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Josie Pace is a great artist that weaves in and out of different electronic inspired tracks and makes some very impressive music. From track to track, she always hits that party vibe hard or heart felt rock and roll whenever you listen. Josie is definitely one of the rising stars of the alternative electronic world and one to keep a close eye on as she will soon be touring North America with Aesthetic Perfection! As the saturated synths rise behind the lyrics “Just take your stamp off my design” on Josie Pace’s driving single, “Battleground” we immediately understand this is not an artist who is weak when abandoned. Instead, this Detroit artist’s music represents a piece of her solitude. The blistering glow of downtempo post-industrial beats, electro-pop melodies and layered soundscapes are home to Josie’s captivating lyrics; she is a songwriter in the purest sense. The result is a pulsating sound that will haunt you with vulnerability while basking in Josie’s world of self-reflection and unapologetic rock and roll attitude that Detroit is legendary for. When musician and producer Ken Roberts saw an acoustic performance of Josie on Facebook he was blown away, the raw and intimate performance captured the one thing all songwriters strive to achieve “believability”, and he knew he had to work with her. The two started working together with Josie’s songs as the foundation. As an accomplished guitar player, Josie molds and refines her songs acoustically only to tear them apart with Roberts’ unique production style and his ability to create dark beats with grinding synths that compliment Josie’s voice well. Songs quickly formed into a unique sound that pull from the likes of Depeche Mode and IAMX yet contain a high art fashion swagger as if you just bumped into David Bowie at a Halston Party. From the beginning, the style and the art of the music have been just as important as the melody and soundscape. Josie’s latest music video “Pure Morning”, featuring another collaboration with fierce femme fatal Sammi Doll (IAMX and Kat Von D), draws audiences to her unique brand of electronic rock and visual artistry. That theme continues with the videos for “Perfect Replacement” and “Fire” where fashion and desolation hold hands with Josie’s in-your-face performance. The singles, “Underestimated”, “Storm and Stress” and “Future” all test Josie’s artistic style and the ever present desire to give her audience something fresh, new and authentic. The album “IV0X10V5”, was released with Negative Gain Productions in February 2022. Josie carries the same commitment of style and artistry to her high-energy live performances. She has shared the stage with Combichrist, Powerman 5000, Stabbing Westward, Tim Skold (Marilyn Manson, KMFDM), , Daniel Myer (Haujobb, Architect) and Davey Suicide and has also performed successful headlining shows in New York, Detroit, and Los Angeles. With future songs and videos in the works, Josie Pace will continue the legacy of great Detroit Rock and Roll. Interview Q. Hello Josie, I’ve followed your music for a couple of years now so it’s great to get to chat with you. For those unfamiliar with your however, please can describe your music and what you represent? A. My name is Josie Pace and I am an Electronic Rock artist from Detroit MI. I write songs about hardships and perseverance throughout life. I love writing in such a way that I can connect with the listener and they can interpret the song to fit their reality. Q. You’re about to tour with Aesthetic Perfection, please tell us about how that came to be, and how you’re feeling about it all? A. I am so excited to be touring with Aesthetic Perfection! From the very beginning of creating this music Daniel Graves of Aesthetic Perfection has supported us and added a lot of my music to his playlists. We have talked throughout the years and we had mentioned that we would love to head out on a tour with him at some point. Excitingly, he contacted us early this year and offered us direct support on the American Psycho North American Tour! I was so excited then and even more so now. This will be my first tour and I know that it will be a new experience and an exciting challenge. I am ready to get on the road and meet a lot of my fans that have stuck with me throughout my journey and throughout Covid, and I am hoping to make some new fans along the way as well! Q. I know the great album IV0X10V5 only came out in February but do you have any more upcoming releases in the works? A. I do! I am currently working on an electronic EP, sounds that are a bit similar to the album but with a fresh twist! We are hoping to play one of these songs live on the American Psycho Tour. I am also in the works of an acoustic EP, we are working on some of the songs I wrote previously that didn't work well when transposed to electronic songs. And we have talked about creating an experimental EP later next year! Diving into the weirder side of our inspiration and creating something extremely unique and different. Q. When did you first discover alternative electronic music and what turning point in your life got you into making this music? A. I was raised on classic rock mostly. Anything my parents listened to in the car was what has been engrained in me. Styx, Prince, Joan Jett, The Eagles bands like this. I still love these bands and tons like them. But growing up in the original scene and emo era really sparked my interest with a lot of bands that had me hooked on alternative music. Green Day, Blink 182, Hawthorn Heights, Escape the Fate, Muse. I took aspects of everything and every genre that I enjoyed and started writing at a young age. I think it’s silly for people to only pull inspiration from one genre. I love a lot of different kinds of music and I think that's one of the reasons my music has great crossover potential. Q. What is the most important aspect of creating music for you and what driving force keeps you going with making new music? A. Creating music always starts with some sort of inspiration. I draw a lot from my own life experiences and I feel like the bones of the song are the most important. When you have a strong foundation of lyrics, melody and structure on guitar (or any other instrument) you can take the song into any direction that you choose. I feel like what keeps me creating music is the never ending supply of experiences that happen throughout life. Writing is a form of therapy and it really does help to create when something is weighing heavy on you. Q. If you could collaborate with any artist of your choice, who would it be? A. I think it would be awesome to work with Jack White. He has done so much in music and has crossed over so many genres, I think it would be extremely unique to work with him. Plus we are both from Michigan and have that midwest work ethic and that Detroit sound as well. Q. Have you ever had a particularly touching fan moment that has stuck with you? A. I have a lot of interactions with my fans in every aspect. Live or social media. A particularly touching moment for me was at my album release show at Bar Sinister in LA. It was a very important night for me, being my first full length album release. During the entire set there was a fan right up at the gate almost bending over it the entire time reaching toward me with their hand for the whole set. They screamed and cheered the loudest out of the hundreds in the crowd. During the outro of the set, I say my thank you’s and hype them up one last time. But I reached out to shake their hand and the reaction was heart melting. The smile and the joy that I saw is something I will never forget. When you dream about performing and doing this your entire life, that interaction is something you only really dream about. Being so important in someone's life that just holding their hand brings joy. Q. If only one person attended one of your performances, who would you want that to be and why? A. If I could bring Bowie back for one of my performances I would. He was such a forward thinker and had such a presence about him it would be so cool to get his feedback on the songs and lyrics especially. Q. Who are your favourite Hero/s and Villain/s? A. Deadpool is my favorite anti- hero. I have a TON of Deadpool comics and I’ve always loved his quick wit and dark humor. I think my favorite villain would have to be The Winter Soldier, although he’s only a villain for a short while when he's brainwashed. But c’mon a BIONIC ARM? Loved it. Some of my favorite hero’s are The Teen Titans. I grew up watching the cartoon and I always loved Raven and Beast Boy. I don’t discriminate when it comes to Marvel or DC or whatever. If I like it, I like it! Q. What are the best things about the alternative music scene for you, and is there anything you'd like to see change for the better? A. I think one of the best parts about the alt scene is the empowerment and the strength. There are a lot of alt artist that are sincerely creating music that uplifts and sets an example of.. “Even though you've been put through it, we can get out together”. I think one thing I’d like to see change for the better is inclusion. I feel that genres in general have become very clique like. There are so many people who think that you can only like one type of music and one type of music only. I love all kinds of music and I encourage everyone to step outside of your comfort zone and dive into new things! Q. Is there any life advice you could give that being in music has given you? A. Be authentic. It is a bit of a struggle when you work in the industry and you’re told by people you work with that you should be more like “this” or be more like “that” smile more, or smile less, write about this instead, I love that but change everything. It happens…ALL THE TIME. And you just have to stick to your guns and be you. People can tell instantly when you aren't comfortable or you are trying to be someone that you’re not. Whatever it is that makes you, you is what people will gravitate to. Q. Anything you would like to say to your fans? A. THANK YOU. Honestly, I work very hard to create this music and of course I will always create music. But YOU are the ones who push me farther than I could ever get on my own. I love meeting you and hearing your stories and taking photos with you all. I try to respond to as many comments and messages that I possibly can. I appreciate every single one of you and I cannot wait to meet you all one day. Josie Pace Website Josie Pace Bandcamp 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

