel at home on any Gothic or electronic dancefloor. It is both easy listening but just as easily dance-centric. I can imagine enjoying this track at 3am on a packed out dancefloor whilst those upon it start to flag and appreciate the less intense beats and arm flowing rhythms at the later point of the night.. 'The Vampires Wife' has a beautiful, B.E.A.U-TIFUL but all too bitterly sweet chorus that I wish lasted longer because it really strikes a deeper part of my soul that is only ever satisfied by the very rarest parts of songs. This is an elegant dance macabre that I cannot give justice to in words, go listen to it! If any song has suited Marc's voice so elegantly, then it is this. The synths ascending near the end of the track are like the last bite of a meal forever savoured. Finally we have 'Not Without Consequence' which brings a faster paced dance flurry of dark electronic enjoyment. It's forever impossible not to to dance along to tracks like these, or at the very least fight hard with your foot as it taps frantically. A thoroughly satisfying and gorgeous piece that really does showcase that wonderful electronic sound now returned in the form of the Beautiful Suicide album. Tracklist You Will Comply Fake Star Dead Eyes Black The Vampires Wife Not Without Consequence Conclusion Massive Ego never cease to impress me with just how talented they are at putting out stunning Gothic album after stunning Gothic anthem. In every release there always seems to be one or two diamonds standing out amongst the rest of the gems. Why this band isn't far more well known can only be down to one thing.. It really does take a connoisseur to appreciate the finest things in life and Massive Ego continue to cater to that exact level of decadent Gothic luxury that is of the most exquisite quality. Let's hope more people come round to sampling this level of great music in future. Scores Technicality: 8/10 Soul factor: 9/10 Energy: 8/10 Vocals/Samples: 9/10 Re-play value: 9/10 Overall score: 8.6 / 10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

Throwing a massive middle finger to capitalism and the consumer climate we find ourselves in, ESA describe the new album as such.. This luxuriously designed piece will increase your chances of better general well-being, life quality and self esteem. Check out some of the other 'Items for sale' on his bandcamp for a further look in to the middle finger and humour the concept of the album intends. This release is a wild one and sure to get you thinking as well as moving like a puppet on a string.. Here we are. Studio album no.11 from UK dark rhythmical electronics genius Jamie Blacker / AKA ESA. Something is stirring here. An impatience with musical complicity across the genre possibly? Because DESIGNER CARNAGE is not only probably the most powerful ESA album to date but it also stinks of ambition. From the rampant 1.5 minute original classical piano piece mixed with sickening glitches in brick wall opener ‘Laudanum Dance’ to the Bebop singalong noise swinger ‘Come and Find Me’….to the hyper-speed Industrial Black Metal (Jazz?) closer ‘Saturnalia’. Oh and there’s a mid-90’s feeling Industrial Rap track thrown in there, just in case you were worried there wasn’t enough going on. It's like Blacker genuinely sat down and threw the rule-book out of the window. Not interested in simply creative vast rhythms of angry electronics, we are now being treated to a journey through the genres. Either Blacker just doesn’t care anymore about expectations or limits, or he specifically chose to delve as deeply as possible into his creativity, to bring us something both interesting and challenging…but still flaunting the trademark energy and destructive swoon that has brought him to this point in his 16 year career. As rampant as it is. There’s a concept running through these tracks. Decadence / Capitalism and fakeness seems to definitely be the victim subjects this time. There’s a sense that Blacker is consistently and vaguely poking fun at the rich and the ignorant. While there ARE elements of humour… it's of the pitch black variety, as ready club-hit ‘Hyena’ will contest! ‘Designer Carnage’ is a spiral of heavy pounding beats, crushing bass and soaring leads… all stirred up in a cauldron of (to be blunt)…madness. If Industrial music was a commodity. This really would be the ‘Designer’ brand. The video below will help to instil that running theme.. Review There are a lot of things out there simply made to make humans produce more and to never stop, from painkillers to energy drink to pharmaceuticals. There was a time when Coca-Cola contained Cocaine, before that? Well.. Laudanum was a tonic of Alcohol and Opium available to all with a coin spare.. With 'Laudanum dance' we have a horrifying mixture of the new and the old looked at through amalgamated lenses. The chaotic and ominous beats and powerful stomped out thumps of notes throw the modern world's terrors in to a musical tincture crafted superbly with the message of the track; And the harpsicord of times past into something incredibly potent. As someone who is a big fan of Emilie Autumn, hearing industrial techno beats flow into a harpsichord outro makes for a spine chilling opening. 'One Missed Call' contains the new Wilhelm scream that cores in to your being. A female voice yells her frustrations in a voicemail a little reminiscent of the track 'Jack & Coke' and when said voice sample of the woman screams a distorted 'F*ck!' for a second time at the 3.20 mark alongside a euthanasia roller coaster worthy drop.. Well You have to hear it to appreciate it. My jaw clenched so tight whilst saying 'ooooh hoo hooo' that my Partner genuinely asked if I was intentionally imitating a French laugh stereotype. It's insanely good put it that way and probably my favourite track on the album. Next up is 'I Detach' For our full interview with Jamie and review of the 'I Detach' release click HERE 'Designer Carnage' helps to put this album in to perspective. There are parts so very familiar to the albums 'Burial 10' or 'Themes of Carnal Lust' and it helps to then reflect upon how a lot of the tracks on this release are a crucible of each and every sound ESA has produced throughout the years. What is poured out from that crucible is the 'golden' token on the album front cover and in the deluxe packs, the ultimate road of all things you are good at in this capitalistic world.. A product of consumption and monetization from which there is never an escape whether any of us like it or not. For how else do we survive in this carnage? There is a real outpouring of signature ESA sound with the influences of modern industrial techno and dystopian music. I pick up on notes reminiscent of Moris Blak, of Perturbator, and of the darkest of dancefloors; Yet in its crucial essence is pure ESA with all those other influences melting away and separating to express the pure theme and sound of the album Jamie has created. 'Disruption Only' is a fast paced flurry of which ESA is known to do so well. just with the previous tracks, there are offerings of the familiar, hints of other influences, but most importantly, pure fucking STOMP. 'Come And Find Me' is a bizarre mix of early 1920-40's swing with the power techno of modern day swirled around in a time confusing jaunt of samples, quotes, and -heavier than death- drum loops rounded off by a very angry vocal provocation from Jamie. The ending of this song is sheer brilliance of the most confusing kind. These genres should not work together, but if any artist could have managed this, it's ESA. I half expect the next album to be called 'Alice's nightmare in wonderland'. 'Hyena'.. Who would have thought mixing the 'laughs' of an animal alongside hardcore electronics could end up creating a bass slapping piece of filth this good? - But here we are.. 'Simple' (In the loosest sense, nothing ESA ever does is simple!) yet damn effective. 'Whom Then Shall I Fear' is a single track return to the dabble in to rap like we had on Burial 10, once again sadly though, not to my taste. The music takes a more Nu-Metal Linkin Park approach which is great but the singer and the lyrics I find quite flat and lacking, personally. 'Vast Accept' is a journey through dark electronics whilst creating sounds from items and instruments you'd not expect, spending half the track thinking, 'How did he make that sound?' It makes for a crushing atmospheric track like that of a Resident Evil game. The spoken words at the end are heavy hitting and deep, especially to those who have struggled with nihilism. Finally we have 'Saturnalia', one of the many celebrations that help guide us towards 'Christmas' as we know it now. This being the Roman celebration of each other and the finer pleasures. This whole track is a tribute to Jamie's original roots.. The black and heavy metal days of which he found his feet and love for music creation. To actually have a death/black metal style track on an ESA album is a real shock but also a treat in equal measures. Also, the lyrics play so well upon the capitalistic nightmare. Horde your mountains of paper gold Wealth beyond your wildest goals Ballot voted by only you Built on lies, old and new This shock only further exacerbated by turning into.. 80's sleazy jazz, mixing with.. a little bit of reggae house beats? Only to once again tear your faceoff with the molten hot wall of metal for its epic conclusion. This leaves you thinking.. W.T.F? Tracklist Laudanum Dance One Missed Call I Detach Designer Carnage Disruption Only Come And Find Me Hyena Whom Then Shall I Fear - (Feat. Pee Wee Pimpin) Vast Accept Saturnalia Conclusion ESA have put out one hell of a release with a real melting pot of different styles, genres, and influences. Nothing says artistic mastery like throwing everything in to one release and being able to make them all produce gold. Music alchemy at its finest. Is this my favourite ESA album? No.. However it is an incredibly progressive case for the evolution of styles and music with which boundaries need to be pushed once in a while. This album is a real flex on other artists and just like the stylistic theme the album personifies, this is the ultimate brand experience of producing anything Jamie wants and being able to sell it because IT IS good, and his music always will be 'top of the range' in the industrial world! Scores Technicality: 10/10 Soul factor: 8/10 Energy: 9/10 Vocals/Samples: 8/10 Re-play value: 9/10 Overall score: 8.8 / 10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

iVardensphere are well known for tribal drumming mixed with a strong industrial presence to back them up into pulse pounding soundscapes. What we have with Ragemaker is something different indeed. This whole album is a trip in to a world of fantasy, magic, warriors, and emotion. There are still plenty of drums but there is only little of the industrial left (with a few exceptions, like the incredible track Orcus!) but what remains is a fantastical soundscape the likes of which remind me of the Dragon Age games, or when Andy LaPlegua made music for Hellblade: Senua's Sacrifice. The influence of This Morn' Omina (Of whom Scott Fox, main man of iVardensphere is also a member.) is also prevalent here. Approach this album with these thoughts in mind rather than an industrial release and the album becomes a soul portal to another realm.. Industrial-tribalist iVardenspehere presents the album Ragemaker. Complex & layered, Ragemaker weaves electronics with haunting vocals, textured orchestral crescendos & percussive rhythms, creating hymns to totemic gods of war & rebirth, and to unknown ancient goddesses of harvest & hunt, telling the tragic mythos of The Shattering Queen. Ragemaker is a work of art - masterful & immersive. Comparisons to soundtrack work such as the Mad Max Fury Road soundtrack by Junkie XL, the dramatic escalations of Hans Zimmer's works are easily made, But iVardensphere's work on this album also sits comfortably with the works of acts and composers influenced by and exploring ancient ancestral music, such as Einar Selvik, Danheim, and Heilung, though with a decidedly more driving, percussive slant. Traditional percussion from all corners of the world, Taiko, Surdo, djembe, timpani, and more are deftly intermixed with all manner of sourced percussion sounds. Hammers and anvils, slamming doors, even the sound of a dumpster being kicked are sampled and folded into the sonic melange. The result is Ragemaker, a sweeping, cinematic album, equally suited as the next evolutionary step of iVardensphere, and as the film score to a post-apocalyptic motion picture. iVardensphere are touring with Karkasaurus in the UK soon and the London leg of the tour is brought to you by karkasaurus and Elektro Vox! Click for the ticket link. Also coming up soon with full live band set ups is EVM Fest: Review If I'm not listening to industrial music, I'm usually listening to Nordic music, most likely Heilung or Wardrunna, I've often spoken before about how almost everyone in the industrial scene also loves and appreciates Nordic folk because the tribal and rhymical aspects are so similar. So in this regards this album can be seen as Norse/folk/pagan industrial(?) or at least a strong tribute to the very roots and foundation of industrial.. The fire of the human spirit, the primal beats, and alternative views on life that have evolved through to the present day and how music represents those same roots now. In that regards this album is one hell of an offering! Honestly, it took me fifteen listens to Orcus before I could start reviewing this at the beginning! The album opens up in a beautiful and peaceful way, like that of the Shire at the beginning of LOTRs. It's a real earworm of positivity which is flipped on it's head with 'The Maw'. Cultists hymnal droning, or the deep faith totem devotions of ancient tribesmen reverberate through the entire track with a brief respite of soul horn 'THOOM's. This lead masterfully in to.. 'Ragemaker'.. This is where the drumming majesty of iVardensphere shows itself once again, mixed in amongst the recurring sounds of 'The Maw', this is a powerful, primal, and energetic track that pounds heavy and fierce like the drums of war moments before battle. Ragemaker & The Shattering Queen music video: 'Varunastra' brings an otherworldly and ethereal voice in the form of Brittany Bindrim which reminds me of Maria of Heilung to some degree. It pushes the grandiosity of fantasy but also some futuristic aspects, for instance fans of the Warhammer Dawn of War games might appreciate the style of grim dark music here. 'The Shattering Queen'.. Is so tribal, it's like each drum hit shouts out in tributary pronunciation of the names of pagan Gods, monsters, and heroes with every beat. This is what iVardensphere is instantly known for, a war party of drums sounding out furiously. Intensity and energy pour fourth from this track in a deluge of dopamine! The next few songs are like the backdrops to different towns with different cultures as the tracks poignantly follow on the journey. They are all capable of touching a different part of your soul with their individual directions to great effect. This leads us to 'Orcus' which as I mentioned previously goes from tribal fantasy to industrial/electronics as it progresses with a bass and drop so filthy that your jaw can't make up it's mind between dropping to the floor or to clench in to a teeth grinding 'OOOOHHFFTT'. Needles to say, I'm quite the fan of this one as an Electro head! This is like the cyberpunk tracks we need to Aloy in Horizon: Zero Dawn taking out machine dinosaurs with tribal swag. The beat is deep, slowly aggressive, and almost painfully satisfying. 'The Age of Angels Is over' brings a more relaxed approach to the signature drums but not without its own great energy and vibe. Up next is 'Indomitus' which swings direction totally in to a (forgive me Scott!) Synth-pop / Industrial-Pop style song! It is a very catch and enjoyable track to say the least. Lastly we have an electrical narration of the 'Sisters of the Vipers womb' which rounds the concept of the album off nicely. Finally, 'Helios' takes us down a more orchestral path like the outro of a powerfully good movie that you'll watch again and again. Tracklist A Whimsical Requiem for the Fey The Maw (feat. Jesse Thom) Ragemaker Varunastra (Feat. Brittany Bindrim) The Shattering Queen Ritual Oblivion Eastruun (Feat. The Rain Within) Draconian Orcus The Age of Angels Is Over Indomitus (feat. Seeming) Sisters of the Vipers Womb (feat. Brien Hindman) Helios Conclusion So overall as you may have guessed I'm reviewing this as more of a soundtrack artistic piece rather than the electronic or industrial things I usually cover. This album bridges so many genres and influences. It's is wonderful to see the evolution of music since ancient times transforming in to electronics, to now once again return to those ancient ways but with different technical approaches and instruments. iVardensphere continue to push not only the realms of genre, but of thought, emotion, and the reasons for why we connect with music in the first place. There is something deeply spiritual to the music contained in this album but also undeniably within the realms of science fiction and the hope for a better future. Other than that, I can't really describe it, you need to go grab a copy and take this journey for yourself. Scores Technicality: 10/10 Soul factor: 9/10 Energy: 9/10 Vocals/Samples: 9/10 Re-play value: 9/10 Overall score: 9.2/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

Take a comfortable seat with one of the catchiest and emotionally touching dark rock bands of recent times, Crimson Brûlée. Gustavo has given us a very in depth look in to the band and it makes for a damn good read! December 7, 2021 - New York-based darkwave band, CRIMSON BRÛLÉE released their debut EP, Tragica. The songs weave tales of love lost and redemption; the refusal to accept the inevitable. Tales of forgiveness and the sincere hope that true love will rise in the end –if only at the very end. …Words for the wounded hearts of the world. The sound of Tragica has been described as a melodic combination of David Bowie, Fleetwood Mac, and Depeche Mode with post-punk elements of Joy Division and Bauhaus. Bright melodies juxtaposed with heavy, dark lyrics. Interview Q. For those unfamiliar, how would you describe your music, and where does your inspiration come from? A. The music has been described as a melodic combination of David Bowie, Fleetwood Mac, and Depeche Mode with post-punk elements of Joy Division and Bauhaus. Bright melodies juxtaposed with heavy, dark lyrics. Personally, bands like Psychedelic Furs and early Cult had a big influence on me. Q. Tell us about your history and members of the band. Where did it all start, and what inspired you all to start making music together? A. It was early 2019, Billy Keith and I were sitting around in the studio listening to tracks from our new EP at the time, “Don’t Let Go”. As we listened, the idea of incorporating keyboards into our band “The Witch-Kings” came up. The more we talked about it – the better the idea sounded. So, we decided to find a keyboard player to bring into the Kings. When it came to keyboards or synthesizers there was only one person that came to mind and that was Nicole Eres from my first band “Bitter Grace”. Shortly after, we invited her to jam with the Kings. Sadly, halfway into the night it had become obvious that the chemistry wasn’t there. There were no bad guys; it was just that the juice was just not flowing. And with music is all about the right elements and chemistry. We were really disappointed that the jam didn’t turn out to be what we had hoped for. But by that time, the fire had been lit as Billy and I had made up our minds. We wanted to have keyboards involved in our music and I had already written a few songs with Nicole in mind. So out of respect for our brothers in “The Witch-Kings” we decided just to assemble another project keeping the Kings intact along with its dark, heavy-handed guitar-only vibe. Nicole, Billy, and I got together to play and it was magic. That was the day that we chose Crimson Brûlée as the official name. We were fortunate to have Johan Andersson join us on bass and the chemistry was near perfect. Then suddenly, Johan had to leave citing health reasons. Shortly after, we picked up Jaime Filomio on bass, which led to Oscar Arias and Manny Koeningsburg on guitars later on. The synergy and the tunes were fantastic – more melodic and brighter than what we were used to, yet painfully melancholic as the lyrics came down hard on all of us. I remember some days when we were jamming and having to stop because Nicole or myself would be too upset to push forward. Then in early 2021, we got word that Johan had passed away. A real tough loss, as he was a brilliant musician and one of the coolest cats ever. We spent the latter half of 2020 through 2021 recording our EP “Tragica” which we are finally releasing this December 2021 dedicating it to Johan. We hope to spend 2022 playing live shows is very important to us. Q. I genuinely love the sound and feel of ‘I came back to you’. Can you please explain the imagery and story behind the video and how the video and the lyrics relate to the rest of the release? A. What I love best about this song is the message of forgiveness. “…I came back to you, in spite of everything that went wrong.” The ability to love someone and letting that love give you the strength to forgive their BS. So the video is about that strength. The ghost hunter is haunted by her long lost lover from a previous life who after all that he did to her – she still went looking for him. A love worthy of forgiveness and redemption. It’s a good message, Love and forgive. Q. Can you please give us a run down of the message and story of each track? (Because these are some wonderful tunes I’m hearing, and I really want to know more! A. “I came back to you” Well, I kind of already spoke about this song. “Nothing Dies Forever” The song is about not giving up on true love even when the one you love loses sight of it. I am truly a Hopeless romantic. I love the last lines of the song “You cant kill this love” that is the message. Nicole and I really lock into this song, the lyrics always get us. “Restrained” This song deals with the scarier side of rejection. It’s about refusing to hear the truth; it’s about obsession and the drive behind the obsessed. It’s a stalking anthem of sorts. “Why I wear Black” It’s a fun song about vampires and robots. And the love that binds both worlds making it work. “Where Tarantulas Roam” This very visual song is based on a novella written by our bass player Jaime Filomio. The song is a beautiful celebration of love on course to tragic ending. The last line of this song really sings to me; “Come take my hand, let me take you to a place where lovers go to die”. It always gets me when I sing it live. Q. Which song/s are you most proud of in this release? I love all of them but “Nothing Dies Forever” is the one that is closest to my heart – the romantic fool in me, I suppose. Q. Is there a favourite funny or important moment story from your music career you can tell us? I think one of the most important things that has ever happened to me was receiving a letter from a young man in Greece who wrote that he was going to kill himself because he was conscripted into military service and was going to lose the love of his life. But after listening to one of my songs (“Burning Kisses” by “Bitter Grace”) he was able to work through his depression and decided to just press on. That made me realize that what we do – all musicians not just us, what we do is really important. Sometimes that one song can make a world of difference to someone. And that is the fire that keeps me going. (Wow!) Q. What life lessons has being in music taught you all, and what would you change about the scene if you could? Overall I think we all need to be more supportive of one another. There is enough love to go around. Come out – go see your local heroes at work. Support that club night. It’s all special and so very fragile. Q. Anything you'd like to say to your fans? Keep the faith, stay strong and healthy. We hope to see you all soon. We will be doing shows throughout 2022 wherever it’s safe to. And when this Covid insanity is over, please go out and support your local bands, promoters and DJs. Your scene will need you more than ever. - Gustavo Lapis Ahumada On the creation of Crimson Brûlée Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

There is a flood of words that comes to mind with this release, from my instant 'Oh wow, this is psytrance but industrial!'(Which I have always wanted) to 'Ohh this part sounds like Mind.In.A.Box, this part sounds post rock, this part sounds like Prodigy, how did they make THAT sound? and so on.. Basically treat your ears and soul to this yourself and take one hell of a trip with Analogue Blood! I mean the fact there are mushrooms on the cover too.. mmm, yes *Chef's kiss* Industrial, electronic and energetic, ‘Equinox’ is the latest release from guitar driven EDM duo, Analogue Blood. Located in the North East of England, Analogue Blood take listeners on a psychedelic journey engulfed in hallucinogenic grit and power. The five-track EP, inspired by the euphoria of summer time and live music, was written in the height of Summer 2021, emerging from the turbulence of the past year. Coming off the back of a national tour, Analogue Blood have already taken the upcoming EP out on the road. Aggressive and assertive, ‘Equinox’ is a dynamic body of work with hints of surrealism and otherworldly sonics. With sharp arpeggiated synth lines, crunching guitar riffs and pulsating EDM drum beats, ‘Equinox’ is full of relentless energy, contorted and twisted into Analogue Blood’s signature sound. Amongst the dark shadows of glitching electronics and impactful textures, glides a range of eerie vocal lines. Tracks like ‘Keep On Dancing’ and lead single ‘Equinox,’ are accentuated by angelic and haunting female vocals, a stark contrast to the heavy guitars and distorted production, while ‘Invisible’ introduces the powerful delivery of male vocals. Influenced by the likes of Eat Static, Prodigy and Cubanate, Analogue Blood have created a soundscape that makes listeners want to dance in the middle of mosh pit. Review Celestial Equator - Guitars, flowing electronics, and an electro distorted female vocal makes for a killer opening of what you can already tell will be a feel good EP that masterfully crafts heavy riffs down a shift so that it feels relaxing and memorable. It is a little short and I wouldn't call it a whole track but as I said, definitely a great intro! Equinox- This makes me think of a sci-fi version of ancient Babylon or Mesopotamia with the slight eastern twinge to the opening vocals which soon sweeps in to a dance heavy mind melt if played at loud enough volume. Much like pure psytrance, there is a lot going on at once that pulls your mind in multiple directions of tone, pace, and meaning which might be too chaotic for some or perfect for neurodivergent listeners who can listen to multiple layers easily, almost like listening to -but also- thoroughly enjoying two tracks at once. Invisible - Speedier and somewhat 90's nostalgic than the last tracks with the introduction. The male vocals instantly put you in mind of Pendulum and the days of clubbing free and careless. There's a lot of power between the notes and drives that sudden need to be active and moving around whilst also plucking on some heartstrings with a slight edge of melancholy to the vocals that you cant quite place. It makes for a poignant mix. It has a very nice and chilled outro which rounds it off with that slightly more familiar industrial twinge. Keep on dancing - Once again we are transported to ancient lands and the out of place sci-fi tech users amongst them. It brings a wonderful sense of connection to what once was and what is now, as well as the future, and how music can unite so much across so much of human history. Am I reading in to this way too much? Probably but what is psytrance and industrial if not both full of meaning and interpretation? Let's hope humanity never stops dancing to the rhythms of our souls. Hypnotise - Lastly we are back to the more familial sounds of Analogue Blood and their EDM industrial feel that has served them so damn well in previous releases. I am always impressed by how beautiful the female vocals are and how elegantly they flow around such strong drum and guitar loops with ease in their tracks and this song is once again a prime example of just that. Tracklist Conclusion Analogue Blood consistently release incredible tunes with a signature sound like no other. This is a wild trip of tracks that was unexpected but oh so welcome. I'd love to see far more genre mixing of industrial, especially if it's gonna kick the spiritual awakening feelings up a notch a lot more! Scores Technicality: 9/10 Soul factor: 9/10 Energy: 9/10 Vocals/Samples: 9/10 Re-play value: 8/10 Overall score: 8.8/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