Simon Carter has made some incredible industrial techno alongside Fabsi which I still think is some of the best music of this year. So to to now be reviewing his synthpop/synthwave project was quite a surprise for me; Not because it wasn't the regular crunchy techno but because it does something I have never experienced before in terms of shaping synthpop into something that spans different musical eras. Come see what I mean... SIMON CARTER is proud to present NO TOMORROW, the full-length follow-up to LOST SOUL by HUMANS CAN'T REBOOT. NO TOMORROW contains 11 original vocal tracks, once again featuring the soulful AMY HANNAM on vocal duty. Amy's powerful voice provides the perfect delivery to Simon's expressive, and at times, melencholic lyrics and creations. This is a full-on, non-stop Synthpop-fest, blended with tasty elements of sci-fi and synthwave. As a nice bonus Simon has given all 11 tracks a DJ-friendly dancefloor "club" treatment, meaning you can expect a little extra BPM and some more EDM oriented sounds. Review 'Ghosts' kicks off with a great little dose of synth-funk. It has a great tempo that weaves itself around the vocals, as if Amy and the music itself are dance partners in a retro simulation playing off of one another. The keyboard is that particularly wonderful tone of 80's synthpop that we all know and love making this by far my favourite track on the album as I enjoy every aspect of it. Next up is 'Girl Not Machine' which takes a slower approach to enable the more poignant lyrics of a Woman trying to make herself heard. All the key aspect of great sythpop are here, the chilled out synths, the steady beats, and the high pitch notes to give it that ethereal feel. The video is a nice touch for the overall ambience of the song. 'Digital Love' brings touch of Madonna or Kylie Minogue style pop which is a rather different and pleasant addition. This is followed by 'No Tomorrow' which, I think is purely down to personal tastes, but I don't enjoy the vocal style and it is a bit of a difficult listen but musically, it's still a very entertaining track. 'Demons' is a also very entertaining and seems to be the point in the album where the music tends to stray away from 80's inspired synthwave like we are used to and becomes more of a 90's vibe.. So to have synthwave sounds drift out of retro and in to 90's style and the same with the vocals, makes the divergence of style in this album rather stand out and unique amongst synthpop artists. From 'She's Magic' right through to Maybe it's time to go' there is a real mixing of vocal and musical styles that blend in and out of one another. One moment putting you in the mind of Eurythmics to suddenly in the mind of a synthpop Aqua and so on. There is a real mix here that will have at least a couple of songs to everyone's tastes with their multi generation inspired sounds. Then we have remixes of each song to follow. A lot of these have been made more up-tempo and given a coating of EDM which further adds to that unique 90's feel. For some of the tracks, it makes them feel completely different to the originals. For example 'Don't cry out' feels like a whole new song and certainly makes for a pleasant little dance. Tracklist Ghosts Girl Not Machine Digital Love No Tomorrow Demons She's Magic Mars Behind The Crescent Moon Lost In Space Don't Cry Out Broken Promise Maybe It's Time To Go She's Magic (Instrumental Version) Ghosts (Club Version) Girl Not Machine (Club Version) Digital Love (Club Version) No Tomorrow (Club Version) Demons (Club Version) She's Magic (Club Version) Mars Behind The Crescent Moon (Club Version) Lost In Space (Club Version) Don't Cry Out (Club Version) Broken Promise (Club Version) Maybe It's Time To Go (Club Version) Conclusion Synthwave and Synthpop is going through somewhat of a rebirth and exploratory revival recently across a lot of bands. No Tomorrow is a marvellous album that brings synthpop from it's 80's roots from the first few songs and slowly through the course of the album, drifts in to the 90's and then to the early 00's with the remixes. Whether this was of any intention of Simon's or not, this is something I've never experienced in a synthpop album; Although there are a few things that aren't to my taste, there are far more things that really peak my curiosity and interest.. Most importantly, there is a lot here that I thoroughly enjoy and you will too. 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

Martin of Attrition joins us for a written interview as we were unable to squeeze a video on in during the weekend of Infest. So please join us as we discuss Infest and what makes Martin tick in the music world! ATTRITION are pioneers in a darker electronica. Formed in 1980 in Coventry, England, influenced by a mix of punk ideology and experimental art aesthetics, they emerged as part of the early '80's UK Industrial scene alongside contemporaries Coil, Test Department, Legendary Pink Dots, In The Nursery, Portion Control et al. Founder Martin Bowes has steered the band through an over 40 year career, fuelled by a succession of critically acclaimed albums... The band has regularly toured Europe, North America, South America and Asia, appeared at major festivals and had their music included on a number of TV and film soundtracks.... Through their career Attrition have worked with musicians as diverse as Wolfgang Flur, psychedelic veterans The Legendary Pink Dot’s , punk legend TV Smith to Franck Dematteis of the Paris Opera. Attrition’s music has featured on countless releases - from 1984’s “Bullshit detector 3” on Crass records to the hugely successful “Animal liberation” album alongside Siouxsie & the Banshees, The Smiths, Nina Hagen & Lene Lovich etc… Their song “Acid Tongue” featured on KTEL’s Industrial story CD - a who’s who of industrial music with Cabaret Voltaire, Throbbing Gristle, Ministry, Nitzer Ebb, Neubauten et al… In Germany Orkus magazine’s Best of the 90’s collection featured their darkwave classic “A girl called harmony”… Martin’s increasing studio production work at his studio, The Cage, has included mixes for The Damage Manual (Martin Atkins, Jah Wobble, Geordie Walker, Chris Connelly et al…), Die Form, In the Nursery, Black tape for a Blue girl, Mona Mur/En Esch and mastering for countless bands and labels… He contributes synths and vocals on a song on the last Pigface album, is the narrators voice on US horror series, “C for Chaos”, has written the score to US horror film G.H.O.S.T from Mutantville productions … Their most recent album, Millions of the Mouthless Dead (inspired by Martin’s grandfathers experiences on the Western Front in 1917) includes collaborations with Anni Hogan (known for her work with Marc Almond through the 80’s) and the legendary Wolfgang Flur (ex-Kraftwerk)… ATTRITION toured in the UK, Italy, New Zealand, Transylvania, Canada and Japan in 2018/19, and are back touring after covid while currently working on an all new album for release later in 2022: The Black Maria. Meanwhile setting up shows around the world in support of it… "Attrition have always been a nexus of industrial fury, gothic drama, ambient structural finesse and classical chamber orchestrations. Stunning in scope, character and intellect, Martin Bowes has been a paragon of true creative prowess, holding in two hands the past and future of music, and smashing them together with a calculated and charismatic menace. Bowes builds his dark industrial music with all the compassion and attention to detail of a classical musician..." Interview Q. Hello! Thank you for joining us. You played a great show at Infest, and you had a very special line up so please can you tell us about that? A. Thank you! We really enjoyed it. This was our first reunion show… we reformed the first ATTRITION line up from the early eighties… The one that made all the early singles (Monkey in a bin/the Voice of God/Shrinkwrap) and the first 2 albums. We hadn’t all played together on stage since 1984. Ash (on keys) has to fly over from san Francisco for every show! We will be recording a new album together soon too. Q. For those who have not heard your music, how would you describe yourselves to them? A. haha… always the worst question to ask a musician… If I could describe the music well enough I would probably not need to make it! It’s a mix of styles… although some of those styles were named after we made the music. I would throw words around like “darkwave” or “dark industrial” and sometimes “dark ambient” …there have been a lot of albums over the years and the music has always varied from the early post-punk to industrial to a little gothic (when we release “A girl called harmony in 91) to dark ambient scores (we have written some horror film soundtracks)… Q. What is the most important aspect of creating music for you and what driving force keeps you going with making new music? A. It is always a personal expression… and still being alive tends to inspire me! I still get a feeling of only just starting with music… there is so much more to do and discover with it… it’s been my whole life… I used to also teach music technology here at the College in Coventry, but for the last 12 years I have been running my studio, The Cage, producing and mastering a lot of other bands… I do love what I do… and I don’t have to get up early! Q. If you could collaborate with any artist of your choice, who would it be? A. I don’t have any ambitions to collaborate with other artists as such… but I love to work with guest musicians on the ATTRITION albums… had a lot of collaborations with Violin, viola and cello players over the years…I am excited about the mix of electronics and played instruments… the best of both worlds. Q. Do you have any festival survival tips, either as a crowd member or to other bands? A. I usually prefer club gigs as a bit less crazy… but Infest was one of the most organised and friendly set ups I’ve ever known… loved it… Survival wise I’d say don’t start drinking too early but… well…. It’s a tricky one! Q. Have you ever had a particularly touching fan moment that has stuck with you over the years? A. I have had many… one of the most amazing things is to meet (online) a woman named Harmony… her parents named her after my song…(in fact I’ve met two named Harmony now for the same reason..) Best review I ever had! Q. Do you have any pre-performance rituals to help you get ready? A. Not pre-performance but I do have a thing about burning incense on stage… I do it at home almost every day too… it creates my own space or “church” to perform in… (I’ve only ever set off 2 fire alarms on my tours!) Q. Where has been you favourite place to play live and where would you still like to play? A. So many memories… some for the performance, some for the audience, the clubs, the destinations… the adventures… so many places… we have played in 5 continents now so been lucky to get so far around the world… Hawaii was bloody amazing!!! (thanks Anne Love) At infest I had two cups, one with silly questions and one with sensible questions to pick one of each out of, here are the two I lucky dipped for you.. Q. Who is your favourite fictional villain? A. I think I will have to say Dracula! I read Bram Stoker’s book when I was about 14… in 2018 we performed our dark ambient horror soundtrack in the mountains of Transylvania… and I wish I could have gone back and let me 14 year old self know about it! Q. What is an instrument that you’d love to include in your music that you have not yet done so and why? A. A full orchestra sometime would be amazing… although not all the time… very expensive to do it… I am also waiting for Behringer to release their Synthi modular synth clone and that is going straight into some new music!! Q. What are the best things about the alternative music scene for you, and is there anything you'd like to see change for the better? A. I love that there is a close worldwide music community.. meeting other musicians over the years in different parts of the world… it’s a family. I cant think of anything I would change! Q. Is there any life advice you could give that being in music has given you? A. Being in music has changed and shaped my life, and I can’t imagine life any other way… it has enriched mine so much… its not always easy though… you have to work bloody hard… and believe in yourself… ignore the detractors… as there will always be some…. Q. Anything you would like to say to your fans? A. Just thank you for being there… and if anyone is interested here are our media contacts.. www.attrition.co.uk www.facebook.com/ATTRITIONMUSIC http://attritionuk.bandcamp.com/ www.youtube.com/user/attrition https://twitter.com/attritionuk https://sptfy.com/attrition www.thecagestudios.co.uk Thank you for the interview!!! Martin Bowes. Coventry. England. September 2022. 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

When I was asked to officially be part of Infest 2022, how on Earth could I say no? A free, access all areas, AAA pass to have my own space for interviews and meet some of my industrial idols, scene legends, and discover new artists? Slap me side ways and call that heaven; of course I said yes! (Interviews to be released on the Infest YouTube soon!) It was a wonderful return to Bradford, having first attended in 2019 before Elektro Vox started, full of flaws as I was then; This return was a wonderful chance not only to grow Elektro Vox in the scene but also to prove to myself how much I had grown as an individual since then. I was unsure whether to write a review as I didn't catch half of the bands having been busy interviewing but I certainly now feel that I should share my personal highlights of the weekend now that it has had time to sink in. First and foremost, a huge thank you to everyone involved in putting Infest together! It is insane how much work is required and involved behind the scenes and this is the ultimate A team. Everyone in the team just KNEW what needed to be done and everyone hit the ground running. It was like watching a colony of ants just instinctively knowing exactly what their role and mission was. I am truly in awe of how amazing these Goth ants in the guise of humans are! It could be seen as the ultimate power of hyper focus when people are doing something they truly care about and enjoy. These are some of friendliest and accommodating people around and the bands kept commenting to me about how well looked after and well treated they were, and that they had rarely experienced anything like it. Sadly not pictured, is Autumn who was still running Infest TV and a big well done to her for making the incredible mascot for this year.. Clem Rivet! So well done Infest crew'22. You're all legends! Autumn, Clem, and I introducing Attrition with a saxaboom solo Bands Although I will only really cover the bands I managed to see, let me say this.. I did catch at least a little bit of each band and every single band sounded REALLY good. Every single one of them knew exactly what the audience wanted and delivered their sets immaculately. The highlight for me on day one for and many others no doubt, was Caustic! Not only did Matt Fanale put on a killer show of prescribed Caustic humour and anger in equal measure.. But we were also treated to Marie of grabyourface performing a day earlier than we expected, joining him for the track 'Not your body'. This was an intense and poignant FUCK YOU to the patriarchy and the disgusting stripping of abortion rights. Needless to say the crowd LOVED it, loved Marie's energy, and loved the message. We were all part of Goth anti-Fascist history in that moment and I was very proud when Matt told me they had used my image for the single cover! Get you copy of 'Not your body on bandcamp HERE Saturday was a lineup of epic proportions. Opening the first half we had the intense industrial techno of Vaein, then the aggressive beauty of Reichsfeid,then the absolutely incredible, and new discovery for me.. grabyourface grabyourface does just that.. grabs you and MAKES you pay attention to everything there is to say. Marie's music is split in two. There is the deeply relatable pain of emotional lyrical content from memories past in a lot of their songs, to the violent power techno of world felt anger and passion that screams to be released. Whether the current track is grabbing your heart or screaming in your face.. Marie is a hurricane, like an ancient fury possessing a human form, they flow in and out of humour, anger, sorrow, and a whole range of emotions grow in form between songs and each little track introduction speech. In this way Marie solidified their grip on the hearts and imaginations of those who had seen them kick it with Caustic the night before. I have never seen a dance floor THAT FULL so early in to a long festival day. Not only were we blessed with the stellar performance of Marie, but Matt Fanale took his turn to join grabyourface on the stage and once again blew our fucking minds! I'm honoured I got to hang out with such a cool artist for a fair part of the weekend. Do yourselves a favour and check Marie's music out! Even though I only saw a couple of songs, a big shout out to Glass Apple Banzai because not only was Daniel the most fun to interview over the weekend, but he also played one hell of a fun show. You see the inflatable unicorn yea? Maybe the flamingo on the right too? This band knows how to party, and party damn fun! When I saw that Wynardtage was playing and including his Hydroxie project too, I was ecstatic. Wynardtage is one of the main reasons I fell in love with industrial. To finally meet Kay and watch this set was incredible beyond words to me. What I was really not ready for was the gravitas of the moment.. This was only his third live show in such a long and distinguished career and quite possibly, his last ever as he now wishes to focus on helping Timo flourish with Reichsfeind. I of course stood centre front barrier and let the pounding aggrotech waves take me. I have never in all my time in industrial every heard live industrial THAT GOOD. Each soundwave sent rushes of dopamine down my spine, my chest was awash with endorphins and not just because I am biased in loving the band; This was the purest industrial techno / Aggrotech that makes this type of music so damn pleasurable to me. I could not stop smiling from ear to ear with how wonderful the set was. I even began to cry as Kay also cried during one of the near end set songs which has never happened to me anywhere other than Heilung. There are very few bands in the world that can make you feel naturally high, but Wynardtage vs Hydroxie did exactly that. I was and still am stunned at this possible once in a life time moments of pure bliss and 'If there is no tomorrow' (song pun) this may be one of the last things I reminisce about in my final moments on Earth. When I was told I could do the announcement for Suicide Commando, I was more than a little bit happy to say the least! I first saw them play at E-tropolis Germany and ran up to Johan like a terrified schoolkid asking for a selfie before running away again all embarrassed. Years later here I was, having just added him to my ever growing list of video interviews, and now I was introducing him to the stage with a speech on making fun of the insults thrown at us alternative types. It was quite surreal.. Needless to say, Suicide Commando kicked the utter crap out of us all! The vocals, the sound, the visuals, and the atmosphere was one of ecstatic, shared joy as we partied away the entire set to this king of industrial. The final day I was exhausted, especially having had the last of my energy devastated by Monya's stomping end to the Saturday night. I only got the chance to watch two bands properly on Sunday. The first was Klack (Another show with Matt Fanale!) who raised everyone's spirits so incredibly high, that we all forgot how exhausted we were and provided us with some huge serotonin dropping beats and songs. What a fantastic band Klack are! Second was the intense, and overwhelmingly powerful Moaan Exis.. Imagine a flurry of tidal waves made purely from the sonic booms of a thousand drums crashing against the bodies of the infest crowd and you may yet start to get an idea of what it felt and sounded like. Very few bands out there can hit as hard as these guys. This was one of standout moments of the festival, the moment death came for our ear drums and they were found wanting.. Bliss. I would like to make a special note for Empathy Test who sounded crystal clear and really turned my view around on their live shows with how good that set sounded from the pieces I caught. So, thank you Isaac, that was great! A huge thank you to Maedon and Adam X for blasting us to bits with their ending techno sets. I am so sorry that us English folks are so dead come Sunday evening unlike the Berlin crowds; You both deserved a full dance floor but please take it as a compliment that many of the crowd chose to slink back in to the night, because they feared that your music would finish off and kill them, draining the last morsels of their life force away with your sick beats. For those of us that saw you, we loved you! Finishing off the festival on the most perfect of notes was Lexx (previously known as GOHMA). NO ONE DJ's as hard or as stylish as Lexx. I've heard a lot of DJ sets in my life but every single time, Lexx smashes out a set better than anyone else. I may always be biased towards friends but even if I had never met Lexx, I would still have to need assistance in scraping my jaw and my danced to death limbs off of the dance floor each time I heard her sets both online, at Resistanz, and now at Infest. To be fair, I did feel like I had to scrape myself off of the dancefloor once her set finished, so thank you Lexx and to Infest for ending on such a high! Conclusion Infest is a family; Whether it is the camaraderie of the crew, the joining of old friends and new, the respect the bands are shown, or the love for the scene, Infest feels like home to so many. I deeply thank everyone involved, bands, crew, the crowds, you all shone a light on what makes us such a beautiful and safe community and I can't wait to see you all again next year. Until then my friends, never let the music inside you fall silent.. 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 something truly magic in the way Jasyn weaves his dark electronics, like a hypnotising illusion or charm that inserts itself in to your mind and unlocks little dopamine doors that have you sinking deep beneath the musical waves flowing within your mind. This was ever the case when the brief, quieter and more melodic moments that would crop up in his God Module tracks, before heading back in to aggrotech fury. In essence, with Hexheart, what we get is that non stop brain massaging reprieve music that makes for the ultimate Gothic chillout; Sometimes that is exactly what you need! Hexheart is the Darkwave / Synth-Pop project of Seattle WA based musician/producer Jasyn Bangert. The music is a mix of retro New Wave vibes and modern Synth-Pop electronics with the occasional Darkwave inspired guitar melody making an appearance. Dark emotional lyrics dealing with life, love and loss and are presented through slightly vocoded effects contributing to the "modern" nostalgic aesthetic. "Writing this record is one of the few things that kept me even remotely sane during the last couple years. I felt I had to create something beautiful myself because it was hard to find much beauty anywhere in the world at the time. in doing so I feel that I found what Hexheart was supposed to be. This collection of songs is extremely personal to me. Some of the truths I found during this time were inspirational in some ways and many others were much darker. For better or worse this release was built upon these same questions, feelings, thoughts and fears". Interview Q. Hi Jasyn! It’s over three years since our God Module video interview, and almost two since you debuted an online stream for me with Cyber EVM. How have things been with you and has the last couple of years of life in this bizarre world kept you busy? A. I guess we should start with the obvious, Covid basically fucked every part of my life that didn’t around being at home. I had a hard time with the lockdown situation. For over two years life looked nothing like anything that even resembled normal for me and for everyone. I’m a bit on the pessimistic side normally but I felt very close to just giving up any hope of normalcy ever returning. The pandemic wasn’t really the entire reason but more how people and our “leaders” reacted to it, especially in the US. It was a pretty creepy time in the world and in my head, which is where I spent far to much time during all of this. Luckily no one I was close with died, so that was a good thing. But other than watch a lot of films and play a lot of video games I basically just wrote this Hexheart record and attempted to not lose my mind. Q. Speaking of Cyber EVM, the room you played in seemed covered from head to toe in cult horror memorabilia. I take it you’re a big horror fan, so what are some of your top favourite media of both past and present that you’d recommend for people to see? A. Yea, I have a little bit of a horror addiction. At this point what I keep out in studio is my Friday the 13th stuff. Posters, art, collectibles, masks etc. I just don’t have enough room to display all the other stuff I have in my collection. As for films or books, there are quite a few things I have liked recently. I’ll just give you a little movie list. Crimes of the Future The Deep House The Black Phone X You Are Not My Mother Antlers Last Night in Soho As for other media, I’ve been listening to too many podcasts and not reading enough. But I highly recorded The Cryptonaut Podcast. Tons of awesome stories and discussions of strange, unexplainable events and happenings throughout the world. Q. Hexheart is both very different but also similar to God Module, for those who still aren’t aware of your Hexheart project could you please describe what its all about? A. It has no choice but to be somewhat similar to God Module because I am the person creating the music for both projects in the studio. I think the new Hexheart record does a really good job of