Listen to one of the smoothest and instantly lovable tracks that I have heard in my whole time reviewing with Elektro Vox! This track is an instant Gothic classic and it deserves to be heard. December 3, 2021 - Irish gothic rock act, pMAD has just unveiled their debut single and video, "Who Am I". Taking the free time granted by the pandemic and a new approach to life, Paul Dillon aka pMad got his act together and finally made a full album. These tracks, with help from friends in Latvia, Germany, Ireland and Brazil are now fully mixed, mastered and ready for release on Zedakube Records. The debut single ‘Who Am I’ is an emotional mix of pMad’s haunted, gloomy voice, choir and guest voices in addition to dramatic keys, neat bass lines, guitars all tied together with a pulsating drum groove. ‘Who Am I’ is an audio and visual emotional rollercoaster. Firstly, seeing the coroner examining a body, we are to decide if it is the perpetrator or the victim. The song is asking, "Am I the perpetrator? Am I the victim? Am I the survivor? Am I good or evil? Which one are you? Who Am I?" pMad is a survivor using hope as the medicine while being amazed by the horror we can perpetrate on each other and our environment. Review There's an almost Halo (The FPS game) ring to the opening choir-esque sample rounded off by some beautifully tender female notes. The piece instantly puts you in the mind of a late night post drama like drive in the 80's, much like the aftermath car scene in Pulp Fiction. There is a real chilled aspect to the song whilst keeping it's dark and Gothic tones very strong throughout. So chilled, that YouTube will most likely take you to a nice chill out play list each time you make it through the music video! My point here? The whole track flows like dark, luxurious honey in your ears but keeps that sharp and classy absinthe aesthetic edge to the taste of the overall piece. It certainly makes me wish I could listen to the other two tracks that will be on the 'Medicine' EP. Lyrically it makes for an easy listening track but still poignant in it's want to push in to the listeners' own self reflections. Even so this song would go down incredibly at a fetish night or strip club as it still has a fairly consistent tempo of beat that keeps it catchy enough to keep tapping your feet away to but also to relax and get caught up in the melody. In a sense, an ideal song to be playing whilst someone is coming up on their peak enjoyment of an evening.. It seems to leave something indescribable in my mind, the track itself seems very low tech but the layers of complex enjoyment are like that of one of a musical stage show's greatest hits. In that aspect it feels like something I have heard a thousand times before, but it is also strikingly fresh. So that is to say, it's an instant Goth / Darkwave classic for me and I love it! Overall score: 9.5 / 10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

I do love a good electronic tempo and a shouted word in my industrial and this offering provides just that from Fredrik of MENSCHDEFEKT (One of my all time favourite Industrial acts) So this new project certainly has a lot of that familiar feel. FREDRIK CROONA Condemns The Vain With New Project & Debut Single, "Scum" January 14, 2022 - Fredrik Croona whose projects have included the likes of MENSCHDEFEKT, CROONA & CYNICAL EXISTENCE has announced a new project, AGAINST I and debut single, "Scum." "Scum" is a dedication to all the lowlifes who treat other people like shit and care for nothing but themselves. People who are so full of themselves that they don't see or care about anything else. This is the first song that opens the door into a carnival of the obscene, deranged & faulty people and to the darkness of human psyche." - Fredrik Croona "Scum" will be available on all digital platforms on February 11 courtesy of Insane Records. Review (Bandcamp stream not yet available) A rather deceptive start opens up with an almost Retrowave feel about it only to then be strategically complemented by the guitar riffs, and vocals growls that show there's a lost of promise on it's way. When the beat finally drops and the tempo kicks up a notch, the drums and electronics complement the vocal style nicely. The message of the track gets it's emotional vitriol out as the vocals are sharpened on the grinding wheel of the riffs and beats which make for a dangerously enjoyable track if it were to ever be played as loud as it deserves to be! There are moments where the track takes itself back a notch to that retro wave synth string that doesn't quite sit right with me but I appreciate how it breaks the track up in to sections none the less. I guess when a song has a sick beat and the electronics are pounding out a solid dance rhythm I don't like it to be interrupted if that makes sense? And regardless of that, this is still a SOLID track that stands out nicely whilst still retaining that signature feel that Fredrick has brought to other musical projects. Score: 8/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

Take a minute to reflect on the latest release from SYS MACHINE and an in depth interview into the music. Graceful Isolation features 6 original tracks, 3 of which feature vocals from Kimberly of BOW EVER DOWN with remixes from ASSEMBLAGE 23, THE JOY THIEVES, SPANKTHENUN, BLUE EYED CHRIST, MISSSUICIDE, MICROWAVED, Steven Olaf, and AUDIO BUDDHA. Artwork is by Greg Rolfes of Eleven12 Design which will be unveiled soon. Interview Q. For those unfamiliar, how would you describe your music, and where does your inspiration come from? Sys Machine is chill minimal electronic rock. It's almost the polar opposite of my other project Derision Cult which is guitar heavy industrial metal. If you're looking for something chill at the end of the night- we're at your service! My inspiration came from a bunch of places. Sys Machine really started life as more instrumental soundscapes and Graceful Isolation was the first real album with collaborators and stuff. What inspired me to begin with was a lot of the instrumental projects that I saw happening in the early 2000's from decidedly industrial artists. Things like Micronaut (Sister Machine Gun), Eco-Hed (Die Warzau), Amish Rake Fight (Machines of Loving Grace) really got me into the idea of putting guitars down. I get inspired by new pieces of gear or programming methods and those eventually become songs. Q. Tell us about your history. Where did it all start, and what inspired you all to start making music? I grew up in Iowa (I live in the Chicago area now). I was a metal head growing up. Early on I was inspired by things like Metallica and thrash from the 80's. When I lived there, I played in mostly metal bands, but in addition to metal, I had a love of David Bowie and always wore things like Tin Machine on my sleeve so bands I was in were a little off-kilter to what was going on in Iowa metal at the time. I grew up in the same scene Slipknot came out of and so there was a lot of sort of, proto-nu-metal happening which wasn't my bag at all. I moved to Chicago in the early 2000's and took a break for a long time from music. I focused pretty heavily on a career in the ad industry and outside of that, got into triathlon/marathons and was fairly competitive and Triathlon and cycling for awhile. I missed music and really, I got inspired by what the industrial scene in Chicago was like. I'm a huge fan of Wax Trax and bands like Die Warzau. When I came to Chicago I ended up meeting a lot of those people and I found out a lot of the most brilliant musicians were also teachers, or accountants, or professionally creative outside of music. Guys like Jim Marcus from Die Warzau/Go Fight and Chris Randall from Sister Machine Gun really inspired me to stop thinking about music in terms of "making it" or all the silly things you wrap your head around when you're starting out and appreciate the value of making something that contributes to the zeitgeist of your time on the planet. That really lit a fire in me to think of art as a reward in and of itself and suddenly I just felt more creative. I really got busy rebooting my music in 2014 or so and that's still where my head is at today. Q. It's great to see that two of your tracks feature Kimberly of Bow Ever Down who I have covered before, how did you both come about working together on this album? Kim crushed it! Kim and I came about through a mutual acquaintance- Gabe Wilkinson from Microwaved. I play guitar a lot of his stuff and he had begun working with Kim. When I heard what she'd done with one of his tracks, my wheels got turning because I had these instrumental Sys Machine pieces that I thought would work really well with her. So I reached out and she was immediately into it. I think she really took the tracks to another place. Q. I see you even have an Assemblage 23 remix of your track 'Poison in my skin' on this release, what is it like having your music remixed by such a big name and how does their remix change up the song for you on a personal level? Well for one thing, Tom Shear is just a sweetheart of a guy. It's awesome he did that. I think it speaks volumes of artists like that who are willing to help out new projects. It was a real honor to have A23 involved for sure. He was actually the first of the people I'd reached out to to finish the remix. He turned it around right away which was cool. His interpretation of the song had more of a build and an arc to it than my original version which was really cool. The first time I played his remix was in my car and it was one of those tracks you just wanted to get out on the highway and floor it. I was pumped! I'm glad people are responding to it. He managed to stay true to the original feel of the song while taking it to a whole other place. Q. Can you please give us a run down of the message and story of each track? The first three are Kim's tracks and she wrote the lyrics. She uses a lot of imagery and allegory. I think I'm more like a non-fiction writer. She can tell you an elaborate story and I basically tell you the weather haha. -Poison in My Skin- There's a few things going on here, but it's largely about leaving a bad situation and staying resolute in never going back. -All the Pieces- There's a lot of revenge feelings in here. Surviving and thriving-- they say living well is the best revenge! -Impossible dreams - This track is about chasing a dream when achieving it feels impossible. I think a lot of musicians and artists can probably relate to that. -Drowning in the Past - I wrote this after quitting drinking. It's basically a hypothetical situation of me going back and time to my former self when I was thinking it was time to give it up and telling myself it'll be okay and how all the anxieties one has are all bullshit. -Illusions- Similar to above. A lot of recovery books and teachings talk about the illusions addictions create in people's lives. The feelings of elation or misplaced senses of confidence or whatever are really just illusions to feed the addiction. It's a really strange thing to come out of it and see it for what it is. Like waking up from being under a spell or something. This is basically my meditation on that idea. Q. Which song/s are you most proud of in this release? Oh man, that's a tough one. Personally, I'm most proud of Drowning in the Past because I feel like I got a point across the way I'd intended. SpankTheNun and The Joy Thieves did a remix of it and both of them turned out great. Q. Is there a favourite funny or important moment story from your music career you can tell us? Heh well the funny ones I probably oughta not have in print because some of the people they involved are still around! I think one thing I was fortunate enough to do was be there at ground zero when Slipknot took off. Not because of their music or any sort of fan-ship, but I got to see up close what hard work and dedication it takes to really ascend to the levels they went on to do. Nobody knew in 1997 what that band was going to do, but the intensity they went at things with-- the bullshit the band DIDN'T tolerate and the spare-no-horses mindset they had was something that stuck with me. I'd probably be lying if I said that didn't fuel things like cycling or what I've done with business work since then. Behind things that are brilliant and seem effortless is a TON of hard work and dedication. Seeing that play out in real time with Slipknot in the early days was really pivotal for me. Q. What life lessons has being in music taught you all, and what would you change about the scene if you could? Well if I could sum up above- it's that you can do whatever it is you want to do in music - but you have to take control, make decisions and do the work. I think the other thing music has taught me- and I think it's something every artist either learns or they don't - is that having people like your art is not a birth right. You really need to practice gratitude- especially nowadays when there isn't really a 'music business' in the sense of the term from when I was growing up. With Graceful Isolation and working with all the collaborators I did, I was really struck by how much gratitude permeates the air in this scene. I love that and I really do try to emulate that behaviour as best I can. It empowers fans and is a source of energy unto itself. That's not a given in the world. I run a consulting business and I can tell you first hand, gratitude is in short supply in a lot of places. As far as what I would change? Hard to say. I guess I see a lot of artists get down on themselves because their music isn't accepted on a more mainstream level. I get it for sure, but I wish they wouldn't let the weeds get higher than the garden so to speak. We're all adding to the cultural footprint and participating in a scene and a large chunk of the world will never know what that's like. For those people I'd say just enjoy the process and not get too hung up on the things that aren't in your grasp yet. Q. Anything you'd like to say to your fans? Well thanks a ton for checking out Sys Machine! I hope you enjoy the album because I def had fun making it! This year I'm largely focused on my other project The Derision Cult and there's a lot planned on that front so stay tuned! Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