separating itself from my other work. Both projects are just me making music I like. Hexheart gives me a place to get out the more melodic, 80’s Darkwave / Synth Pop aspects of my musical tastes. Q. This is the second Hexheart album. For you, what are the main changes and differences there from the Midnight on a moonless night? A. The first record was built upon songs I had written for God Module and they just didn’t feel right for that project at the time. They changed a lot as they were turned into what they became, but not really enough to give the project its own identity. Also the new record is just me, as opposed to last one including guitars by Patrick Hogan and some programming from Andrew Pearson. I’m very proud of what we did with the first record, we completed two North American tours, played at Wave Goth Treffen etc. Yet I feel I have found what I wanted the project to be with the new record. Q. Which song are most emotionally important to you on this album and could you give us a breakdown of some of the lyrics which you most connect with? A. Almost all the lyrics in the songs are in stark contrast to the music. I felt I needed to create music that to me felt happy, beautiful and optimistic. All these songs were written during the worst parts of the pandemic and it was hard for me to find those things anywhere in the world at the time. When it came to writing the lyrics, the same thing did not happen. These songs are very personal, in that most of them are in some way about me and what was in my head at the time. There are some apocalyptic themes through out because that’s where my thoughts were. But at the same time they deal with the people who are very important to my life. My wife Courtney, my family and the few close friends I have. These themes are most obviously heard in the songs RED, (bottom of) BELOW and Erase Yesterday. Q. What artists have you been listening to most lately? A. Right now I listen to Kanga more than any other artist and have for a while. She is so fucking talented and her work just keeps getting better. I also really like the band Korine. I do find myself listening to a lot of older 80’s/90’s Alternative, Synth Pop and Darkwave these days. I think that is just part of growing old sadly. Falling back on the music you first strongly connected to. Q. For you, what are some of the best parts of the alternative scene that you want to see continue and grow; and what are some of the not so great parts of the alternative scene that you’d like to see change? A. I think one of the best parts is that the majority of the people making the music are or at least started off as fans themselves. I think this shows most of the time in how approachable and grounded most bands are with their fans. Sadly that’s not always the case. There are a few people who seem to believe they have all the answers for everyone and every situation regarding the music scene. Sadly this probably won’t change and seems to be spreading now that everyone is on social media pretending to be whatever they want to tell people they are. Q. What life advice can you share from your experience over the years in the music and alternative scene? A. It's hard to give any overall advice because everyone’s situation is different, even within the same scene. But stay humble, to an extent. All art is subjective and everyone has opinions on everything. But if you believe in your art and enjoy doing it then if it ever seems like you are the only one who does at times you are still good. Q. Is there anything any of you would like to say to your fans? A. Well it’s been a long time since we were on tour so I hope to see as many of them as possible, as soon as possible! Review Funeral Flowers is a pleasure to listen to from beginning to end. It follows that rather wonderful formula of beautiful sounding melody with - what on first listen, are equally beautiful vocals. In true Gothic style though, once you process the lyrics that you're hearing and the theme they follow, you realise how sinister the lyrics truly are; The impressively sharp thorns amongst the roses. There is always a very fine line between signature sound and having track sound too similar from one to the next. What Jasyn has crafted here however is nine songs that alone are all unique from one another but conceptually back to back, they flow so well together and so free that most of the way through the album, you hardly realise the tracks have been changing. In essence, it feels like one long beautiful story that seamlessly bridges from chapter to chapter with pure delight. We start off with a joyously upbeat and somewhat retro 'Erase Yesterday' and Jasyn was certainly right when describing Hexheart as nostalgic because that's what this track brings to the fore; It reminds me of childhood gameshows on the TV but strikingly, some of the memories I really wish I didn't have as well, you know, those intrusive ones that suddenly pop up and make you cringe? Not the song's fault of course, but it's amazing how a piece of music can take you on little journeys you weren't expecting at all. 'RED' feels like a sci-fi adventure, 'OV ME' feels like a thriller set in an arcade, and '(bottom of) BELOW' has you exploring some quite interesting corners of your mind as the music and distorted vocals weave their way through your skull. 'The Funeral Party' kicks in a little of that 80's themed chillstep mixed with a helping of 90's rave nostalgic. It's quite an upbeat and dance friendly track even as the tone feels like the music is stuck beneath the surface of some invisible barrier, like the music is under your skin, inside your skull, or inside the coffin, thumping to be released from it's confinements and make some more 'treble'. A great piece. 'See in the Dark' is a slower but no less enjoyable track, as this one really did tickle my brain and satisfy something in my core that just absolutely loves this chilled out synth style. Again, It's a track that sounds lovely, but the lyrics are far darker, which is perfect! Everything's wrong with the world tonight Strangers falling from the sky Make me feel so alive Don't look for answers You might not like what you find I want to make this last forever Or until were sure everyone else has died 'Psychic Friends' brings another interesting bounce about session of rhythm followed by 'After This' which is by far my favourite track on the album. It's like Depeche mode on LSD and stimulants, and It seems to be able to touch every part of your body and mind - From the electronic shivers of a sudden urge to dance running up your spine, to the clearing of brain fog from the deepest corners of your brain. I adore 'After This' and I'm sure you will too! Lastly we have '(so far) BELOW' which lowers the tempo back down to the melancholic with the power of intense piano notes and heavy percussion and bass. This track is another rendition of the previous '(bottom of) BELOW' and it makes for a tragically beautiful twist to end upon and mellow out to. Track List Erase Yesterday RED OV ME (bottom of) BELOW The Funeral Party See in the Dark Psychic Friends After This (so far) BELOW Conclusion Hexheart is a fantastic project by Jasyn Bangert and one that I hope continues to grow in recognition and appreciation because this is the ideal music for any Gothic occasion. Feeling, happy, sad, or indifferent? Put Hexheart on! Hosting a house party, a date night, a family dinner, getting ready to go out, or just a night in with friends? Put Hexheart on! A beautifully melancholic ensemble from start to finish, Funeral flowers is an album that finds its home in the deepest crevices of your mind and fill them with a healing balm of acceptance, vindication, and acknowledged pain in order to make way for joy and recovery. Funeral Flowers is a must hear album for any Goth electronic fan. 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

Nero returns to us with a masterpiece of an album. Less To Heaven is an incredible journey of interlacing sounds and experimentation that brings his particular genre of industrial to new life. I never thought I would describe aggrotech as sexy but here we are, this album and its imagery are sexy A.F! Having said that, I don't want to detract from the skill and talent so vividly on display with this release and I am glad I was able to ask some question to the legend himself.. The music of Psyclon Nine is not for the faint-hearted. The brainchild of Nero Bellum, the dark, aggressive electronic assault of his group’s 2003 debut album ‘Divine Infekt’ immediately earned them popularity and notoriety worldwide. Its follow-up, ‘INRI’ (2005), displayed a marked evolution with a lyrical focus on religious themes. In the ensuing years, Bellum's music has taken him down an even darker path, his distinctive whispered-scream vocals guiding us through an idiosyncratic take on modern underground music that has implemented elements of black metal and post-punk influences that, although often featuring haunting melodies, has often had an undercurrent of unbridled menace. The new album, ‘Less To Heaven’, is a complex and immersive work that sees Psyclon Nine at a creative peak, with concussive, machine-precise drums, hammering guitars, scathing vocals and evil electronics all interplaying seamlessly. It also sees the group charting undefined musical territory that bridges elements of metalcore with doom electronics, trip-techno with black metal, and experimental cinematic soundscapes with alternative rock. While many acts have a constant faster-louder approach to industrial-black metal, Bellum is unafraid to use all manner of tempos to build atmosphere. This is evident in the record’s first single, the seething ‘Money And Sex And Death', which builds with writhing tension, like a snake preparing to strike its victim, before exploding into an all out audio assault. Bellum states of the song that.. “It was inspired by the excitement we feel when we see the world burning around us and the abhorrent personal truths that we hold as sacred. The misery of others has never been viewed by so many angles, and strictly for our entertainment. With ‘Money And Sex And Death’ I am presenting your reflection to yourself.” (Possibly some of the best promo pics of an artist I have ever seen) Interview Strong Dark-Anime main character vibes.. I want this as a poster! Q. Hi Nero! It was amazing to see a new Psyclon Nine album in my inbox as it has been a while. How have the last few years of pandemic madness affected your musical journey? A. Aside from not being able to perform, the pandemic didn’t affect my lifestyle much. I spend a lot of time in isolation, writing, experimenting with sound. Q. I believe you did some solo work with your album NFRN a few years ago, as well as re releasing the incredible 'We The Fallen'. For those who have not heard this new album, how would you say the musical direction has changed and what remains similar? A. I try not to look backwards when writing new material. What changes is perspective as time passes between albums. I feel that too many bands are afraid to experiment and lock themselves into a cycle of rewriting the same album/songs ad infinitum. It’s a horrifying prospect as an artist. Q. In terms of this release, not only is it a new album but a whole new aesthetic too, your artwork and overall style, especially in the new video are insanely gorgeous! Honestly some of the promo pics of you are some of the best I've ever seen from an artist. So in terms of imagery and meaning; What did Psyclon Nine mean to you when you first started out releasing music under that name, and what does it all mean to you now? A. Thank you for the kind words. The aesthetic and the sound are married. I’ve always felt that a live show should be a visual representation of the music that you hear and that extends to the artwork / film as well. Psyclon Nine has always been a vehicle of self-expression. A necessary therapeutic outlet. It’s what’s prevented me from becoming a mass murderer. Q. There is a very clear anti-Christian theme in this album and it's content. 'THE POISON WILL DEADEN THE PAIN' also conjures up a strong image of hell with screams of the damned. So please tell us about the albums concept, and the messages you wish to convey! Could you also tell us a bit about the imagery seen in the music video for 'SEE YOU ALL IN HELL'? A. While I don’t like to demystify my lyrics, The Poison Will Deaden The Pain speaks of the society and cultural zeitgeist that we’ve manufactured, the despair that results from multiple choice rather than open essay and our need to numb ourselves to the cycles that we succumb to. I prefer that people conjure their own interpretations. Music is personal. This album is incredibly personal and these songs mean a great deal to me, but once the album is released it doesn’t belong to me any longer. Q. Which song/s are most important to you on this album and could you give us a breakdown of some of the lyrics which you most want conveyed? A. As I’ve mentioned, I don’t want to demystify the lyrics. I can say that each song is important to me and each song was necessary to create. As a whole, Less To Heaven is a showcase of my rage and anguish. Q. What are the most important parts of creating music and songs for you and where do you tend to find your inspiration and drive to create them? A. Every aspect is important. The music is the world that the lyrics reside within. Every sound paints a picture of that world and the lyrics tell the story. Inspiration can come from anywhere. Sometimes it’s a single sound. I’m always recording sounds. It can be on my phone while I’m outside, or in the studio messing around with a new pedal / module etc. There are moments during experimentation that give you chills. That’s when you press record. Q. What artists have you been listening to most lately? A. I don’t listen to as much music as you might think. Typically, if I’m in the mood for music I will patch something up on my modular system, or pick up a guitar / violin etc and play something. When I’m in the car I’ll often reach for modern artists like Surachai, Snakes Of Russia, Thy Art Is Murder and some of the older bands that I loved when I was younger, Death, Morbid Angel, Deicide etc Q. What life advice can you share from your experience over the years in the music and alternative scene? A. Persistence is more important than anything else and don’t rely on others when it comes to your passions. Q. Is there anything you would like to say to your fans? Thank you for the love and kind words surrounding Less To Heaven. We’ve been fortunate to have the fan base that we have. Sending love right back. Thank you for your time Nero! Review We are greeted by an unexpected piece of music for the return of Psyclon Nine with 'BLOOD IN'; A beautiful melancholy of repeating keys lulls us in gently but is soon complemented by some hard striking percussion and guitar repeating notes - In to a rather powerful build up of riffs and intensity. 'SEE YOU ALL IN HELL' Quietly introduces us to some low key dark lullaby like rap; When the soul scathingly good guitar riffs kicks in for a short time and the vocals distort back to the aggrotech signature sound of Nero's supressed screams, it takes you to all the right places. Welcome back Psyclon Nine! This is a deeply profound track with some gorgeous artistry in the video. There is something about the low intensity guitar riffs, especially around the 1:46 mark, alongside the vocals that absolutely 'does it for me'. This is insanely beautiful and deeply iconic. With no respite, we are thrust in to the gates of 'MONEY AND SEX AND DEATH'. The music video for this has touches of paganism imagery which is great to see come through in yet another Industrial band. This track is darker and more refined than aggrotech has ever been. Guitars and vocals blast out their sections, and the quitter slower sections seem no less powerful for it, this is a deeply satisfying song that grinds right at your core. “This song was inspired by the excitement we feel when we see the world burning around ourselves. The abhorrent personal truths that we hold as sacred. The misery of others has never been viewed by so many angles, and strictly for our entertainment. With MONEY AND SEX AND DEATH I’m presenting your reflection to yourself.” - Nero 'THE POISON WILL DEADEN THE PAIN' has some very impressive synths that add a huge touch of cyberpunk urgency, interlaced with seething spoken vocal growls. Within this track, the screams of the damned interrupt the progression but quickly give way to a crashing and high tempo ending that is impressive to say the least. We all love a bit of mid-tempo, and in 'OFF WITH THEIR HEADS' we get just that, a nice spooky mid-tempo vibe that really shows off how haunting Nero's vocals can truly be. This track has some brutally delicious lyrics and is a satiating aural feast for the darker souls. 'X'S ON HER EYES' changes things up with a more dark wave approach to the vocal style from Nero, and brings a touch of the romantic, emotional poetic. This is of course blown out of the water by a heavy guitar riff and blistering return to his signature vocals. In this way the song takes turns to poetic, to intense several times and makes for a fist pumping, feet stomping power track. 'CATASTROPHIC' gives way to far more of an introspective instrumental track, peppered with Nero's poetics throughout. 'APRÉS MOI LE DÉLUGE' is a beautiful and experimental soundscape of cinematic proportion, the kind of music that would play out an emotive scene in a blockbuster sci-fi. For some context 'After me, The Flood' which is what this translates to, was a nihilistic quote by King Louis XV of France that shows indifference to anything that happens to the world after his / your own death. In this sense I feel Nero has perfectly captured in a musical sense, the world ending all around us and the apathy that not only the powers that be show towards it all, but even within our own selves.. 'BLOOD OUT' tugs at the heart strings and the darkest recesses of the mind. It is heavy with lament but also frustration, and pain. This is an incredibly unexpected style and direction that conveys a bit more of the 'emo' style of music but Nero has delivered this so well that it doesn't feel out of place on this album at all. This is another new blending of genres with industrial and I am impressed at how weighted with poignancy and value this song feels. Track List BLOOD IN SEE YOU ALL IN HELL MONEY AND SEX AND DEATH THE POISON WILL DEADEN THE PAIN OFF WITH THEIR HEADS X'S ON HER EYES CATASTROPHIC APRÉS MOI, LE DÉLUGE BLOOD OUT Conclusion Less To Heaven is a truly euphoric evolution of aggrotech in to something much more profound and mature. There is a devastating emotional beauty woven amongst the passion, and aggression that Psyclon Nine has been well known for. Nero Bellum has arisen Psyclon Nine to decadent new heights of luxurious sound and indulgence that brings the listener a new found sense of gratification for distorted industrial. This much needed delve in to finding a relevant place for the 'aggrotech' genre in the modern day is something many artists have striven for and not quite hit the mark, but this album has done so with elegance and grace. With Less To Heaven, Nero has proven his ascension! Scores Technicality: 9/10 Soul factor: 9/10 Energy: 9/10 Vocals/Samples: 9/10 Re-play value: 9/10 Overall score: 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

To say that HATARI are unlike anything you have ever experienced would only just begin to describe the amazing artistry and performance of the band, but where they excel most, is the characterisation of HATARI as a whole. On stage HATARI are an aggressive, deadly serious Anti-Capitalist band laced with charm, intensity, and poignant apathy that enhances the experience. Their artistry really puts their work and live shows on to a very complex and intellectual plane of dance floor exploration of the self and the wider world. This is then completely shattered off stage with their ridiculous humour, playing to capitalist stereotypes, and poking fun at everything and everyone, especially themselves! This is humorous corruption and they demand we all dance the Spillingardans (Corruption dance) or die.. Interview Back in 2020, I had arranged for a video interview with the band before their London show but then we all went in to lockdown. I was reminded of HATARI finally coming back to the U.K just a few days before their London show and made sure I didn't miss it. So although I did not have the time to reschedule our interview, Matthías was kind enough to agree to the following interview! ALSO! Check out our 2020 written interview with the band HERE Klemens, Einar, and Matthias Q. We last spoke in 2020 shortly after you had to cancel your Europe must crumble tour, and it was worth the wait to see you in the U.K as that London performance was absolutely incredible. Since 2020, what changes and events has HATARI gone through and what were some of the high points and low points for you all? A. The Icelandic gas station chain Olís went ahead and changed their logo and brand during this period. Not only was this a personal shock to us, the members of Hatari, but no less a national scandal. The new logo is such an affront to Icelandic design history that we have yet to recover personally. We tried recording a reggae album but some members within the band felt that Matthias's distorted vocal style, or "shouting", didn't fit the vibe. We started a Bitcoin mining operation during this period and at first things seemed to be working well. Using the profits, we invested heavily in Dogecoin and lost everything. We sold the Bitcoin-computers to break even. We bought some lovely lazer-gloves and thought they were a good addition to the wardrobe and performance. We also bought a lazer-whip but Klemens doesn't feel confident enough with his lazer-whipping skills to use it on stage yet. Q. You gave a great mid-show speech saying we are all the consumer and the consumed, and that we are all HATARI. For those who were not there to hear it, can you elaborate on that message for your fans and what HATARI continues to represent? A. The message is deliberately vague and open to interpretation. This is mainly to avoid a potential clash with any potential sponsors who might be interested in working with us in the future. Q. How was it playing in the UK and did you all enjoy the experience? A. We were invited to an orgy in London but our sound guy had a bit of a tummy ache and an ear infection so we called it a night. Once we got to the hotel, Einar showed us a neat trick where you can poke something like a pin into the British sockets and that way you can still use our European plugs for telephone charging purposes. (Don't stick pins in to sockets! You will die - E.V) So yes, it was a lovely experience except for that time when Klemens fell off the stage and hurt his knee a bit in Manchester. We used an extended lunch break to visit the Pier in Brighton and went on some fun rides and created precious memories as friends and took a selfie to send home. 64 images of the London show to slide through! Full review just past the interview. Q. Sólbjört and Ástrós were incredible as ever with their dancing, I noticed Andrean was not with you; How is his LGBTQIA+ activism progressing, and can we expect more backing vocals from Sólbjört and Ástrós in future releases? A. Ástrós was not with us this time. Instead, we introduced the world famous actress Íris Tanja Flygenring, as seen in award-winning TV series Katla, to the stage. We are not at liberty to discuss future vocal arrangements. Q. I have often talked about how I see a strong connection between the modern day Gothic Industrial / Techno scene and strong Norse Pagan tribal music such as Heilung. In fact your performance in London almost put me on the same spiritual connection level with the Norse Gods as when I have witnessed Heilung; It was at that point I realised Einar's drum area was decorated with the Maður (Mannaz) rune which, to my knowledge represents the connection between man and Gods, especially in ritual practise. So was this a coincidence or precisely the reason the rune was shown so clearly? - And if so, can you tell us more about the bands connection to spirituality if any, as we also had an interesting moment with a chalice which seemed like two different extremes at once? A. Indeed, before every show we sacrifice a ram to our great protector Þór and of course the wise Óðinn