If there has been a recurring theme not just for myself but for quite a lot of us, it is the internal chaos of noise and unceasing white noise of not just our on thoughts but the constant bombardment of everything and everyone around us as we sit trapped in so many ways thanks to the way the world has been the last two years. Well.. That kind of feeling is hard to put in to words but what Muta-scuM seems to have managed here is to put that unspoken feeling in to an audio format that keeps you nodding along the whole time thinking to yourself 'Yep.. I feel that.' There's a lot of noise in this EP, and it makes for an unexpectedly zap to the senses to try and wake you from miasma. If you like your industrial messy, loud, yet unashamedly pure. Then you're in the right place with this release. https://muta-scum-music.bandcamp.com https://www.facebook.com/Muta.scuM https://twitter.com/ScumMuta New EP How I Spent My Summer Apocalypse out January 6th 2022 on Furnace Records. Review If there is something other than the particular style of sound that makes Muta-scuM stand out, it is his choice of samples from movies that are fully poignant in meaning and often refer to the deeper meaning and bigger picture of the message; Which dependant upon the listener, can have wildly varying interpretations of relatability and therefore the opening track very much follows this philosophical formulae complimented by atmospheric beats. 'Other Viruses Are Available' brings a sense of desperation, time stretching in to the infinite, and the repetition of days turned audio. It has a thought provoking aspect that I can't put my finger on but the fellow neuro divergent among us will understand what I mean with the comfort of the replaying loops that help to process thought. 'We Eat Our Own' uses some of the famous speech by Heath Ledger's Joker to Batman in the holding cell and never before with our recent times has this particular sample held more meaning. A great addition to the gravitas of the electronic apocalypse. This leads in to the next track being a real game changer with a more relaxed chill flowing in and out of drum and bass similar to the industrial stage sounds of STOMP made electronic. 'Here We Go Again' also has some cascading distortions and waves of sound that really tickle my brain and hit some odd pleasure receptors up there that made me pretty happy with each note. 'Truth 2.0' has a bit of an 8-bit feel to it with it's tongue in cheek loops and playful riffs and then the final track follows on with a similar sound but in a far more serious manner in it's intent and message. Tracklist The Moment And The Switch Other Viruses Are Available We Eat Our Own Here We Go Again Truth 2.0 The Upside Down Kingdom Conclusion A wonderful experimentational concept piece of insight into a families' mind during the pandemic, told through the chaotic electronic love of industrial trap music. There's a lot to unpack in this EP and it makes for some very thought provoking and enjoyable listening. Scores Overall score: 6.5 / 10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

Herein lies one of the most interesting, funny, and genuinely engrossing interviews I have had the pleasure of doing. Eric has overcome some serious difficulties in making music and as the story below will tell you, nothing should stop you from making the great music you have rolling around in your head! Former Tungsten Coil Artist & Actor ERIC OBERTO has just unveiled his new single, "Darkness Never Lies" "Darkness Never Lies" is about the lies people tell and the fears that rule their lives. It's a warning to live honestly, intently, and urgently. In your final darkness, all untold truths become your last regrets. Eric’s new song Darkness Never Lies is featured in the motion picture- Amityville Cult. His debut as a Director and Editor are spotlighted in his music video for- Darkness Never Lies, which is a bonus feature on the Amityville Cult DVD/Blu-ray national Walmart released on November 16th. What makes Eric's composition truly unique is his ability to embrace his diagnosis of synesthesia and right ear deafness. This has created a technique for composition that is nothing short of original. Read Eric's story HERE: Interview Q. For those unfamiliar, how would you describe your music, and where does your inspiration come from? I guess if I had to pick a category, then I would go with Darkwave (close enough). To describe it without a category, then I would say it’s dark electronic music that pulls its DNA from outside the standard dark/goth/synth/industrial genres, but it spins well with any of those genres in a DJ setlist. My inspiration comes from analysis of the human condition (or it could be a disease, the jury’s still out on that one. Either way it’s curable!). It seems like most people get caught up in all the pointless societal distractions that get in the way of really living their lives (speaking from past experience). Then one day they wake up and realize that the short ride of life is over, and all that’s left is regret. I need to write about the consequences of not living your life to the fullest right now! It’s my way of purging the darkness within me and urging others to get busy living (and stop lying to themselves). I’ve never been a “happy music” person, that kind of music makes me feel weird. I feel that there’s extreme beauty and truth within the darkness (you just have to know what to look for), my job is to create dark beauty that is sharable with anyone who will listen. Q. Tell us about your history. Where did it all start, and what inspired you to start making music? I grew up in the Detroit, Michigan area (still my favorite city)! I was born with a condition called synesthesia (a neurological condition that enables me to see sound as three-dimensional colors and shapes, as I hear it) and I give a lot of credit to this condition for my ability to write and play music. I never had any kind of formal training, I can’t read music, and I don’t really understand music theory well. I just mentally paint moving musical pictures in my head with the colors and shapes that the synesthesia provides. When I first heard electronic music, my brain went insane with ecstasy! I couldn’t believe the effect it had on my mental vision! This was well before I was diagnosed with synesthesia, I just assumed that everyone was seeing/hearing things the same way as I was. I immediately knew that I wanted to create and be part of this amazing musical experience. Luckily for me I had an older friend who played synths and wrote music, he showed me how to use his gear. Then I bought my first keyboard and locked myself in my room until I figured it out. Once I started to find my own groove, it was like my mind was finally getting the drug it so desperately needed. Before then, my condition was a hindrance. I couldn’t focus on school or anything really, music gave my brain focus. Q. Can you please explain the imagery and story behind the music video for "Darkness never lies" and how the video and the lyrics relate to the upcoming Amityville Cult film? The imagery and the story for the music video go hand-in-hand (pretty-much). The story of the song is about the inner voice inside each of us, the voice of truth that attempts to thwart the lies we tell ourselves and others. Fear is the basic emotion that gives birth to lies. It’s about people going through their lives and telling people what they want to hear to avoid confrontation, not taking risks for fear of failure, injury, or death, and not going against the grain for fear of rejection (you get the point). In daylight (or while living life), so many people just go through the motions, find meaningless distractions, and convince themselves that they are really living. However, at the end of life, in their final darkness, all lies will become final regrets- Darkness Never Lies! The imagery was heavily influenced by my synesthesia and how my mind visually interprets emotions. It’s a color-exhaustion experiment to try to give people a taste of what it’s like inside my mind. All the different color-soaked, close-up faces represent the mind being fragmented by one’s emotions. We wear many different color faces underneath the surface. The voice inside each of us is the faces. The colors of the faces represent the shades of the life-long internal conflict between truth and lies. ..Also, was the song inspired by the film theme or did the song come first? The basic lyrical concept was conceived first. Then I read the script and found a connection to the lead character’s (Stan Defeo) story/conflict. He had been lied to about his family’s past for his entire life. Then he found out the truth about his family and couldn’t accept it. Spoiler Alert: Fear got the best of him; he ran from the truth and paid the ultimate price. Once again, Darkness Never Lies! Q. I will link your full story HERE but just briefly it mentions your synaesthesia. How has that both helped and hindered making music and can you describe how it influences your work? As I mentioned before, I credit Synesthesia with giving me my unique set of tools to create music and art. But, in recent times the gift had become a hindrance, I suffered a tremendous blow to my musical abilities. In 2015, I was inflicted with Sudden Sensorineural Hearing Loss in my right ear. Being a play-by-ear musician and songwriter, when my right ear malfunctioned- my ability to clearly paint musical pictures through synesthesia was severely impaired (and almost lost). Over the next several years, I made multiple unsuccessful attempts to overcome my disability and failed miserably each time. I feared that my song writing days were over. It was devastating! After a few years of basically giving up and feeling sorry for myself, I finally picked myself up, dusted myself down, and reloaded those guns of life! I then became obsessed with finding a solution to overcome my handicap. In 2021, I finally found a path to create music using my one good ear and filled in the gaps of the broken ear by making use of modern computer software tools. These tools allow me to visually identify frequencies that I can no longer hear, and I’m now able to visually see the stereo field where sounds reside. I also discovered a device that allows me to independently EQ the left and right sides of my headphones. This device gives me the ability to boost all the lost hearing frequencies in the right ear; to fill in the missing gaps. The right ear is broken, completely distorted, and plagued with massive tinnitus. However, by amplifying all the frequencies independently, it tricks my brain into thinking that the correct hearing information is being received (even though it isn’t). The end-result is that it allows my synesthesia to kick back in somewhat, and I use my previous song writing experiences to fill in the gaps. These amazing tools didn’t make me whole again, but they do provide a new path forward to pursue my musical dreams. Now, against all odds, I’m writing the best music of my career (at least I think so). This hearing loss handicap has pushed me to continually prove to myself that I can create art no matter what obstacles get in my way! Q. Is there a favourite funny or important moment story from your music career you can tell us? One of the funniest moments of my musical career is from the days of when I was the singer/songwriter for my old band Tungsten Coil. We were one of the industrial band headliners for a festival show call- Bloodfest. It was basically a bunch of industrial bands, bondage shows, S&M performance art, and people hanging from hooks (you know, fun stuff). Anyway, we were on the road with the show in Lexington, Kentucky and one of the performance groups was short a performer and they needed someone to fill in on stage. My keyboard player volunteered to be part of the show. So, I looked up at the stage to watch the performance and there’s my keyboard player tied to a cross in a “Jesus Christ pose”. Next thing I know, they stripped him naked, and pierced his ball sack up and down with more than 10 piercing needles. Then I see a security guy motioning to the door guy to close and lock the main doors, so the cops don’t see what’s going on inside. It was a wild and hilarious site to see- my 6’5 keyboard player being abused/crucified (and apparently willing) on stage. The funniest part was that he seemed to enjoy it! He was usually the one who was the “most responsible” of the group and made sure that the rest of us didn’t end up dead (from too much partying) while touring. I would never have expected him to be the up there. It was quite a site for sure! ...Wow.. That's the best story I've had back from an artists! Damn.. Q. What artists are you listening to most right now? My musical tastes are all over the place, currently I’m listening to: Front Line Assembly, Dogtablet, Bush, Adoration Destroyed, Kiss, Actors, Electric Youth, LA Guns, Not My God, Tom Keifer, Black Line, and mediation soundscapes. There’s more for sure, but that will do… Q. What life lessons has being in music taught you over the years, and what would you change about the scene if you could? Music has taught me a lot of life lessons over the years (as a kid and an adult). (1.) Life is short, so live every moment like it’s your last (because it might be). (2.) People aren’t always as they appear, stay clear of people who don’t lift you up (you don’t need them). Keep your loved ones close, for they are few and far between. (3.) Music is a universal language that can be spoken by anyone. Take time to study the language of music, but also make time to listen to music without distractions. Music is often the background for other activities (when it should be the activity itself). Enjoy music alone (often), it will enhance you mind, mood, creativity, and outlook on life. Listen to music with others, it creates a bond between people like no other. Even as a hearing-impaired person, I still listen to music every day. Music will always find a way! (4.) Music is undervalued by the general public; they don’t want to pay for it these days. This is a sad reality of current culture. Some much money is wasted on useless shit, when good music is the lifelong gift that keeps giving. As far as changing the scene goes, I wish there was more commercial support for “Dark Music”! There’s so much horrible shit out there that gets commercial support, it baffles my mind! I wish there was a way to shed some more commercial light on Dark Music, the world would be a better place. (I completely agree!) Q. Anything you'd like to say to your fans? I just want to say THANK YOU to all my fans over the years! You are simply the best fans in the world! I so appreciate all the inflows of support for my return to the world of entertainment! My pledge to my fans is as follows: I will continue to break through the limits of my creativity, so I can give you my very best (because you deserve it)! I LOVE YOU ALL! There’s so much more coming soon, so please stay tuned… Thank you Eric for your fantastic answers and time! Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