the all-father. Also, Klemens does a ritualistic dance that his cousin Sven taught him. We don't quite know what it means. We love spirituality, it's our fourth favourite thing. Q. Is there a new album or release in the works and can you tell us something about it and what we might expect? A. Well as we said before, listeners will not be expecting a reggae album for the reasons stated above. Nevertheless, there is more music expected. It will be even more spiritual and pagan than our earlier work and about six times more spiritual than Heilung. Q. For each member of Hatari, could you please describe yourself in one sentence, and each member's favourite quote please? Einar: A man's face is his autobiography. Klemens: I can resist everything but temptation. Matthías: True friends stab you in the front. Q. What is the band's favourite track to play live and why? A. Þamba drullu. In the English language that would be "Chugging Mud". We haven't played it in years but it's due for a comeback. Q. What life advice can you each share from your experience over the years in the music and alternative scene? A. Travel your own journey, everyone else's is taken. Also, there is a neat trick where you can poke something like a pin into British sockets and that way you can still use your European plugs for telephone charging purposes. (Please DON'T -E.V) Lastly, when life gives you lemons, dance a freely interpreted ritualistic dance. Q. I asked this before but finally, is there anything any of you would like to say to your fans? A. Remember that life is a season of friendship. This might seem confusing but the explanation will be made apparent in our new TV-series which is now on the drawing board. Thank you so much for your time Matthias! Full live review below Review Ash Kenazi Ash Kenazi was an absolute joy to behold from start to finish. I didn't expect any support at the event so to be surprised by a drag performance was a real treat! I will try not to give too much of the performance away but Ash started in the way of some very impressive operatic vocals, with humorous pauses for breath, followed by one hell of a great set of costumes as the show went on. What I found particularly clever was when Ash's wig fell off, and there was also an apparent sound problem with the laptop at two separate points. However I genuinely could not tell if these really were things going wrong or that they had been part of the show all along. The mark of true stagecraft.! Either way Ash did a wonderful drag and kept us all smiling and joyous throughout. When Ash asked if there were any fellow Queers in the audience, the house erupted with cheers and I think Ash and all the rest of us were deeply touched by that moment. If you get a chance to see Ash Kenazi then please do so, they were an absolute joy! 9/10 HATARI Full image gallery in the interview section Welcome to the 'Dance or Die' tour. I'm struggling hard to think of when I've felt such electric excitement for a band from an indoor audience, even when I've stood amongst tens of thousands at open air music venues, I still don't think the air felt so charged with anticipation as it did with the audience at London Camden's Electric Ballroom. A burst of text appeared on the screens speaking out about HATARI's message and poignancy, almost too quickly to appreciate and comprehend. Then.. Einar strolled on to stage to a rapturous applause, his ever silent, ever dangerous persona radiating so much power and style. Forgive my quality of photos, I was stood a fair way back with only my phone! Once Matthias and Klemens joined him, the built up tension detonated in to deafening cheers. There is clearly so much love for this band and they play well to this shower of love. How? Klemens' erotic movements emphasise a sense of appreciation and acknowledgement of that love, whereas Matthias for the most part shows pure apathy and some anger; Einar watches on like a menacing voyeur, and the dancers seems to feed off of that love and passion, and twist it in to ritualistic magic on stage. Whether intentional or not, this seems to show the main range of the human experience towards love and devotion.. 'You worship me and I love it!' or 'You worship me and I don't care.' If that isn't art, what is? HATARI are a living masterpiece of artistic expression in all forms of interpretation and vague representative meaning. Very few artists the world has ever seen can pull of such incredible juxtapositions of character and political satire. HATARI are the dystopian band of our dreams. If we have to live in a crumbling world, at least the soundtrack is epic! Each member of the band, as well as the songs, flowed so smoothly together and at one with each other with very little effort, like watching a master painter create a photo perfect sketch without even trying. Several songs in, Matthias stopped to give a speech on who HATARI and by extension, the audience of HATARI are and that we are all HATARI, which then led perfectly in to us being told to join in the Spillingardans. It was at this point the dance and the music took over me, and as mentioned in the interview above, I found myself dancing on a spiritual level, losing my mind to the rhythm and sounds. It took me a good couple of songs to pull myself out of that trance; Making HATARI one of only four bands that have ever had such an effect on me. HATARI as ever showcased an incredible fashion sense. From Klemens' battle vest, to Matthias' mic holding armour, the dancer's body suits and harnesses, to Einar's cyber warrior fit. Very few bands dress as industrial as this group do. Nearer the end, the show slowed down for Nunquam Iterum, Op. 12 (Never again) A hymnal choir piece. Klemens and Matthias took it in turn to pour and drink from, and sprinkle the crowd with water from a chalice making for a beautiful change of pace before blasting us all to piece again with Klámstrákur. (That is, if I recall correctly) Another great highlight of the show was the track Klefi featuring Bashar Murad. The sections of the music video with Bashar's face in were mixed in very well to the on stage screens and the overall colour scheme, which continued to change colour with each few tracks. (From a photography point of view, that's amazingly helpful!) Were I to say more, I would only spoil the experience or repeat myself. If you are lucky enough to be in a country where the tour is yet to reach, then make sure you go and see HATARI because they are by far one of the most incredible acts live .ON. .THIS. .PLANET.! 10/10 Remaining tour dates: ✦ Mon 10 Oct ✦ Tallinn, Estonia HALL CLUB ✦ Tue 11 Oct ✦ Riga, Latvia MELNA PIEKTDIENA ✦ Thu 13 Oct ✦ Warsaw, Poland PRAGA CENTRUM ✦ Fri 14 Oct ✦ Kraków, Poland HYPE PARK Updated ✦ DANCE OR DIE ✦ Tour 2022 As the continent rises from the ashes, HATARI, along with its global affiliates, hereby announce the re-rescheduled tour dates with HATARI. Ticket holders are encouraged to hold on to their tickets. Multi-award winning anti-capitalist performance art collective HATARI is renowned in the field of dystopian Euro-techno music performance and are devoted to finish their dance among the ruins of the continent. Members of the group are blacklisted by respectable institutions the world over, including five national secret services. Members are also known to be social media influencers. HATARI was founded in 2015 to obliterate the capitalist world order by way of sponsorship with SVIKAMYLLA EHF, their publisher. To this end they participated in the Eurovision Song Contest in 2019, where they were wildly popular and incurred considerable fines as punishment. Dance or die at a locale near you: hatari.is/live 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

Hardcore music is something a lot of us Goth types love, don't deny it. No matter what genre of Industrial or electronic you listen to, it's clear that hardcore always find at least some foothold in each one. Be it the drum and bass, trance, and super fast BPM influences or remixes, or the amazing mash ups the like of which Karkasarus play, there's always something very happy about mixing in to hardcore. For change we bring you a different genre than usual, gabber, a type of hardcore with its roots in 1990's Rotterdam. In 2002, Alexander Azzi, otherwise known as the hardcore/gabber electronic act, Perfect Dark dropped a six-song EP titled Here I Stand. It was released by DJ Rob GEE who signed Perfect Dark to a record deal and helped the project break out into the aggressive hard dance scene. After an indefinite leave and losing touch with his label, Alexander moved onto other things including a venture into the dubstep genre under the name, Drop Goblin which received notable success. Now, 2022 marks twenty years since the release of "Here I Stand" as an EP and song. Alexander Azzi says, "I thought it would be fitting, two decades later to release a single titled "Still Standing" to mark my re-entry back into the genre of hardcore/gabber music for anyone that remembers me. I haven't truly gone anywhere and I am still standing to this day." www.patreon.com/ElektroVox Interview Q. For those unfamiliar, how would you describe your music, and where does your inspiration come from? A. To describe my music would be to first describe the overall genre itself. A great way that I can describe Hardcore/Gabber music is Angry Electronic Dance Music. Depending on where you are in the world, you may find yourself in the eye of the storm of a mosh pit at a rave or possibly doing some crazy European style dancing known as “Hakken” dancing. That kind of dancing is a whole different type of story, so I suggest anyone wondering how to “Hakken” to do a Google or YouTube search for that. The elements of Hardcore/Gabber is a much faster BPM tempo ranging from 160’ish to 200+ depending on the type of hard dance sub-genre you are listening to. My style sits nice at around the 185BPM tempo. Slow enough to feel the ingredients of the music and dance to without fainting from exhaustion, but fast enough to give you an aggressive adrenaline rush where you feel the fast-paced energy. My music I produce personally includes elements of what’s expected in Hardcore/Gabber music such as dark sinister style synth leads, doom and gloom vocal phrases while moving at a frantic pace from the beat of crushing distorted 4/4 and 3/4 signature kickdrums patterns. Occasionally, I incorporate Hardcore-Metal style elements into my mid-break parts with real guitar breakdowns and Hardcore-Metal style lyrics and gang vocals. Bands like Sheer Terror and BLood for Blood are my main influences on those breakdowns. As far as genre specific inspiration, I would say the likes of Neophyte, Rotterdam Terror Corps, and Art of Fighters would be some good mentions among many. I feel that my personal synth pattern style comes from Neophyte primarily. They have a very bouncy but scary sound that I am heavily influenced by. I would suggest looking up the song “Skullfuck” from Neophyte (they are also known as Masters of Ceremony) on YouTube to get a good idea of that specific influence. Q. What is it about hardcore that attracted you to the scene and what are the best parts, and potentially some of the not so good parts of it for you? A. Coming from a Hardcore-Metal and Punk/Oi! background, discovering and producing aggressive EDM was an absolute requirement. I love that fact that you can take what is generally a “happy” and “feel good” type of music, push it down the stairs into a dark and dirty basement owned by John Wayne Gacey and then kick it around on the floor for a while and suddenly you have Hardcore/Gabber music. I mean, if I put a mental picture in my head, that’s what I see. I might be clinically crazy, I don’t know. Anyway, to me this is what I consider the positive parts of what attracted me to this genre. When I made the decision to focus on electronically programmed music, there really is nothing better. As far as any not-so-good parts. I really hate to admit it, but the truth is the truth; Hardcore/Gabber is the bastard stepchild of an elephant man like humanoid with acidic diarrhoea. Or in other words, to most people that are into multi genre EDM, they either hate it, or are terrified of it. It’s usually because they were introduced to it in a sloppy way. That bugs me because there are countless amazing Hardcore/Gabber anthems that exist in this world and most first-time listeners are instead presented with noisy crap. Or Hardstyle. (OK I admit I don’t hate Hardstyle, I have a whole playlist of it in my car, but Hardstyle is NOT Hardcore/Gabber) Anyway, a negative always has a chance at turning into a positive if approached with respect and care. A well-placed turntable needle drop on the second half of Angerfist’s song “Creature” might make quite a few sceptics start nodding their head to the synth lead that hits them and they may change their opinion a bit. Q. I know the hardcore scene is huge in Europe, what is the scene like over in America and what are some of the best Hardcore events there? A .The scene in Europe dwarfs the USA Hardcore/gabber scene here. It is dwarfed 10X in comparison. That doesn’t mean it’s not flourishing here, but things are vastly different even if the very same music is played. One big difference is here in the USA, the genre is given a spot at multi genre EDM music festivals and Rave events as its own “room” or “stage”. It’s very rare and only a handful of event promotions create strictly Hardcore/Gabber events. Army of Hardcore USA out in Los Angeles California is the only event promotion I can think of as I am typing this that promotes and offers just this one genre. I am sure there are some others but that’s the only one I can think of right at this very moment. Back in the late 90’s and early 2000’s though, when I was breaking through, there were more Hardcore/Gabber specific events being put on, but yeah, that has since died down considerably overtime to just a handful now. But hey, mega events like EDC have a Hardcore/Gabber stage so that alone is proof that this style of music still has some American demand. The scene in Europe however thrives on it. I could list countless event promotions that put or used to put on Hardcore/Gabber specific events, on a yearly basis. Masters of Hardcore being the big daddy of them all, then there is Harmony of Hardcore, Thunderdome, Nightmare in Germany, Defqon.1. The list is endless. I mentioned in the beginning of the interview about mosh pits in the USA vs. “Hakken” in Europe. There is an obvious difference there as far as dancing style. It’s like night and day. Here in America people use this music to justify punching people in the face in the pit (I'm all for it) but across the pond overseas, the popular “Hakken” dance is seemingly individual but done as a group with vibrancy and positivity. The one major thing I want to bring up is that while the genre originated mainly in Rotterdam Holland, there are many names that need to be recognized as the pioneers of the sound here in the USA. Rob GEE from New Jersey being not only one of the pioneers of American Hardcore/Gabber, but of all the DJ’s that have ever played the legendary Limelight nightclub in New York City, he was hailed as THE hardest DJ to ever play there. Other legends of the American scene would be Lenny Dee, Ron D. Core, Omar Santana, and Delta 9. It was these legends that allowed America to take notice of this crazy aggressive genre of music known as Hardcore/Gabber. Q. How has your sound and direction changed in the 20 years since your previous release and what direction do you expect to take in the future? A. I think my mentality in what I want my music to sound like hasn’t changed much. The times have changed obviously and so hasn’t certain sounds and processing of those sounds, but I feel my core standards in the type of product I put out remains intact from then until now. I will be the first to admit that what Hardcore/Gabber was back then sounds much different now. Back in the day the synth patterns and other elements drove the track from beginning to end. Today’s Hardcore/Gabber seems more kick-drum prioritized. I hear a lot of music where the kick-drum takes centre stage as the lead and other elements follow that as just a compliment to the kick. The overall tempo has gotten much faster as well. It’s a little bit too different for my taste but it’s not discouraging me in the slightest of concerns. I have no difficulty respecting the new style of sound while still adding elements of the older era to my workflow. In the present day, any time I make a synth pattern that is to represent a lead part in one of my songs I realize I now also need to engineer harder and more brighter kicks of the modern. By doing so I confidently believe that I can give the modern day Hardcore/Gabber fans the current sound they need while blending the energy of the millennium era straight through it. If I had to create a title for what I make I would say “Modern Millennium”. (With some Hardcore-Metal thrown in here and there for good measure) Q. Do you have any more music in the works, maybe even working towards an album? A. I have quite a few tracks finished and in line for release. My debut single “Still Standing” was produced after some of these tracks were already finished. I just was very adamant that “Still Standing” had to be the first original to come out under my name since my first release that was ever put out in 2002 was “Here I Stand”. There are two remix’s I did that were released before “Still Standing” in 2021 and early 2022 but since they are my re-imagined versions of other people’s original tracks, I didn’t count those as anything that would take away from the specialness of my debut original. I don’t think I will put out any albums in this new day and age. We live in a world now where single tracks can travel far quickly and make just as much of an impact as albums used to back in the old days. I figure this gives me a justified reason to put out single releases over a longer period as opposed to blowing my wad too fast buy dumping a whole bunch of tracks at once. This also allows each individual single release its own chance to shine and not be diluted among other tracks. Q. Who has been your top three music inspirations of the past, and who are your current top three inspirations or favourite artists? A. When I need to feel the musical aggression, I put on Sheer Terror or Blood for Blood. They will stand the test of time for as long as Hardcore metal exist. If I am in the mood for some Hardcore/Gabber I listen to Neophyte. They too will stand the test of time for as long as Hardcore/Gabber exists. As far as current favorite artists. I am talking about overall favorites, not so much inspiration to my own music. The top one would be John Denver. Didn’t expect that one, did you? I have been a fan of him my entire adult life. Whenever I am driving or flying to play an event, I have John Denver playing in my ears. Whenever I am done playing an event and going back to the hotel or coming directly home afterwards, I have John Denver playing in my ears. If Hardcore/Gabber represents the “Yin”, then John Denver is the “Yang”. He keeps me sane when throwing myself into the insane. The other two would be Nightwish and Ghost. I have been listening to Nightwish ever since their formation in 1996. Amazing Power Metal. And lately I have had Ghost playing in my car almost on repeat. Love them or hate them, which I know is a very mixed bag among the masses, I absolutely love what Tobias Forge has created visually and musically is something I have never encountered before. A few other honorable mentions; King Diamond, GWAR, Alestorm, The O’Reilly’s and the Paddyhats, and Volbeat. These are some of my other bands I enjoy. Q. Is there a favourite funny or important moment story from your music career you can tell us? A. Well, just yesterday, when I posted another interview where I mentioned Sheer Terror, they removed the tag I did on them and then the infamous front man of the band Paul Bearer kindly commented “Please stop tagging us with this crap”. Talk about catching me off guard considering I was tagging the band because they were a primary influence of mine ever since the beginning. Anyway, as a knee-jerk reaction I removed the comment, but in hindsight I wish I kept it public. He is a self-proclaimed “professional asshole” after all. Still a great band. As far as memories of the past, I remember playing a very large music festival called Boo 6 in New York (Randalls Island) in April of 2002 along with Rob GEE, Neophyte, Gizmo, Buzz Fuzz, Omar Santana, among others. Neophyte and I at the time were a live act which means we were playing out our original music elements literally live with computers and keyboards, but because of the logistics of flight travel from Holland, they didn’t have any of their keyboard gear with them to trigger and output music. They were in a situation where they would have had to play off of audio CD’s or something not as flashy. But, by a sheer stroke of luck my gear was compatible with their arrangements so the lead “trigger man” asked if they could use my gear for their performance which I happily allowed. It might not matter to the entire world, but for a young guy like me at the time who was directly inspired by their Hardcore/Gabber style, it was a very satisfying moment to know that I was able to now help them in their time of need. We went to breakfast the morning after. Q. Anything you'd like to say to your fans? A. First and foremost, I want to thank all the fans I have had over the years. Then, now and hopefully as life goes on. Secondly, here is some deep talk: Sometimes crazy things happen at the most least expected moments. These moments can change your life’s trajectory. If that trajectory goes in a direction that you feel in your heart will impact your life in a positive way, then go with the flow like a twig on the shoulders of a mighty stream. Don’t force a thing. And when you find yourself at the starting line of that new adventure for yourself, sprint out of the gate fast and hard and don’t let anyone slow you down for any fucking reason. Thank you for your 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

Welcome to something new and a real treat for the ears, DJ DeadDancer has mixed up an energetic but easy to listen to collection containing some of the most current and influential artists on the electronic scene and with some very impressive art work too as you can see! This is the first time that I've covered a mix compilation and as such this won't be an in depth review as usual. It's also the first time I've covered Drum and Bass even if it is somewhat industrial themed, so it's definitely not my reviewing area of 'expertise. DJ DeadDancer, or DD for short not only DJ's some great tunes but has a bi-weekly twitch stream (Which I sometime join) and impressive graphic design service as you can read from his Bio below. Hello there! My name is Jack, aka DD, aka DeadDancer! I'm a DJ, Graphic Designer and Gamer! I also talk about polyamory, relationships and dating. I mainly play Roguelites like Hades and Dead Cells, then sometimes dabble in Soulslikes and RPGS. I am always open to new suggestions for games to play and if you have a recommendation let me know in the chat! We also play community games on and off stream, if you see us playing, feel free to hop in! (Link tree for DJ DeadDancer can be found at the end of the article!) Review The great thing about this mix is it gracefully dances in and out of artists both recognisable and new to me. Starting off with the ever fantastical Scandroid who we should all know and love by now - sets the melodic cyberpunk mood nicely, still retaining that great energetic spark that DNB exudes. The mix keeps the energy high yet retains a nice sense of comfort even against the intensity. It's one of those mixes that's adaptable for workouts, parties, studying, or background noise whilst you do practically anything. Throwing in Eurhythmics that then transforms in to the voice of Keith from Mechanical Vein was a very nice touch that made my industrial mind quite happy indeed. Throughout, the mix rises and crashes in intensity and speed. Some of the different vocals of the artists are beautiful indeed, whilst a couple of others.. not so much for me personally, but you can't possibly like every artist can you? None the less, DJ DeadDancer has masterfully picked some great tunes and vocals to make a well rounded and magnificent piece anyone can enjoy. Throwing