J:Dead has been covered several times in the last year on Elektro Vox and for a good reason, Jay's music and voice is fantastic! So it is a real pleasure to have Teknovore now adding to the musical mix with another release. Between 'Tearing me apart' and the two remixes by Ruined Conflict (YAY! Love their music) and Technolorgy.. This is something quite special indeed. J:dead is the solo project from Jay Taylor, live drummer of EBM/Synthpop bands such as Tactical Sekt, Tyske Ludder and Harmjoy. For the last 16 years Jay has frequented many stages across the world performing in his own signature style of aggressive, hard hitting acoustic noise to the forefront of electronic acts. Now, with the creation of J:dead, there is an opportunity to show his ability in developing music which is at the core and drive behind his musical ambitions. J:dead provides emotional and lyric driven tracks with a dark synthpop vibe, inspired by a range of artists and genres. Teknovore was created by George Klontzas (formerly of Preemptive Strike 0.1 and Croona) in 2020 as a means of exploring a variety of dark electronic genres, the philosophy of Cosmic Indifferentism and the Metaphysics of Identity. J:dead and Teknovore took the opportunity to work together on the track Tearing me apart to bring together their talents and create something slightly different to their normal styles yet finding their ability to create something new. Tearing me apart is a hard hitting dance floor track with punchy bass/synth lines, thumping beats and fast paced vocals. Tearing me apart is digitally released on the 29th Oct 2021 under Infacted Recordings and includes remixes provided by Ruined Conflict and Technolorgy. Review 'Tearing me apart' opens up with a soothing female vocal and soul massaging beats which then filters in some profound lyrics that many familiar with the darker side of night life or even just the darker side of mental health can relate to. It hit me with full force and brought back memories of previous struggles and pain; Yet somehow with the killer beat and uptempo rhythm, I found it quite empowering and invigorating like watching a fight scene where the failing hero/ine gets back up off the floor and starts to finally kick some ass! "I need something to break, and I need something to take, All the pain that I know, could do with melting away, With a tab on its own, in a place I don't know, See the face of it all, be the end of control." There are very few artists who can make synthpop and electronics sounds so damn catchy and memorable. (I once wrote that J:Dead reminds me of a modern Human League and this still very much rings true, only with much heavier energy!) The tempo is energetic and dance worthy with impressive growls thrown amongst the vocals. It's exceptionally hard to tell where Teknovore begins and J;Dead ends but either way these two artists have created a wonderful single here. The Technolorgy remix pulls in deeper bass and a more electro keyboard sense of retro urgency like playing streets of rage on hard mode. It has sprinklings of early 2000's industrial that add a rich seasoning of flavour to this modern piece of industrial rock meets synthpop. I can imagine someone going nuts on a key-tuar to this. Finally we have Ruined Conflict's mix which brings a bit more of an aggrotech edge to the track and that industrial stomp feel to the darker electronic dancefloors of Goth. I would LOVE to hear this remix blared out as loud as possible at Slimelight Elektrowerkz with the rhythms and beats reverberating through the walls and the souls of every dancer. Conclusion This is one of those singles that catches you instantly. I often dislike reviewing singles for lack of content to express upon, however these three different slices of the same single pie have left me wanting for so much more because it was delicious from start to finish! Each contributing artist has outdone themselves with a masterful single and I truly hope this one receives the recognition it deserves. Scores Technicality: 9/10 Soul factor: 9/10 Energy: 9/10 Vocals/Samples: 9/10 Re-play value: 10/10 Overall score: 9.2/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

Time for something I have always meant to start adding to Elektro Vox as a whole is Industrial Techno having fallen in love with it over the years but never quite delving in to it properly, with this review of 'Deep & Dirty' I feel like now is the perfect time to do so! Hardstyle, Industrial & Fun tracks. Not to be taken too seriously! Simon has been in and around the electronic music scene for a long time and has several other projects including 'Studio-X vs. Simon Carter', 'SD-KRTR', 'Narconic', and 'Humans Can't Reboot'. Review First of all I will say both of these tracks are fantastic and have the same quote samples shouting at 'Simon' and to get away from a 'device' which adds one hell of a dramatic flare to the whole thing. I could be very wrong but I vaguely remember these samples being from 'Ultimate Force' or at least a very similar military themed show. "I was once told by someone that my latest track was good but needed more 'Simon', I've no idea what they meant but hopefully this meets their requirements..." Deep A deceptive opening that creates that real sense of euphoric inclusion and connection in a chilled out way, the kind of techno that plays smoothly as you transition between nightclub rooms or from scene to scene in a film. After the samples have played out their first full loop, the drop in to the meat of the track kicks in and pulls those electronic soul strings in a supremely satisfying way even though there is a chilled flow to it all rather than an intensive beat kick like you'd expect from industrial techno. That is until 4:26 when the bass starts to thump a little louder, a little more deeply, and fleshes out the layers of audio enjoyment. A strong and smooth half to the release, like sipping on a fine bourbon on the rocks, it has all the right notes but doesn't hit you too hard. Dirty In a perfect Yin and Yang symmetry 'Dirty' takes on that far more sinister and sci-fi edge, like a cyberpunk character who both wants to kick your ass and then screw the pain out of you, it grabs you right in the core where all electronic rave-esque music should do. Each pulse, beat, and altered rhythm sends waves of satisfaction as it throws in higher layers of tempo and fierceness in comparison to 'Deep'. 3:47 drops a Buzzsaw sound that gets right in your diaphragm and kicks the intensity and sinister beats in to a higher gear. I can't even begin to imagine how good this would sound blared out at a nightclub full of intoxicated rave lovers and laser lights. (Slimelight DJ's take note!) Tracklist Deep Dirty Conclusion Truly a fantastic release that bridges the gap of easy listening industrial techno and high intensity EDM techno which some people find too aggressive even with the drama laden samples. This release hits all the right spots and I will be following Simon's work closely from now on! Both tracks hone the two fine edges of the same electronic sabre and will appeal to any electronic clubbing fan. It's a hard thing to stand out in Techno with so many similar styles and beat patterns but Simon has certainly stood out from the plethora of techno I've come across in clubs and releases thus far. If you find the time, add this guy to your usual playlist, you wont be disappointed! Scores Technicality: 8/10 Soul factor: 9/10 Energy: 9/10 Vocals/Samples: 6.5/10 Re-play value: 10/10 Overall score: 8.5/10 Simon Carter's Links page: HERE Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

This EP tells of a space epic, immovable and unstoppable cosmic forces in a gravitational war for supremacy. Ambience is a genre that I often struggle to find enjoyment in however this EP is a real journey of intelligent and conceptual delights that I enjoyed every single second of. The Roche Limit The point at which one celestial body can no longer maintain its own gravitational self-attraction and disintegrates due to the gravitation and tidal forces of a second celestial body. Peter Adjobia (Dragon, Edgewood) and Paul Jetten (Jettenbach) met some 20 years ago at Slimelight London where Peter was a resident DJ. The two formed a friendship founded from a mutual love of obscure Electronica/ Industrial, Post-Rock and Science Fiction novels. While the two talked of starting a music project back then, it has only recently come into fruition. The Roche Limit is the beginnings of a musical partnership, a collision point where the pair's varied and diverse influences coalesce. Inner Demons Records. Review <●>°• The celestial constructed theme is immediately apparent. As the intro track pans across this storied vision, I am reminisce of the background atmospherics of the classic Space RTS games Homeworld (especially Homeworld:Cataclysm) and Stellaris as well as the eerie and not so empty corridors of Dead Space. Something immense and unescapable is vividly pictured with the calm and alluding soundscape in this progressive and spine chilling soft drone of electronics. You can almost hear choir like voices amongst the din that aren't even there; Such is the imaginative scope that sound alone brings to the fore. It both clears the mind and implants it with weighty imagery of the slow but imminent celestial death. ○)°)• An Unrelenting pulse draws you in from the edge of your hearing like that of concentration 'Theta waves' tucked between the sweeping pitches sliding from one ear to the other. There dawns a sense of majestic beauty in the implications of a planet losing its orbit. Billions of years of astronomic history changing in what is effectively less than a cosmic eyeblink. It even reminds me of the releases from NASA where they had translated recorded data in to the 'sounds of the sun' and other bodies. There is a real peace amongst the slow and cataclysmic storm; Unrelenting in its unstoppable momentum. How this has been achieved by 'simple' sounding Human electronics and a few descriptive words of theme, is beyond me.. ○)) ●)) The final track starts very differently with a sharp and abrasive sound that is intense in its desire to be heard and pushed to the forefront of all else. A sense of danger and imminent harm plays out across the distortion. Calamity and a struggle against the inevitable is told like an electronic scream of binaric information in the simple yet complex ambient resonations. This track skirts the fine juxtaposition line of hope and fear, excitement and dread laced with cyber punk-esque story telling through audio format alone. It is also inviting of a mental-self deep dive of reflection of your own place in the universe and how small you are whilst the sounds drift out. In space no one can hear a planet scream.. Tracklist <●>°• ○)°)• ○)) ●)) Conclusion With Classical music we had Gustav Holst writing incredible pieces for entire orchestras to pay tribute to the planets of our solar system. Dragon and Jettenbach have captured this same spirit for the modern age in the form of ambient electronics that in contrast to orchestras prove that sometimes, less is more. What others could have produced as perfectly acceptable base backing ambience has instead provided for one of the most satisfying and enjoyable listens as these two artists have put decades of skill into a beautiful and powerful piece of storied concept with undeniable synthetic elegance. Each tone plucks at different strings in your mind or some unknown part of the cosmological energy entity that we are inside these temporary flesh forms. It certainly makes your mind wander.. Scores Technicality: 8/10 Soul factor: 8/10 Energy: 7/10 Vocals/Samples: N/A Re-play value: 9/10 Overall score: 8/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