in the legendary Depeche Mode was another slow down I really was not expecting but further adds to the great structure of the mix picking up and easing off on the intensity to make it easier to process and unwind to as it comes in waves. The second half of the mix throws in a lot of changes and curveballs in genre including metal, more industrial, some more famous names such as Pendulum and The Prodigy. It is of course great to see Biomechanimal so artfully mixed in as well. As we all know, that's one of the top industrial bands around in my opinion. Anything else I have to say would probably just be me repeating myself. Overall though, this has been a really enjoyable mix, especially for the DNB genre which I usually tend to avoid or have little interest in. In that respect DD has peaked my curiosity and interest and I may have to start listening to, and covering, a fair bit more! Tracklist 3Force feat. Scandroid - Abyss (Gancher & Ruin Remix) Jack Mirror feat. flowanastasia - With You Andromedik feat. Ayah Marar - First To Go Voicians - We Won't Be Ever There Maduk feat. Gid Sedgwick - Poison Eurythmics - Sweet Dreams (Airglo Bootleg) Saltee & Mechanical Vein - All Gods Fall Down (Zardonic Remix) The Qemists - Crevasse Fleur & Cutline - Broken Mirror (Metrik Remix) Hyperforms - Always Gone The Prototypes feat. Ayah Marar - Kill The Silence Subsonic - Last Time Muzzy, Koven & Feint - Worth The Lie Cluster Patrol - Dualistic Cartoon & Andromedik feat. Jüri Pootsmann - Whatever Metrik - Utopia Depeche Mode - Enjoy The Silence (Ripple Bootleg) Rameses B - Samurai Pendulum - Nothing For Free (Kove Remix) Futurebound feat. Dolly Rae - Fall Culture Shock - Visions Skrillex & Diplo - To Ü (Lateral Bootleg) Andromedik & Used - Take Me Guru Groove Foundation - Golden Love (Mr. Frenkie Remix) Grafix feat. Metrik - Skyline Delta Heavy feat. DJ Rae - Heartbeat Manila Killa feat. fknsyd - Take Me Higher Feint & Boxplot - Heartstrings Muzz - Out There Rameses B, Feint & Veela - Space Boy Solomon France feat. Oli Scott - Peace of Mind Neonlight & State of Mind - Prophecy Prolix & The Qemists - Feel Alive Blue Stahli - Enemy (Gydra Remix) The Prodigy - Nasty (Spor Remix) Teddy Killerz & Celldweller - Clone The Carnage Corps - Deathwish L 33 - Bloodbrain (VIP) Kill The Noise & Eda Lovelace - Higher SEMARGL - Credo Revolution (Zardonic Remix) Drumsound & Bassline Smith - Violator Toronto is Broken feat. BVLVNCE - Paragons Biomechanimal - King of Cups (Saltee Remix) Gancher & Ruin - Gangsta BLVCK CROWZ - Jungle Demon Raizer - Against Myself 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

Something a little different this time, delve into the world of nature and witchery with the single 'Dream Curve'. The concept is really interesting and shines some hope on the difficult world we find ourselves in as you can read in the bio below.. “With her dramatic soprano voice, enchanting stage presence, and marvellous flute solo, Margot Day’s music with Metamorph is an illuminating force...her new single with Metamorph inspires us to imagine a better future”. – Synthbeat.com Our lives are on a new dream curve. We are all going through the darkness of grief. Bravely we traverse today's shifting cataclysm. Would you use this portal of change to dream a brighter future for yourself and our planet? We are the dream weavers, and we are interwoven. Together we embrace the unknown on our new dream curve. "Inspired by nature I am writing and recording alone in the jungle. I send the songs into the ether via the web to Producer Erik Gustafson (of Adoration Destroyed). He is brilliant. Erik seems to internalize and live and dream these songs too. Songs that are interlaced with magic, with vibes that are both dark and heavy as well as dreamy and hopeful. I deeply appreciate Erik’s immersion while producing the Kiss of the Witch EP and I’m thrilled to share and drop this new Metamorph song collection later in 2022."- Margot Day Margot Day was an integral part of the 80’s NYC underground music scene while fronting the legendary Goth band “The Plague”. (Naraka album 1987). Witchy Goth Rock band Metamorph began in 2016. A pulse driven entry into other dimensions of song and dance, a vortex of melody and throbbing rhythms capable of awakening human potential. Songstress Margot Day's multi-range vocals and mastery of the flute entwine with multi-instrumentalist Kurtis Knight casting a spell of love in their Metamorph releases “Sigils & Spirals” 2020, “Ether” 2017, and “The 4 Elements” 2017. With well over 100,000 views on the Metamorph YouTube channel – featuring the music videos “Daisy Logic" and the prophetic “Spelldance” music video from the Sigils & Spirals EP 2020 and Love in the Wreckage. Metamorph tuning is A=432hz - natures frequency. Live concerts and festivals with Metamorph duo Day & Knight (and their tiny mascot Melody) in Costa Rica, Guatamala and the East and West Coast of the USA. The Metamorph Band concerts in 2019-2020 on the East coast in Salem MA, Boston, NYC, Montreal, Vermont and PA with Margot Day, Kurtis Knight and Drummer Joe Netzel, Anomaly on Bass, and dancers Rivqah Cas and Kitten.. Duo Margot Day and & Kurtis Knight are also known for their album “Sacred!” 1999, and “Moss Circle” 2010. Margot Day a native New Yorker who has escaped temporarily to the jungle in 2020 is conjuring a new collection of Metamorph songs for the “Kiss of the Witch EP” to be released in 2022. First single “Love in the Wreckage” launched Valentines 2022 - on all platforms. LITW transforms the worlds chaos into love. View the “Love in the Wreckage” Lyric Video. The second single Dream Curve dropped on Beltane May 1, 2022 on all platforms. Produced by Cleopatra recording artist Erik Gustafson of Adoration Destroyed. Metamorph is “music for morphing”. Inviting the listener to welcome change and “become the wave, the witch, the butterfly, the pirate, the phoenix…” Review (No bandcamp player available) I think it is an easy thing to relate to the message of this track. There are countless numbers of us desperately dreaming of a better world, one that should have been, and one that still could be if things change soon, but drastically. The artistry of the video is rather unique and enjoyable. The emotion of the vocals is highlighted well by the 80's style darkwave keyboard that eludes to a realm of unknown and that's always a little spooky right? Besides, what is Gothic, if not a little spooky and fantastical? Margot pulls off some impressive vocal ranges and high notes throughout which brings a nice variation to the smooth and steady formulae of track. It very relaxing and comforting in style which helps to aid towards the concept of the song overall I think. The single feels like a cinematic piece suitable for either a fantasy or sci-fi thriller, such is the duality of the world we currently find ourselves in of the old struggling with the new and all the space in between. It is definitely a song that grows on you, once you have grasped the concept and listened a few times, it becomes more and more enjoyable. The rhythm and instrument loops really do relax and engulf you in to the music like a warm blanket. A very interesting an different piece but one I have enjoyed. Available on Bandcamp for just $1 HERE 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

Karkasaurus are the ultimate party animals who never fail to knock us all off our feet with incredible sets, so to further augment that power with the legendary might of the bands they brought with them to London? it really was fantastic, and if you can catch them at one of the other tour shows, make sure you do! Review Bein-E Wherever Beat:Cancer is, Simon is almost certain to be there too helping out with the stage, spinning a DJ set or bringing us another experimental ambience offering with Beinaheleidenschaftsgegenstand (Bein-E). This time he had taken to a more industrial-esque choice of music with some great samples thrown in from the likes of Night of the living dead. Not only that but he rounded the set off with some absolutely filthy tracks. In this way he had built up steadily for one hell of a second half to his set and in so doing, the venue felt alive and fired up with the anticipation of more great music. This was the best music I've heard Simon spin live, and it was really impressively done. Red Meat A live set performance that I have been waiting to see for quite a while. Rhys has been killing it with the astonishingly angry, hedonistic, and ear rending beats of the industrial lane he has charged head first in to. The soundcheck had me extremely excited and the performance itself really did deliver. I was on the Merch table most of the night but I had people coming up and buying his shirts throughout his impressive performance - with people commenting how good he was and quite a few of us agreed that he sounded very similar to Andy LaPlegua of Combichrist! He smashed that one right out of the proverbial park. A video interview with Rhys will be uploaded to YouTube soon! Biomechanimal Matt hit us with one hell of a DJ set playing some very unique tracks including opening up with the industrial-folk-viking artist Errrilaz much to my utter delight; As well as playing some new and unreleased Bio tracks which all went down like a fresh vein of ore at a gold rush. Which is to say, he did well, exceptionally well, that crowd were dancing their asses off and the atmosphere was ecstatic, he even brought a lot of mods and synths to really mash up the sounds and tracks in to some really beautiful musical alchemy! (or as the talented Matt would call it, just another day ending in a 'y'.) iVardensphere Scott Fox the legend once again returns to UK stages for this tour. He brought all of his equipment and drum machines etc in hand luggage this time around to save the same one drum machine disaster of lost luggage that happened at Tanz from repeating. iVardensphere Singularity is different each time, Scott approaches it with an idea in his head and then just starts throwing his equipment and samples through stunning - one of a kind performances. This time he had matt from Bio join him for a time which sent the crowd stomping and raving away even harder than before. Scott is a man who has achieved perfect mastery over electronic audio, and weaves musical spells like a cybermancer or sci-fi bard of legend. Don't ever miss out on a chance to see Scott play be it with the full band or as his singularity! Karkasaurus The two Dino dudes who we all know and love, who make so many of these great events possible, need no introduction. Once again they took turns to throw a song in to the mix and tear the audience a new hole with each track spun. Intensity, speed, action, these aren't just Hollywood film elements, these are elements of a Karkasaurus dance floor and they bend them to their will with unimaginable ease, casting absolute fire out across the dancefloor. The Dino duo have always put on the most entertaining, fun, and pure bliss dancefloor sets be they online, live, or regardless of genre they happen to be spinning on any given night; These guys are true legends of dancefloors everywhere and there 'aint no party like a Karkasaurus party! So a huge thank you to them both for running such a great event and kicking our asses once again. One more thing.. James has been going to Beat:Cancer events for a long time. He even drove me to my first few B:C gigs and because of that Elektro Vox now exists and my love for industrial was originally ingrained by this great guy! The weird thing? He (or at the very least someone he has brought with him) has always won one of the B:C raffle bundles! Myself being one of them many years ago. In true fashion, he won one of the three raffles at EVM fest recently too. When I got on stage to do the raffle draw for two different prize bags, I joked briefly with the audience about his luck, and you'll never guess who's number Vampyr Brat picked out of the tin for the second prize... That's right.. James, the lucky sod! A huge, huge thank you to everyone who takes part in B:C raffles, it really is the best way to support the charity and get more funding to the places that need it! 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

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