What an incredible night this was, not only was the venue packed out for Reaper and Nachtmahr but the crowds didn't stop pilling in for Slimelight long into the night and it was truly wonderful to see so many people heading the call in their hearts to return back home to the UK's cradle of Goth. The new lighting and lasers on the top floor was incredible and the use of multi coloured strobe lighting during DJ sets, was nothing short of heavenly. In truth I had not expected to review (So this will be short!) or do any Elektro Vox related content for this as I simply wished to enjoy the night and introduce a friend to the beauty that is Slimes for their first time. That soon changed however as I was offered an interview opportunity with NACHTMAHR and to finally ask once and for all on camera, THAT question that we have all wanted clarifying.. Which you can watch below. If you wish to use any of the photography please contact us and we will put you in touch with the photographer. (A huge thank you to him for supplying the images for this review!) My Hysteria Sadly I was unable to catch this band due to huge amounts of London traffic and therefore I missed out upon the rather snazzy dressed Alessio taking the stage again. I heard many good things however and if their performance at Static Darkness was anything to go by, I'm sure they did the venue proud! Black Light Ascension A replacement for Splatter Disco and one that a lot of people were very happy to see now added to the line up, the cameraman especially! I felt the opening was a bit slow but half way in to the set, my friends and I were very much vibing away and really enjoying the dark electronics and darkwave-ing guitar rhythms. A really wonderful band to mellow out to but containing enough energy and electric spice to keep you wide awake and thoroughly happy so much so that we had to thank them for their great set when we bumped into them at the smoking area. 9/10 Reaper I've seen Reaper a few times now and each time is absolute magic. This was one of the defining artists that made me fall in love with Industrial and the reason I ended up spending so much time at slimes and later creating Elektro Vox. This was one of those sets where the spirit of rave possessed my body and the cathartic flood of endorphins in the brain was like an intense drug trip of euphoria that I have so, so desperately needed. It's amazing what good music and a strong beat can do to a sober brain! I've rarely seen a crowd so energetic and pumped at every single track an artists plays. Reaper is for sure one of the Gods of electronic rave. Viva la Reaper! 10/10 NACHTMAHR Now before I start this review I would like to state that yes there have been some concerns voiced about this band, so please see our interview video below where I asked Thomas Rainer to clarify the band's stance. (And they are indeed ANTI right wing) When the band began to play, I struggled to remember having seen the top floor so packed in all my time at Slimes, so much so that our usual crew who are always dancing at the front of shows covered in lights and glowsticks had to find a tiny slither of space against a wall to try and dance at, this will give you some indication of how excitable and energetically stacked the room was! Each track had belted out passion and fury in equal measures. Thomas still commands a lot of frontman magic getting the crowd to sing along and interacting with those in the front row. You can tell the band loved to be back at Slimes and that love was pouring off the stage and in to the audience. Truly one hell of a stomp fest that I wont soon forget! 10/10 A huge, huge, thank you to Slimelight!! Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

*Rave The Requiem, Grooving In Green, and Cold In Berlin did not attend and were replaced by Novus UK, FyreSky, and Witch Of The East. Welcome! This is going to be a different sort of live review for a change with Elektro Vox. On this occasion we had myself down at the London show with a media pass to get some interviews in; and Mr Smith up at the Leeds half of the show with a pit pass to get the juiciest photos that my Iphone could never live up to! Now I spent most of the first day trying to grab bands and the second day taking time to enjoy my friends' company so I can't say I paid a great amount of attention to each band to write anything in depths for many of them and Mr Smith is busier than he's ever been with new found photography success. So it is for these reasons that the band reviews will be very short but in essence what I truly seek to review is the festival itself! Scroll down for a vast array of images and interview videos! This was the first ever HRH Goth (Incorporating HRH Industrial) and many of the original line up were not able to make it due to Covid, travel restrictions, probably something Brex-Sh*t related no doubt, and some other rumoured issues. Now I will admit that I had been very sceptical about this festival because for one, I knew very few of the bands, and secondly it seemed to be marketing itself as 'the first true UK Goth festival experience' which seemed like quite the unresearched slap in the face towards Infest, Resistanz, and Whitby festivals and I found the lack of line up change info disturbing. Having said that.. What I expected was a fairly poor weekend, what I got however was an incredibly friendly, helpful, and thoroughly enjoyable experience even if I didn't agree with a few of the line up. The staff were incredible, the bands performed their hearts out, and long needed socialising was had in a great atmosphere, minus two small instances that is. Having got my passes agreed only the day before from an incredibly helpful Holly and Toby over the phone, I was then introduced to the lady in charge, Charlotte (Charl) and Harry at the venue. Having had a misunderstanding with my media pass' access rights, I was led up to Charl once again by security supervisor Lee. Charl was amazingly friendly and issued my partner and I with higher passes and Harry showed us to a room that we could use all to ourselves for interviews upstairs in the Foyer. Perfect! So first day was full of great first impressions even with the confusion. Near the end of the first night, a friend in my group was approached by a far less than pleasant man who I had to make leave for reasons I wont' go in to. Having worked in security for many years I couldn't help but keep an eye on him all evening, and when I noticed him repeating his mistakes with other women in the venue I quickly had a team of security staff huddled around to get a good look at him, and sure enough he was spoken to shortly after and then I imagine, escorted out. The next day Lee the security supervisor assured us he would be on a last warning should he return and the wonderful HRH team lady at the front desk offered my two female friends royalty passes to be able to escape upstairs when necessary. Now THAT is how you handle festival problems, I was beyond impressed at the staff's ability to empathise, react, and assist; So in terms of safety and customer service 10/10! Anyway, enough of that for now, on to the bands! Novus UK A good friend once told me that a show should always start on a banger to get the audience's attention and Novus opening the festival was a super enjoyable experience to start with, that's for sure! A three piece band looking incredible from the start with PVC galore, powerfully positive energy, and catchy track after catchy track made for a set deserving to be much higher on the billing. Vocalist Sarah looked truly at home on the stage with Peter and Angie both looking absolute fire and like they couldn't quite believe they were there; Their last minute placement however was definitely well deserved and made for a great feel-good kick start of Gothic rock! 9/10 Leeds photos: London Photos: Interview: "From an artist perspective.. One of the best organised events we have played and especially in London, the sound and stage guys were amazing. Could not be Nicer or more willing to help." -Peter Jones ~ Novus "Both Venues were excellent, all the staff and crew were super helpful. The crowds at both cities were really into the music from all the bands. In Leeds the lights were amazing, especially for Auger." -Sarajane Farr ~ Novus FyreSky I only managed to catch the last two songs of this band having been interviewing Novus but from the fire filled energy of their exiting numbers that put me in the mind of 'From Dusk 'Til Dawn' came a jaw dropping smile across my face (Let's ignore the logistics of that statement!) The lead singer hypnotised the audience with one hell of a powerful voice and charismatic edge weaved in to every word. The other members of the band were ecstatically energetic and owned every inch of that stage, and even the pit as the two guitarists threw themselves at the audience! Absolutely wonderful stuff that I wish I had seen in its entirety. 9/10 London Photos (Did not play Leeds): St Lucifer A super well rounded sound that brings a smile from start to finish. St Lucifer really is a band that can appeal to every taste which is a rarity. A wonderful statement of diversity and pure enjoyment of time spent dedicated to music. There wasn't a single moment where I wasn't enjoying the beats and vocals, constantly bopping my head along and smiling at the profoundly positive vibes pouring out of the band. 8/10 Leeds photos: London Photos: Interview: Seething Akira Really out of place at a Goth event with their rap meets pop punk vibe. They put me in the mind of a band that would support Hollywood Undead. Also another band that I only caught the last two tracks of, in which they seemed to be keen to throw positive vibes and an energetic stage performance to the day. Fair play to them, they were certainly playing their asses off but it seemed uncomfortably out of place at a Goth festival which is more the booking agents fault than the band's. 5/10 Leeds Photos (No London Photos): Auger It was with a beaming smile that I eagerly nodded a resounding 'YES' to my partner when she asked me to clarify if this was the band that will be co-headlining my EVM fest when it (Finally) gets rescheduled as we both headbanged along to the glorious riffs of Kieran and the nuclear powered voice of Kyle. Surprisingly this was my first time seeing them in the flesh, having seen them multiple times on lockdown live streams; My Gods, it was worth the wait! Photographing Kyle is really hard, the man NEVER stays still on stage so I am stunned by how good some of Mr Smith's Leeds photos have come out! Auger are a band on the verge of taking the world by storm with their easy listening yet pleasantly heavy style of dark rock that made bands like Guns and Roses and Queen so popular. There really is no describing Kyle's deep resonating voice, which you can pick up from in our interview somewhat! If you've never discovered Auger, then I suggest you take a day off work, sit yourself down, and lose yourself inside the music made for every possible occasion. Same to be said for the next band too, Massive Ego of whom Kyle is now also a part of. There is an interview video of Auger and Massive Ego together underneath the Massive Ego photos! 10/10 Leeds Photos: London Photos: Massive Ego A band that puts out Gothic nightclub anthem after anthem containing all the hallmarks of what makes music so special. From the addictive electronics, to the stomp factor drums, and the majestic vocals that tell a story with passion each time. Massive Ego are like watching a dark rock musical and I thoroughly love every second of each performance I have seen so far. A change in the band with Scot leaving which I was deeply sad to discover, and Kyle of Auger joining, with Lloyd once again returning to the group making the band a fantastic four piece now. There was passion, fire, and beauty pouring off of that stage in chaotic measures from a truly banging 'Let Go' and 'I Idolize You' to a hauntingly meaningful 'The girl who finds gifts from crows'. Hearing guitar riffs breathe new life in to familiar songs was a perfect upgrade that balanced out Massive Ego's sound rather than drown it out like when other bands tend to kill their music by adding way too much guitar and snubbing the electronics that made their sounds so popular.. Not naming any names, or big bands starting with C. *Cough* 10/10 Leeds Photos: London Photos: Massive Ego and Auger Interview: Lord Of The Lost Which brings me to the highlight of the weekend. I managed to catch 'Judas' as I came out from behind back stage from the previous interview which sounded absolutely phenomenal. How a band can have multiple members sounding so crisp and clear, yet heavy as F**K is beyond me and a real testament to the band and the sound engineers' skills. After 'Judas' the band made a truly heartfelt apology that because they had run late and didn't want to cause any inconvenience to the next band or the staff that they would just play one last song and cut the set short which came across as a genuinely empathetic and wonderful touch from a band who look so fierce; It almost seemed like a collective and touching 'aww' was being breathed from everyone's lips. To Round that off the band played out to a cover of Duran Duran's 'Ordinary World' which is one of the most touching and beautiful moments I've witnessed from live music. A friend with me then swung that in a different direction when she said.. "You NEED to get an interview with them cause they are SO HOT and I want to meet them!" Which was then made even more hilarious by the band throwing Lord Of The Lost condoms at the crowd as they walked off! Sadly I wasn't able to grab them in time for an Interview but what fun that would have been if I had! 10/10 Leeds Photos: London Photos: I was able to find a recording of 'Ordinary World' but at the Leeds event so not quite the one I witnessed but good enough! Many thanks to 'From the barrier and beyond'. My Dying Bride: I can see why they would be played at a Gothic event but it certainly felt like another out of place band. You see I am a fan of funeral doom metal, I love Swallow The Sun for instance but if I wanted to see a doom metal band then I would have gone to a more metal or doom orientated event and so hosting them at HRH Goth just seemed.. Bizarre. Having gone from an insanely packed floor for Lord of the Lost to a crowd of less than forty people on the floor for My Dying Bride was quite sad to see but when you put a cold, slow, and depressing themed band on after a deeply enjoyable and energetic band that should have headlined, especially after a long day.. well.. Again, booking agent's fault. Not the band's. My Dying Bride are a good band with some incredible talent be it from the vocals or masterfully incorporated violin but it came across as a dreary anti climax. Doom metal has a place for sure and I love it but sadly myself and those in my group were not in the right place to enjoy such melancholic tempo, especially as we had no realisation of what type of band they would be, I think we were just a bit surprised and a little confused. As a band they sound great though, certainly wouldn't fault the band in any way as they had some impressive songs. 6/10 Leeds Photos (and 2 from London): Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Day 2 Witch Of The East Sadly I can't comment on this band as my partner and I found ourselves in Camden for what was meant to be breakfast.. It turned in a Goth trap of too many shops and the convenient use of credit cards.. My apologies Witch of the East! Leeds Photos (No London Photos): In Isolation This was a band that only played Leeds and therefore I am unable to comment. Leeds Photos (Did not play London): Deadfilmstar Now this band.. This was a tasty one! The lead singer looked as if he were about to drag you beneath the waves and feed you to his master Cthulhu with his sclera contact lenses, ruggedly dreaded hair, shaking jaw, and a persona that was fully in character for ripping out throats in the name of the dark lord of R'lyeh.. Oh, The music was great too! This whole band gave themselves to the music completely pouring ounce after ounce of showmanship and presence in to their performance. The singer bored holes in to souls with his unwavering gaze that added depth to some heavy and meaningful old school Gothic Rock. This is music to start biker brawls to. 9/10 Leeds Photos: London Photos: DROWND This band had notes of Nu Metal and I wasn't quite able to put my finger on to what I was listening to. Overall fairly enjoyable but another odd choice for a Goth festival, I must admit I can't recall much beyond that. 6/10 Leeds Photos (And 3 London photos): The Webb This band were a much needed mash up of humour, alien sci-fi, dance beats, and showmanship cabaret Gothic who brought a wonderful change of pace that truly shows that Goths do have fun and can point fun at things. We are all actually quite nice and often quite silly once you get to know us and this band personifies that quite nicely! What is Goth, if not fun and enjoyable? A very nice mix of song styles left me bopping along and speed dancing in some places, what a wonderful world we live in when the Halloween stuff starts appearing! I also really want to go watch Rocky Horror for the 400th time for some reason now.. Probably the keyboardist's amazing hair! 9/10 Leeds Photos: London Photos: All My Thorns Of the two songs I caught the end of this band sounded great, very American in rock sound but with a hint of UK metal heaviness/ What an outfit! 7/10 Leeds Photos (And 3 London Photos): Red Sun Revival Unfortunately a band I hardly heard any of as we had just come back from dinner and I only managed to grab two far away shots before they finished. Sorry! Leeds Photos (First two are London): Jayce Lewis I said this to Jayce himself and I'll say it here.. I didn't really know any of the bands on day two and was so far not really connecting with or feeling the music vibe but when Jayce Lewis came on who I had never heard before my partner and I both looked at each other and said 'F**K Yes, THIS, I like this!' Jayce, Sy An, and Martin, throw themselves around a stage. I've rarely seen such zeal and fervour from a band, especially Jayce throwing his entire body in to each shouted lyric and Sy An sparking non stop talented fire in to her guitar. I could see why Jayce Lewis has supported and will continue to support Gary Numan on tour because he has an incredible sound that pushes the boundaries of what sound systems should be able to keep crisp and clear. I could make out each word, each note, and each moment with crystal clarity. It's not every day a band like this blows you out of the water for not having heard them before. Truly an amazing set and I was lucky enough to grab Jayce during Fields of the Nephilim for an interview. See below. 10/10 Leeds Photos: London Photos: Interview: Fields Of the Nephilim A Goth band everyone has at least heard of, and I was looking forward to seeing them! Sadly they had a no camera rule for the audience it seems without notice and security rudely pushed people's phones down (*cough* Covid risk) Now.. I understand why some bands ask for this because they want you to enjoy the experience and let people behind see etc but it was very clear from the huge banks of fog, big hats, and sunglasses that the band just weren't interested in anyone being able to see who they were; So it's not like the no camera rule made much sense anyway, all that did was breed an air of animosity amongst the front row crowd which sadly became two or three utter morons treating the front as a mosh pit, clearly against everyone else's will.. We were at a Goth show.. Not a metal fest. You morons know who you were and you should be ashamed of yourselves... So I had to remove myself or them.. I chose the peaceful option and listened upstairs to the soothingly dark beats and rolling epic melodies. It was at that point I grabbed Jayce Lewis and missed most of F.O.T.N From what I heard the band sounded good but again with the putting a slower band on last straight after an energetic one, seemed a little odd. I can see why they this band are well loved musically but I can't say I heard enough to give a fair review of their music. What I did experience was impressive riffs, clean and brooding sounds of melodic peace in places and then deep brooding yet energetic flares of dark rock most satisfying in others. I shall have to make sure I watch in full next time! 7.5/10 Leeds Photos (No London Photos): "From an audience member in London. The whole weekend was amazing and I'm so glad finally that this event has happened." - Jennifer Dale Conclusion For a first attempt at the Goth scene, HRH have done well. I mean, the line up didn't ideally fit the Goth tag and certainly not the Industrial tag all be it filled by some industrial association from bigger players in the scene such as Lord Of The Lost, Massive Ego, and Auger. The second HRH Goth is already looking to be of similar half and half yes and no although I am impressed to see Mono Inc on the line-up. Still, practically no Industrial however. So.. Getting a group of my friends in for the price of one ticket from a 'ticket win' certainly made a very nice social aspect to the festival. The sound system was perfect. The staff were absolute stars. From the security, to the bar staff, to the techies, and of course to the wonderfully empathetic HRH team themselves. (Honestly Charl you are amazing and it was so wonderful to be treated with that level of trust and respect, you deserve a promotion!) Convenient location Having the upstairs reserved for royalty ticket holders I can understand but you do need to provide some sort of seating downstairs for such a long day/s, many in the Gothic scene have mental health or physical problems that are exacerbated when the only choice to rest yourself in pain is on the floor. So that needs to be addressed. More shops would be good for a festival, one small merch stand felt a little underwhelming but with the lack of space, not surprising. I guess festival as a word I tend to also associate with shopping for goodies. Although more of a venue issues, there needs to be some sort of food consideration as leaving to get food means missing out on the show. All in all a great experience with unpolished edges but what good part of Goth life isn't? I can thoroughly admit that although it will never have the same deeply social and close feel of Infest or Tanz, it is looking promising to see a large company trying to uplift the niece genres and we can certainly all agree that more alternative events can only be a great thing! A huge thank you to all at HRH Goth and 02 Kentish Town and Leeds! 9/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you!

Stay-In-Fest (Infest) Live on Stage line-up – Portion Control, Tapewyrm, Witch of the Vale, Zeitgeist Zero, Red Meat, Scene Cover, Byronic Sex & Exile, La Rissa, Bone Cult and Biomechanimal. Virtual livestream line-up – DSTR, Shiv R, IAMX, Cyanotic, Noisome, A Place to Bury Strangers, Empathy Test, Spank the Nun and Nightmare Frequency. Infest is and always has been more than a music festival. It’s a meeting of converging like-minded souls. By this I don’t mean everybody is Gothic. It’s a highly unusual melting pot where everybody from crew to artist through to crowd is on the same wavelength. The overall feeling of community cannot be matched within any long running UK Goth festival. How does such a festival family meet up during a pandemic? Well to beat lockdowns in 2020 they invented Stay-In-Fest. A livestreamed virtual festival. This year with restrictions lifting, but with an eye on community safety and well-being, a hybrid event was created. Partly live, with bands and a socially distanced crowd for those that are willing to attend such an event – and a livestreamed festival for those still not comfortable venturing into the new Covid world just yet. Simply brilliant. If you wish to use any of the photography please contact us and we will put you in touch with the photographer Biomechanimal If you are into harder metal infused industrial techno you’ll know about Biomechanimal. I’ve seen them before and again they provided a set full of energy. A set so full of energy it not only made me think they deserved to be further up the bill, but they were so hot they set off the fire alarm! Matthew was accompanied by a different band line-up to the last time I saw Biomechanimal play, the two new members were equally up to the job. A great set, I wouldn’t expect anything less. 9/10 Bone Cult Two guys in masks that provided an edgy slab of The Prodigy style metal / dance crossover for the Infest crowd. They played throughout the set in full-face masks which looked other worldly on stage. The lights complimented the overall look and sound incredibly well. I got the impression these two have an eye for an overall audio and visual style – the two elements are closely related in Bone Cult’s world. A screaming, beating selection of Bone Cult catalogue was exactly what I needed. Seemed like the crowd felt the same too. A highly recommended live band, you need to see them. 9/10 La Rissa Now a two-piece band, this Leeds based synth-pop band have done rather well lately – being tipped by the BBC as one to watch. I’ve spent time getting to know the band listening to their studio output, but never seen them play live. Now I have they have seriously got under my skin – in a good way, not in nasty parasite way. Larissa has a splendid voice live that contrasts with the soulful dark themed songs and the electronics. It was a completely faultless performance that just seemed so easy for them. In many ways they reminded me of Empathy Test, another high-quality band simmering under the surface and about to break big. 9/10 Byronic Sex and Exile Joel Hayes is a well-known and well-liked face on the ‘true’ Gothic circuit. His new project has done rather well for him and has filled a bit of a void that was once so full in the scene of the 1990’s. Think of bands such as London after Midnight, Nosferatu and Suspiria, with even more Gothic soul, romance and poetry. This guy is no stranger to being on a stage, and to all intents and purpose completely at ease showing off his Gothic stylish good looks and poses. He would make a fine actor in a period drama, perhaps even portraying the Prince of Darkness…… Well as it is he’s a fine performer this afternoon, he played new tracks from his latest album ‘Unrepentant Thunder’ and a couple of covers – including a marvellous VNV Nation cover to please the Infest crowd bias towards electronic Gothic acts. I don’t think I’ll ever tire of listening to this talented chappie and seeing him on stage. 9/10 Scenecover Fitz is the guy behind the sub-lime Skinjob, a band I am a huge fan of. Scenecover was born in 2020 and played at the Stay-In-Fest. It’s kind of basic stuff, Fitz playing stripped down acoustic style covers of well known and loved tracks from our scene. He simply sat behind his keyboards, played and sang. He covered a wide variety of songs covering around forty years – OMD’s ‘Messages’ was an enjoyable cover of one of my favourite songs from the earlier days. He also covered ‘My Name is Ruin’ from Gary Numan – and as anybody that knows me will say; I am a huge fan of Numan. The rest were a crowd-pleasing mix of the likes of VNV Nation, Apop, Rotersand and Seabound. I’ve got to be honest, I enjoyed the set, but didn’t love it. I guess it wasn’t helped by Fitz having some vocal problems. I hate to say this, I feel like a traitor to Fitz. But the rest of the crowd loved it, despite it not quite gelling for me. 7.5/10 Red Meat I loved Rhys’s last project Ded.pixel, so was looking forwarded to this proudly queer chunk of meaty, pounding, meaty Wax Trax style industrial techno beats. If you were at this gig and weren’t moving you must have died. Completely engrossing, enthralling and ultimately a clever kick in the frontal lobes – your senses are given a test run on the wildest test track. A sheer elevation of this genre, Red Meat is really where it’s happening right now. 9/10 Zeitgeist Zero Surely there isn’t anybody in the scene that hasn’t heard a track by Zeitgeist Zero? Or been to see them live? A perfectly Gothic ethic meets industrial rock with some fine melodies and great song writing. But I’ve always felt that the home listening experience, though excellent, is not a patch on them playing live. Some bands are like this, their material breaths and expands on stage. Zeitgeist Zero add the extra element that defines them as the special band they are when put on a stage. As always I loved this set, bubbles and all. The bubbles seemed very fitting due to the time, consideration and care Infest had taken to provide Covid safe conditions for everybody. There was a slight mishap with (I suspect) a footwear malfunction, which resulted in an impromptu stage floor body-pop. But other than that a perfect set from one of the big hitters of the UK scene. 9/10 Witch of the Vale As I write, I know my pulse is racing just that bit faster when I write Witch of the Vale. I don’t often get overly enthusiastic, I’m quite a reserved chappie after all. But hey, I f*cking loved Witch of the Vale! I remember missing them play at the 2019 Infest. I was too bone idle and slept in – they were an opening band that year. Ever since then all I have ever heard is people being gushing in their enthusiasm for them as a live band. I loved it when their album was released last year, it filled a gap in my disappointment of missing them. So, yes I admit this was the band I was looking forward to the most at this years festival. F*cking hell! F*cking f*ck hell. I don’t swear a lot. F*ckity f*ck! These were awesome, f*cking awesome! Everything you have ever heard about the band playing live, it’s true. Very f*cking true. The imagery, the unsettling atmosphere, the sublime vocals of Erin swirling around and forging bonds with Ryan’s traditional drumming and his contrasting electronics. This is something very special. I don’t swear much, f*ck these guys are f*cking good! 9.5/10 Tapewyrm Seeing a gig by Tapewyrm is a one-man mission to head-butt you right between the eyes with a full force wrecking ball of unpleasant noise. Tribal rhythmic beats vibrate you until you submit and dance, a huge wall of distorted sound mashes your brain. How can this guy muster the power? How can one guy make all this impactful noise? It’s purposeful. Its purpose is to chew you up and spit you out. A brilliant set that left me a little punch drunk, I wondered if my ear drums had burst. Was my sternum still attached to my ribs, or had that powerful vibe completely mashed my insides? That’s mission accomplished for Tapewyrm. 9/10 Portion Control Being almost a pensioner, I’ve followed the electronic beats of Portion Control since around 1980. They recently released a series of three EP’s ‘Seed’ and this set is heavily based on those. This was the perfect end to a festival. I looked into the crowd, don’t forget this was a socially distanced seated table service festival – but everyone was on their feet. Dancing, smiling, laughing, cheering. It was like the old times, before Covid changed the world. Yes a moment of madness, I guess – but a huge release for us all provided by these old timers, Proving us old guys are still entirely relevant. Good old fashioned techno EBM, kind of in a similar vein to Nitzer Ebb, I loved this set. So, we were at the end of this special day – a milestone in the history of Infest. What a way to finish it. Portion Control were awesome. 9/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

There are always unexplored alleyways and hidden avenues that reveal strange and interesting new sights, sounds, and experiences. This self titled album by Cyborg Amok is one such metaphor of intrigue. I find myself in territory somewhat unknown with a vague sense of direction and grasp of this type of musical language; Even so, there are many enjoyable things that caught my attention throughout. August 19, 2021 - Gothic/Post-Punk duo, CYBORG AMOK have recently unleashed their debut, self-titled LP. The album covers conflict, hope, loss, betrayal, estrangement and depression, looming in the darkness on the fringe of the grey. CYBORG AMOK resides somewhere between the brilliance of twilight and the apocalyptic darkness. Their gothic infused synth-rock sound delivers the listener to a panorama of synthetic waves, twisted organic tones and a slightly pop crust … the language angels speak in the darkness. Greg Bullock states, "Much of the inspiration for my music comes from life experiences. I will also read or see something going on in the world that moves me to write a song to chronicle the event." CYBORG AMOK's self-titled album was released in both digital and CD formats. The album is a compilation of two previous EPs that are now extinct. New music blog Right Chord Music described the release as “gloriously brooding and timeless in its introspection.” This album is a compilation of two previously released Cyborg Amok EPs (Order Of Dis-Order and TOO). Cyborg Amok is ... Greg Bullock: lead vocals & keyboards Brydon Bullock: drums & backing vocals Review 'New(er) Dark Age' is a poetic approach to opening an album that paints a picture much in the format that Pink Floyd would structure out the unfolding messages and stories of their songs. At first I found it to be odd and confusing, much like my opening introduction analogy, I was at a loss and in unfamiliar music grounds. However once the experimental electronics akin to Theremins pulsed out and led back in to the chorus I find myself swaying quite pleasantly and very much enjoyed the military style drums playing it out. With the next track, I realised what sort of album this was going to be (at least for me anyway) as 'Dancing On The Floor Of The Sea Of Tranquillity' kicked in; It feels very much like an 80's musical that was never put to stage or film but now finds itself rediscovered in album form. I say that as a good thing because A.. Who doesn't love the 80's? and 2.. Who in the hell doesn't love musicals? There's a little sprinkling of cheese, and those retro slightly out of tune vocals throughout yet I find these endearing and actually a boon to the song overall. The keyboard sections certainly bring a funky nostalgia factor complimented perfectly by some beautiful and subtle female vocals. I might even say there's a hint of Meatloaf's style here too. Definitely the best song on the album. The rest of the tracks on the album certainly have a lot of meaning to the lyrical content and therefore the inspiration for them. It's also nice to hear some very distinct artistic directions in the music style of each. 'Another Turn' has some courage inducing march drumming and positive spinning notes throughout which is a nice touch. Tracklist New(er) Dark Age (radio edit) Dancing On The Floor Of The Sea Of Tranquillity (2019) Choice Not Taken Burden Away Beyond Me Another Turn (Still) Too Far Out Conclusion I feel like I don't know even half as much as I should about this particular genre in order to review it properly with any substance however this album (although not to my usual listening) has felt like I've took a wrong turn on holiday somewhere and got lost in translation, yet had a great time regardless. It has some fantastic pieces sprinkled throughout and just when you think you understand each song, something different and unexpected grabs your attention. Cyborg Amok bring a sense of style and new discovery in contrast to a retro journey of electronics and rock that makes for a pleasant indulgence of musical storytelling. Scores Technicality: 6/10 Soul factor: 7/10 Energy: 6/10 Vocals/Samples: 6/10 Re-play value: 8/10 Overall score: 6.6/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

Let’s Rock the North East Festival – Human League, OMD, ABC, Howard Jones. Sister Sledge, Midge Ure’s Electronica, Heaven 17, Pete Wylie, Toyah, Go West and more…….. Herrington Park, Sunderland, UK - 21st August 2021 I grew up in the era of fading punk, emerging New Romantic and the underground Goth scene was bubbling away. It was possibly the golden era for ‘freaks’ - those that didn’t fit into society with so many alternative music and fashion scenes. New Wave came in various guises and synth-pop was king. Gender bending, as the press called it, had another resurgence after the glam-rock years of the 1970’s. Men and women were experimenting, people pushed the boundaries – it was a very exciting period to be growing up. Commercially synth-pop will perhaps always be associated with the early 1980’s – and this festival caters for this end of the market. A large group of chart toppers from this period of time, predominantly of the synth and electronic genre. It was raining as I arrived at the festival, and the weather forecast wasn’t good. I had my press pass, and my car was parked next to the rear of the stage – alongside artist hospitality. I had access to VIP, hospitality and was even fed by the organisers. Good stuff, we have a job to do, but it’s appreciated when we are appreciated! I quickly met several of the bands, took photos and established recognition – this always help when in the photography pit to get good images. Good stuff. Go West arrived on stage first, not my cup of tea, and but they deserved to be higher on the bill. I spoke to their manager earlier, they had another gig to travel to, so were unusually the opener. Now I’m no fan, but when the likes of Black Lace (of the truly appalling ‘Agado’ and ‘Do the Conga’ chart hits) and tribute bands were before them, I must admit I felt it would have been better to stay at home. The crowd liked them, they were a good opener. Another artist lower on the bill worth mentioning was Jaki Graham. The polar opposite to my own taste, and I would imagine to Elektro Vox readers too – but she managed an impressive set. I’ll also give Sister Sledge a mention too, further up the bill. Again not of interest to us electronic beat lovers, they gave a fantastic performance. Toyah shared the same band that had been used by Black Lace and the tribute bands. Not a good start. However, quickly I realised they were actually a good band. It all worked well on this short set of Toyah’s most famous songs such as ‘I want to be Free’, ‘It’s a Mystery’, ‘Thunder in the Mountains’, ‘Echo Beach’ and ‘Good Morning Universe’. She is a little bundle of energy, and just as exciting to watch as her younger years. Good stuff. 9/10 Heaven 17 arrived and by now the crowd was very large, several thousand people, and it was clear they were happy to see this band. Glenn and Martyn shared the same two backing singers of Toyah and several other bands. But as they had proved with Toyah they are very good indeed. I’m a big fan of every band Martyn Ware has been involved with, and he can be regarded as one of the great- grand daddies of electronic music in the UK. As most readers will know, Heaven 17 was born after half of The Human League split away. Today they are as relevant as they ever were, the festival speakers get a full work out with powerful bass synths rumbling the field. Yes, of course they played all their hits, it’s the type of festival it is. Check out their upcoming gigs where they are playing the first two Human League albums for more obscure tracks. However I thoroughly enjoyed this set of popular chart hits, and I suspect I will continue to enjoy every gig I see of theirs. 9/10 Midge Ure’s Electronica is Midge’s latest way of presenting tours and gigs. He formed this band a couple of years ago. Presumably as it seems to be very clear that Ultravox will never play live together again. I’ve seen Electronica a few times, and either (only) quite enjoyed them, or found them a little embarrassing. I say this as hearing Ultravox songs without the musical genius of Billy Curry leaves me a little cold. However on this occasion they have either got it together better, or my ears are becoming a little more accepting. I really thought they worked well together and added to that spine tingling voice of Midge – hearing that “Ohhhhhhh Vienna” will never fail to raise the hairs on my skin. Yes, Midge and his new band are now forgiven. 9/10 Howard Jones writes very upbeat synth-pop. His style was a kind of musical positivity / motivational meme. All about looking after one another, doing our best for the world etc. I am all for that. In fact, as a kid and getting into all forms of electronic music I was a big fan of his. As time went by my musical direction went a little darker, and I listened less and less to Howard. I’ve never seen him play live, until this festival. Well I’m sorry Howard but judging by your performance and odd attitude backstage, you have managed to earn a living from preaching positivity, but not practising it in real life. One of his band members had to apologise for his behaviour towards the photographers. The performance itself was a tad detached and lacklustre. Forced smiles and gestures. It seemed like an act. Press the play button and go. The band was superb, especially the fantastic abilities of Nick Beggs (from Kajagoogoo) on the Chapman Stick. Mindblowing ability, truly exceptional talent with this unusual instrument and perhaps an even more unusual approach to playing it. I enjoyed the set, but Howard come on, take a chill pill. 7.5/10 ABC. Hmmmmm……… How do I do this? Write this review? Probably wise to be honest and truthful. I truly dislike the material they produce. Often marketed as a synth-pop band I find them to be cheesy tosh. Not for me. So, as for the review…… Martin appeared, sang and looked like the crooner he always has been. The band played well. They played all the hits the crowd wanted. I left halfway through after getting the necessary photos. Sorry guys. 5/10 (I’m being kind) OMD, or better called their full name, Orchestral Manoeuvres in the Dark. Pure legends. They may share the three-capital letter style name of ABC, but that’s where similarities stop. They are true pioneers of the UK synth and electronic music movement with a broad spectrum of musical styles. They got their big break supporting Gary Numan on his first major UK tour, and returned the favour to him in the 90’s by having him as an guest artist (some would say support) on one of their tours. Yes, they are that good – Numan is of course god-like. Andy is, as always the gig singing windmill – his dancing is as legendary as the band. Paul, quietly sits behind his keyboards most of the gig. However he does swap duties with Andy for two songs – taking over the singing for ‘Souvenir’ and ‘(Forever) Live and Die’. Andy’s bass player is essential entertainment. The band are good – very good. They play all the hits – just as this festival crowd want. They should have been headliners, I can accurately say the crowd responded so well with them – the most enthusiastic reaction for the whole festival. As always, completely mind blowing. 9.5/10 The Human League had been quietly making electronic music in their home town of Sheffield for a number of years when Gary Numan broke the charts in 1979 making alternative electronic music commercial acceptable. Forever associated with ‘Don’t you Want me?’ and of course this was played tonight, this band is much more than this (and a string of other hits). The trio of Phil, Susan and Joanne were placed at the front, the two girls either side. They have on numerous occasions self confess that they can’t sing well, and as a big fan I agree. But combine this with the excellent vocal abilities of Phil tonight, it all works very well – and is part of the Human League experience. Phil is one cool dude, he looks great on stage. But he has a very weird habit of whiz-walking the stage. It’s like one of those old Benny Hill speeded up videos, you almost expect him to sing fast and at high pitch like Pinky and Perky. (Note to self; I must remember the general readership age of Elektro Vox, many will not know the reference to Benny Hill nor Pinky and Perky!) (Editor: Oh we do Mr Smith.. We do!) Anyway, Phil walks fast, but sings normally as you’d expect! As per the norm for a nostalgia fuelled festival all the safe hits and tracks are played, including the solo Phil Oakey hit ‘Together in Electric Dreams’. A brilliant performance from everybody. But OMD should have been headliner. 9/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox