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STaY SiCK Tour and She’s in Bauhaus UK Tour – Teenage Werewolves and She’s in Bauhaus The Warehouse, Friday 13th August 2021 Jack Atlantis – quite the man. Is he a talented genius or a slightly deranged genius? A master of deception? Who really knows. But, when you go to see a live show of him as Peter Murphy, you won’t see Jack – only Peter. When you go to see Jack as Lux Interior you’ll not see Peter Murphy at all – and Jack is no where to be seen either. Jack Atlantis is perfect at being Peter, and perfect at being Lux. All in one night. Each performance is unique, wild, sexy and totally and utterly convincing. Backed by a group of performing artists of equally deranged, talented genius – this isn’t a regular tribute band experience. It’s a unique combination of cloning and interpretation – theatre at its finest. The Warehouse needs no introduction and is a legendry music venue. Opened in 1979, it’s been here for so many underground, alternative music and fashion scenes. The Hacienda might have the more mainstream recognition, but The Warehouse was the ground-breaker and the original venue in the North of England. The evening starts with a solo burlesque performance from Kitten de Ville – the original from the New Burlesque movement. The crowd is unlike any I have seen post-covid, The Warehouse is packed, the atmosphere is definitely pre-covid and Kitten knows how to work a crowd! To the point someone throws their drink over the crowd and onto Kitten and the stage. Of course Kitten is unflustered and takes it in her stride – but if the culprit is reading this, it’s not big and it’s not clever. She’s in Bauhaus arrive shortly after, opening with ‘A Strange Kind of Love’ (Peter Murphy solo track) leading into ‘Bela Lugosi’s Dead’. I almost can’t bring myself to say Jack wore a…… Ok, I’ll do it….. Peter had a short black cape, exactly how I saw him looking the last time I saw Bauhaus play live. Of course that was the real Bauhaus and the real Peter Murphy. But tonight I am transported into the alternative reality world of Jack Atlantis – if you’ve experienced this show you will know what I mean. The senses are confused in your brain, you will constantly question who you are watching and listening too. The vocals, the look, the mannerisms – you are in the presence of Peter Murphy. Or are you? Hmmm, confusing – in a good way. Every track, every scintillating moment – pure excellence. Yes you will hear your favourite songs, you’ll have the tribute band good night out. But this is more, much more. Don’t listen to me, listen to the members of Bauhaus who have witnessed this show – they also questioned their senses. That’s Peter performing, isn’t it? Oh, and the band are very good too! Now, what makes that performance even more startling? I’ll tell you. Ten minutes later another band arrive on stage. Is that Lux Interior? I thought he died……. Wow! How is this possible? In one night, on the same stage two legends appearing? I’m questioning my senses yet again – this is bizarre. I give myself a kick, this is the same guy isn’t it? Its Jack Atlantis? The same band backing him that I just watched? No, surely not. I’m confused, every element of my senses is firing off in bewilderment – I have Lux Interior performing in front of me, it’s The Cramps! Am I over exaggerating? Nope, not at all. It’s completely startling. It’s pure talent. It’s pure genius. And yes, Jack Atlantis is surely slightly deranged. Let’s face it Peter and Lux are very different in character, complete opposites. Yet here is one guy convincingly giving me and the crowd a performance from both. They play a great selection from The Cramps back catalogue, the band have great ability to swap from the Bauhaus sound to The Cramps. The theatre, the campness, the humour, the sexiness – everything is there. Kitten comes back throughout the gig, joined with Moana for more burlesque fun (don’t forget Kitten appeared in a video for The Cramps). I can’t remember a night where I had so much fun while watching a tribute band, absolutely the best way of spending a few hours escaping from the anxiety of this new world. There’s a few dates left on the tour – honestly do yourself a favour and get a ticket. There’s good reason why they consistently pack out venues when these guys visit the UK. 9.5/10 (totally amazing) 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

528 days.. 528 excruciating days passed between my last proper Slimelight on March 7th 2020 (add probably another month on top since my last concert) and this perfect evening of bands in a glorious return to Slimes. Although that wait was horrible as were the withdrawals from my spiritual homes and live shows; Alongside the yearning to see friends again in that setting, and of course the tragic news of Mak - the co-founder of Slimelight's passing.. After all of that, I could not have hoped for a better evening of truly magical scope. To see so many people and friends raving so hard to the music and enjoying what many have described this past week to me as 'A community temple where we all come to worship each other's company' was paradise in absolute. A fitting moment for Mak's legacy.. To the Slimelight crew.. Thank you so much for one of the best nights of our collective lives. We love you!! Review J:Dead The first ever live show from Jay's project J:Dead met all of my expectations and then blew them away. (Jay Taylor already being the live drummer of EBM/Synthpop bands such as Tactical Sekt, Tyske Ludder and Harmjoy.) J:Dead's recent debut album of 'A Complicated Genocide' sounds gorgeous throughout, intermixed with softer vocals and occasional heavy, screamed filled sections that can feel like Human League one minute to a full on industrial metal band the next. I had no idea that Jay's vocals would be so very crisp and clear live however. Quite how he managed to walk that line between harmonic vocals and guttural growls is beyond me. Honestly, he smashed that stage harder than any opening band has the right to and he did so with heaps of style and charisma. Of course, he left the heaviest track until last when thankfully the dance floor had packed with a half decent amount of people; Obviously lured in by the impressive music they had been overhearing, and he absolutely blew everyone away with that ending track. Pure class and I hope to see J:Dead on many more listings in future. 9/10 Biomechanimal Biomechanimal are of course a band I am hugely biased towards as they are the only band I have seen time and again yet get more excited with the anticipation of each new show rather than less. (Although not strictly true, you can actually apply everything I've just said here to ESA next as well!) This time around sadly we had no Keith on the Electro Axe as he was shielding and Lex no longer plays bass for the band and I don't think that's something I'll ever quite be able to get over being a huge fan of her stage presence and talent as a musician. However looking past those two factors, Bio laid down an artillery barrage of a set. The supporting small arms fire of the heavy calibre drums, the intense thudding mortar of the bass, the cannonades and explosions of the backing tracks, and of course the hellfire screams of the battlefield spiralled cacophonies of awe from the jaws of Matt's skull; even if the microphone wasn't picking up vocals half as well as it should have but that's not Bio's fault really. Each track had been re-tuned and upgraded in undeniably impressive fashion adding layers of depth and enjoyment to the overall monster on stage - Like Godzilla's return as Mecha-Godzilla, Biomechanimal once again proved that London is there's to destroy and theirs alone. 10/10 Electronic Substance Abuse Where to even begin? And what could I even say? ESA being a band I've reviewed time and again, and an artists that very few and far between have yet to experience. What Jamie hits you with is a wall of noise that somehow in amongst all of that brutal, stomping power, reaches in to the core of your being grabs a hold of the right sections of your soul and twists multiple keys at once unlocking parts of you that you never knew you had. ESA is a multitude of experiences all at once, a rave for the soul, a brutal massage for stress, a tight hug from the beyond, a tribal calling from your ancestors, an outlet for aggression - yet an outlet for love.. Each beat, each tone, each hit of electronics brings you closer to understanding music as a concept and yourself as a human being, and what it means to be alive. It is grandiose yet intimate, strikingly intimidating yet inspiring of courage, small in scale but epic in scope.. No one on this plane of existence reaches in to the ether and creates music quite like the king that is ESA does. Jamie put his pent up fire in to that performance with each impressive vocal growl, each hit of the electric drum, and each carefully precise alteration of tech. If you haven't seen ESA yet, what the hell are you even doing with your life?? 10/10 Alien Vampires Who can deny that putting on an Alien Vampires track is always a good idea? A.V rounded off the night with a relentless punishment of hard as hell rave that stirred the crowd in to a furious frenzy of dance and smiles. I for one absolutely lost my mind as the first sample of 'He who controls the spice, controls the universe'.. Steve did an incredible job of smashing those sounds out as Damien put on quite the show of anarchistic nature expected from a band such as A.V. The indulgences seemed particularly strong however and the vocals somewhat suffered from it but never the less, the energy and the soul of what it is to dark dance flooded the room with each track. The band was joined in their last song by special guest Atilla from Mayhem making for a rather pleasant ending twist. Fire and fury spat forth in waves of joyful energy in the shared euphoria of a large crowd that had been desperate for this kind of hardcore rave release and A.V we deeply thank you from the bottom of our hearts for that. 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

It's a beautiful thing when a community unites together, and a tragedy that the unity is one of grief as well as celebration. So it is that dozens of artists have contributed to an incredible tribute to the Godfather of Goth. Mayuan Mak founded the world famous temple of love and acceptance - the longest running Goth nightclub in the world in the form of Slimelight Elektrowerkz. This club is a shining beacon of acceptance and unity for all alternative culture. It was a real honour to stream Cyber EVM 2.0 in his honour very shortly after his passing, and it is an honour now to review this four album tribute. Each album comes with a beautiful PDF dedicated to his legacy and with words from each contributing artist. Let us all remember to honour his legacy and continue to support his closest loved ones left behind.. The Plan is a tribute compilation to celebrate and honour Mayuan Mak, the founder of Electrowerkz/ Slimelight London who sadly passed away on Wednesday 9th December 2020. All proceeds from this compilation will go directly to the venue. Review The album opens progressively with some deep atmospherics from the first three bands, foreboding and heavy with the weight of the concept of the compilation. O C O S I then bring about a sense of pre-show excitement, that kind of track that plays before a band takes to the stage as the crowd hush and the lights dim, excitement tense in the air. Xotox give voice to the not so silent agony we all feel with 'Silent Shout' to then give way to an upbeat track with comfortingly soothing lyrics as they bring a real sense of celebration to life thanks to Mechanical Cabaret. Naevus then treat our senses to some deep poetics exploring the human machine. Proyecto Mirage change the direction completely with a track somewhere half way between heavy machinery adjusting and a bee hive rave swirling together in techno intensity which makes for a really enjoyable sensation. Das Fluff then bring some harrowing spine chills with their track featuring the old duck and cover atomic bomb infomercials. It magnifies the dystopia now and the futility in escaping death. It is a fantastic track. The distorted guitars of Leech Woman strikes hard like an industrial version of Slipknot, it is chaotic and the vocals are satisfyingly aggressive. Metalogue change direction again with an atmospheric and tense cyberpunk beat putting me in the mind of a gearing up for battle sort of montage. Mono No Aware combat tribal dance through modern electronic powernoise and Kirdec take us on a weird and wonderful psychedelic trip. Inkubus Sukkubus bring the glorious metal riffs backed by impressive string sections and powerful female vocals with some very poignant lyrics; A truly brilliant track. S.K.E.T include the famous tank in their song title and really smash home that 90's old school dark tech disco feel that sums up Slimes wonderfully. Finishing off is Natura Est with a deeply touching and calming track that allows for reflection on the beautiful life that was Mak. Somantic Responses open this one with a touching piece that sounds akin to mechanical butterflies fluttering in time to a heartbeat with Mothboy then bringing in some Cyberpunk laser 2077 vibes. Ash Code treat us to some old school Goth darkwave alongside elegant synths. Winterkälte provide some chonky yet crisp noise that gets your foot stamping. The Heresy Gene include the clip from Star Trek: Generations, with a great line taken from the poem, 'Calmly We Walk Through This April's Day,' by Delmore Schwartz. The line being.. "They say time is the fire in which we burn." This track is a great psytrance offering that was unexpected but very welcome especially as it includes samples of lectures the likes of which you usually find in these psytrance gems of sound. Greyhound bring us back to the ambience of powernoise in an impressively energetic boot-grinder. The Ghost Of Lenora then bless us with that signature old school Goth slap bass the likes of which The Cure often used. HIV+ sounds brilliant with headphones as their track cascades around the insides of your skull. Morgenstern and Claus Fuss play us out with some almost tragic and sorrowful pieces. Starting this one off we have This Morn' Omina with an eerie yet mind opening tune that feels alive and breathing in its vibrancy. Jettenbach then provide quite possibly my favourite track of the entire compilation. I was reviewing this album at work and this track took me on a journey that was difficult to come back from. The vocals talk of nightmares and it hits a deep, vulnerable place in the soul. It is a masterful slow and beautiful piece that feels almost otherworldly. If you listen to but one song on these albums, let it be this. (If you're in an okay headspace that is) Flux provide some great dark techno stomp intermixed with powernoise and Machine Rox bring in some much welcomed synthwave-esque love in a catchy earworm. Empirion throw in a flurry of electronic beats and Heliosis bring about a touch of dubstep. Most of this particular album feels like an experimental amalgamation of noise and synths which makes for a rather interesting mix of tunes. Rather noticeable on this album is Julia A Katarina and her track 'Mawtini موطني My Homeland' A middle eastern sound and atmosphere makes for an incredibly poetic and touching experience that touches every listener in the same sense of connection with Slimelight being their 'Homeland'. A wonderful addition to the compilation that was completely unexpected but fits so very well. A true testament to the truly diverse and safe place that is Slimes for each and every attendee. Peace be upon you. Detritus open the final album like sitting through a cold sunrise, its breath-taking but ultimately hits with a tense sorrow. The Devil & The Universe blindside us with a dramatic dance fest of energetic and meaningful frenzy. Tribes of Medusa throw in some post rock vibes that are touching and emotive in in the simplicity of the track, almost like a deep but calm ocean. A string of techno tracks that touch on a deeply personal level now starting with PF who add some super stompy techno that beats right down to your core. John Faust brings a layer of chillout to the techno with easy listening but energetic none the less. Eva|3 provides a real journey of atmospheric techno with some incredibly majestic female French vocals. Asche make you clench your jaw tight with their grinding machine techno and great audio sample that leaves you wanting more; and finally in this string of deeply connecting techno we have DSTR bringing about a chilled electronic wave that has great lyrics that work so very well with the concept of the album and the remembrance it seeks to provide. Electronicat is another track that sounds great in headphones with its electronic acid trip of exploratory sound venues. Klangstabil pair perfect poetry for Mak's legacy alongside catchy and happy tones. Nature Of Wires lay out an great all round track of enjoyment with ideal beats and vocals. Finally Jo Quail breaks our collective hearts once again with a beautiful string section the likes of which you would expect from Lord Of The Rings. It is a funeral-esque sound that brought multiple tears to my eyes as it played out softly.. Tracklist I Will Be Lurking Zan Lyons - Ashen 2nd Gen - 99 against 100 O C O S I - Dead Cell Xotox - Silent Shout (Very Special Version) Mechanical Cabaret - Little Joys Chapters of Reality - Did We Die Naevus - The Mouth Song Proyecto Mirage - Big Holy Machine Das Fluff - We Must Obey Cervello Elettronico - Metal Leech Woman - This Is Parasitic Metalogue - Cynosure Mono No Aware - Nicht in Meinem Sinn Kirdec - Muddy Path Inkubus Sukkubus - Lost to the Darkness S.K.E.T. - Tank on Torrens Street Natura Est - Flawless Shore There Is Hope Somatic Responses - Moments Without Control Mothboy - Blank Out Years of Denial - Regarding the Pain of Others Mark Hex - Gunter Grove Aurelio Voltaire - Firestorms of Venus Autoclav1.1 - Privacy Dive - Insanity (Live) Law334 feat. Choronzon - In Between There Are Doors Ash Code - If You Were Here Winterkälte - Love, Strength and Tanks (Mayuan Mak version) The Heresy Gene - Timescape Greyhound - How We Envision The Future The Ghost of Lemora - Cabaret Queen HIV+ (feat Barkosina YOD) - Nerfs Alien Heart - Reabsorbed Morgenstern - The Fall (Mak edit) Claus Fuss - Thanks for This You Never Know This Morn' Omina - Star People Jettenbach - Somniphobia Edgewood - Hallucin_Ation Nation (Mak Mix) Synapscape - What Are We Doing? Gertrud Stein - 3000 Loss - All The World's A Stage...(But My Power Strips Won't Freaking Work RMX) Flux - Sparkle (Nothing mix) Thorofon - A Soul Bleeds Dry Machine Rox - Follow the Beat Empirion - What You Are Heliosis - Halcyon Luke Chaos - Prayer to Osiris Non-Bio - Until the Dawn Talvekoidik - Legacy Greater Than Life Whispers in the Shadow - Forever 1985 Julia A Katarina - Mawtini موطني My Homeland Tony Wakeford - Tanks for the Memories Big Hugs:@) Detritus - Arc Othon feat. David Tibet - The Dreamer is Still Asleep (Mak Farewell mix) The Devil & The Universe - Altamont Apocalypse Black Light Ascension - Light in the Dark AntichildLeague - Love Sucks Supersimmetria - Et Omnia Vanitas Tribes of Medusa - Failed Hope PF - While Reading Le Bakchich John Faust - Gozen Yoji Eva|3 feat. Riotmiloo - La Memoire des Sens Asche - Junk Clones (Happy Mix) DSTR - Disappear Electronicat - Dragway Star Klangstabil - Pay with Friendship (Sonic Area remix) Orphx - Undying (Live @ Kaos, Electrowerkz, London, 2015) Nature of Wires feat. Madil Hardis - Through Someone Elses Eyes (Leaether Strip remix) Jo Quail - South West Night Conclusion This is not an album that I can quantify in to ups and downs, good parts and not so good parts. Each track is an outpouring of grief alongside emotive cheers of respect for someone truly loved and respected in the alternative world. Each contribution is an expression of different souls paying tribute to one of their own and no one can, nor should they criticise or detract from these offerings. Each is beautiful in its own way like each and every alternative soul that was given a spiritual home where they could feel safe and accepted regardless of race, colour, creed, sexuality, lifestyle, or gender at the beacon of slimelight and the lighthouse keeper that was Mayuan Mak. This compilation is a touching and incredible tribute to the man who lives on through us all and will ever remain the brightest star in the night sky for all of us bats. Scores Technicality: 10/10 Dance 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

Well I never, those rather clever people at Infest have come up with another Covid beating festival experience last year. Not content to let Covid and peoples' gig hesitancy to get in the way, they have built upon last years Stay-In-Fest to give us something very special indeed this August Bank Holiday. Last year they brought us the delights of a twelve hour live stream with the likes of The Cassandra Complex, IAMX, Ash Code, London After Midnight, Zardonic, Empirion (and many more). It was a fantastic twelve-hour Gothic extravaganza. It seems Infest are aiming the festival towards a larger and wider audience by going online with their live streams – probably now an ongoing feature for future post-Covid Infest…… Saturday the 28th of August at 12 noon this format will be repeated again for the 2021 edition of the festival. However, this time there is something very different from last year. The festival will be held at the Student Union of Bradford University, the home of the regular pre-Covid Infest – WITH A LIVE CROWD! Yes it will be a seated and socially distanced event, and much more intimate than the regular festival – but what’s not to like about exclusivity and food and drink service to your table?!! Infest are asking for interest in tickets for the live festival to be registered via this link; https://infestuk.com/2021/08/02/infest-2021-stay-in-fest-live-from-bradford-latest-news/ Of course the band, artist and DJ line up will be announced shortly, but let’s face it whenever has there been a bad Infest line up! It’s the UK’s premier festival for all dark electronic and Gothic music! We’ll come back to you with further details as soon as they are announced! 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

EBM still lives on strong with bands like MALICE MACHINE showcasing the inspirations of long running bands in to their own music production. If you're a fan of the grittier, haze inducing EBM of yester-year, then you'll be very pleased with the new life this band breathes in to industrial. Originally hailing from NYC, MALICE MACHINE is a collaboration of two dark souls, Syn and Ammo. Their sound emanates in a cybernetic assembly of Industrial synths, seething noise, methodical drums, razored guitar, and edge riding vocals. Utilizing their musical methods of programming with organic musicianship, MALICEMACHINE crafts their songs in a menacing mesh of analogue and digital waves. For fans of: FRONT LINE ASSEMBLY, KMFDM & :WUMPSCUT: The lyrics on Chemical Violence express some of the the darker sides of our nature. cold landscapes combined with twisted and tortured concepts of what reality is or what the human experience can be for some of us.. It's not always a pleasant journey. The one thing that is certain. This sick machine will grind down all of us eventually. Chemical Violence started as a continuation of our first album, Digital Scars, but quickly evolved into a more electronic driven, rhythmic Industrial project with guitar being a lesser element. There are several dance heavy tracks but we also return to brooding flavours to satisfy our darker nature. Lyrically we drift between cyber and horror themes but they're really just underlying metaphors of how the world can be a hostile place, ready to grind you down if you let it. This album covers a lot of industrial territory. We don't want to be pigeonholed into one sub-genre so all the songs have their own flavour. Retro and post style, Electronic, driven guitar, grinding Noisecore and Aggrotech elements, Synth bass, Drum dominant. We're open minded and love a lot of industrial styles which will show on this album. All songs are written by Syn and Ammo and recorded and mastered by Syn at our studio. Prototype, Restrict, and Dead Circuit were co-produced and mixed with John Bechdel from Ministry. We met John back in 2019 since we were practically neighbours and ran in a lot of local circles. We started working on a 6 song EP with the help of John mixing and producing in his studio. But then covid hit, along with lockdowns and an endless series of delays. We were held up for over a year. By the time we went to release the EP, we had more material ready to go so we decided to do a full album. In the last three months we wound up writing, recording, mixing and mastering 7 more songs. We then added Winter's Dark as a bonus track to give it more exposure. It was originally released on a compilation for Brutal Resonance Magazine and we consider it to be the start of our current writing style. Review If a band's industrial music instantly puts you in the mind frame of toxic wastelands and needless violence, well... You know it's some good old school inspired stuff and this album provides that in abundance. When you mix up the soundtracks of 80s/90s media from the likes of Robocop to Hardware, and Command and Conquer to Resident Evil, the guitars, growling lyrics, and classic electronics makes for a satisfying mix of all things EBM. So it is that 'PROTOTYPE' and 'RESTRICT' open up the album in that familiar and chaotic synthetic chaos that we all know and love so well. MALICE MACHINE have certainly amalgamated a lot of inspiration in to their work and it brings a real smile to the listeners' face. It's proven to be quite hard to write about individual tracks with Chemical Violence as each song flows in and out of each other without much variation but that is not a bad thing for once, in fact it's quite an interesting immersion into the imagination. Much like an audio book paints a movie in your head, so too does this album with it's seemingly constant yet fluid progression through the concept of sound on offer; Although I will say 'RUIN' did stand out for me with it's slightly more mellow and emotive sweeping sections. Another track that sticks out above all others is (surprisingly) the second cover of Tubeway Army's 'Down in the Park' that I have reviewed this year. (That's the band Gary Numan was in before going solo) This cover is such a gritty and deep variation, with the guitar distortion creating a huge field of depth that the original lacked; It brings a sense of powerful determination and action with each verse. Tracklist Prototype Restrict Corpse Painter Dead Circuit Lament Box Machine Hate Nothing Decay Synthetic Slave Ruin Head Technopagan Winter's Dark Down in the Park Conclusion This album feels like a fantastic tribute to all things industrial over the generations, like a passing of the torch to the bands of the present that MALICE MACHINE have gracefully accepted. Whether it be electronic beats or distorted guitars that you enjoy, MALICE MACHINE have struck a fine line between the two chaotic depths of these two yin and yang like structure of industrial sound. Scores Technicality: 8 /10 Dance factor: 6 /10 Energy: 6.5 /10 Vocals/Samples: 6 /10 Re-play value: 7 /10 Overall score: 6.7 / 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

First of all.. If that isn't one of the coolest album covers I have ever seen then I don't know what is! It is such a refreshing change to have an album full of female vocals to come out of the industrial world and I always get excited when discovering new vocalists that I haven't heard before. Kimberly's voice dances a perfect balance between raw and aggressive emotion with soothing and uplifting melody in and out of each track. In fact she VERY much reminds me of Emilie Autumn in vocal style making for a unique and fantastical twist to industrial / Gothic styled synthpop that I thoroughly enjoy. Bow Ever Down was started in 1998 by singer song writer Kimberly Kornmeier. Bow Ever Down has played some great clubs including Dracula's Ball at club shampoo in Philly, the Trocadero Theatre in Philly, and CBGB in N.Y. Bow Ever Down also has performed with some great national acts including The Cruxshadows and Iris. As of 2021 Kimberly has joined forced with John Ruszin III from Carfax Abbey. Review An instant classic of a gothic ballad opens up the album with the title track 'Let It Burn' with a damn catchy beat and melancholy touched vocals to the synthetic audio candy. It feels like a song you've heard before on a darkwave dancefloor and danced to a dozen times in a really nostalgic way. It's like Bow Ever Down have really zoned in on the sections of sound that makes Goth music so touching and relatable but most importantly, enjoyable. 'Cold machine' brings in more of a synthwave journey feel to the sound next. The closing out section is full of power in a similar fashion to the way Bonnie Tyler would belt out some incredible tunes. We are treated to a a head-first dive in to some fantastic sounds as we open up to 'Shed My Skin'. Not only that but there are some aggrotech style vocals thrown in to the mix throughout which makes me a very happy electro-head indeed. We all know that I'm a fan of media samples in tracks so to have The Crow's quote of "Victims, aren't we all?" slipped in there, damn sure got my attention! This is a B movie style track with wobbling audio and spooky Theremin like waves and once again touched off with some nice scream distortion vocals! 'Burn You Alive' has a lot of power to it and has that dance factor to really make it stand out. It has all the best elements of alternative music wrapped up in to three and a half minutes of dark clubbing bliss. To have have an Assemblage 23 remix on the album says a lot about about the artists talents, and so they have remixed 'Cold Machine' in to a great addition of unexpected sound to the album. This being one of several remixes on the album. 'Shed my skin' (MissSuicide remix) is a truly, tantalisingly delicious treat to the senses as it brings in far more of a cybergothic rave edge out of nowhere and I cannot state how much I LOVE this particular track. Amazing stuff. Their remix of 'Glass Doll' and the 'Let it Burn' (Stahlschlag Remix) follow a similar heavy dance themed formulae. Finishing off the album we have 'Glass Doll (new version)' which is also a brilliant rendition of the track even without the remix that reminds me of 80's romantic pop with that juicy electronic edge to it all. Tracklist Let It Burn Cold Machine Born Into Darkness Shed My Skin (feat. Silence in Machine) Not your Victim (feat. Silence in Machine) Burn you Alive Burn them to Ashes My Last day Cold Machine (Assemblage 23 remix) Shed my skin (MissSuicide remix) Glass Doll (MissSuicide remix) Burn you Alive (Replicant RME remix) Not your Victim (remix by John Ruszin III) Let it Burn (Stahlschlag Remix) Burn Them to Ashes (Silence in Machine Remix) Not Your Victim (feat. Adian Caine forever haunted Remix) Glass Doll (new version) Conclusion When Kimberley asked me to take a look at her music I was stunned to find a jewel of an album that had been hidden to me before. A modern Goth piece of emotive art that feels as though no two listeners would ever have the same experience or relatability to the tracks in which it contains, making for a truly unique and interesting take on modern Goth music which still clearly respects the inspirations of the past. Bow Ever Down have produced one of the finest and freshest albums that I have listened to this year. 'Let It Burn' has a beautiful core to its flame, even though there are some slightly rough edges to those flames they still burn beautiful and strong. A remarkable album all round. Scores Technicality: 7 /10 Dance factor: 7 /10 Energy: 7 /10 Vocals/Samples: 8 /10 Re-play value: 9 /10 Overall score: 7.6 / 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

Witness one hell of a debut entrance from Rhys of ded.pixel with his new project RED MEAT. It is gritty, heavy, and full of symbolism and meaning. How wonderful it is to be vulgar! Releases; 30/7/21 Warning: Adult language to follow Yes, it's brutal. It's a big fat sweaty queer screaming songs from an angry place. The same place in fact that's endured decades of bullshit, having my sexuality gatekept, not being part of the brochure that pretends we're all tolerant of the rainbow society. Half the people singing that script have never existed in working class society and it fucking shows. Homo vulgaris is deliberately in your face because some of us still have to fight to exist and it's there because some of you fucking pricks are STILL uncomfortable that we do exist. This is absolutely a statement of intent that being queer INCLUDES bi/pan/and trans communities and anyone who believes otherwise belongs in a bin. It's bad enough getting grief from straights for being queer, never mind getting shit from a community we belong to. - RED MEAT Review I'm more than just a sucker for aggressive and distorted vocals set to fast paced dark dance beats, more often than not, it's what I live for! In the same way metal heads find peace and an outlet for negative emotions through the pounding drums, riffs, and belching choruses - I find peace and vindication through visceral vocals and, stomp demanding beats. Such is my love for industrial leanings towards Hell-Ektro and Aggrotech. So when an album opens up with a boot smashing, throat punching, dark rave power trip of a track, consider me instantly satisfied. 'EAT ME BEAT ME' is just such a track. It is intense from start to finish and somewhere between a sci-fi slaughter scene and a fetish orgy. This is the Goth music Christian folks complain about and it's great! The DIRTY K RMX version of the track adds a much more 90's street violence feel to it with its almost punk like edge; Ripping a new tone throughout the song like a chainsaw purring away at the chaos it's rending. 'HARDER DEEPER DARKER DADDY' is a far more reserved track more towards the direction of an ambient 3TEETH. It feels like the soundtrack to a Terminator or SAW film as the tension ebbs and flows like an aural game of cat and mouse. Next up we have a real sense of passion for music that only one who has experience the scene a long time could possibly produce. 'THREE TENETS' is quite similar in this regards towards the more ambient and experimental setting of music. 'WRAPPED IN LEATHER' walks a beautifully fine line between industrial and more traditional Gothic music. It's like the 80's, 90's, and early 2000's got mixed up in to a single track and just rolled with it. The vocal structure makes me think of multiple influences and not just from industrial but from even more places you wouldn't expect like the tracks 'You don't impress me much' to 'I like the way you move'. It's a real 'mood setter' of a track. The Grendel remix for this track adds more vibrance and clarity to the vocals and a faster tempo that turns this into another decent dance addition to the release. Tracklist EAT ME BEAT ME HARDER DEEPER DARKER DADDY EAT ME BEAT ME (DIRTY K REMIX) WRAPPED IN LEATHER THREE TENETS WRAPPED IN LEATHER (GRENDEL REMIX) Conclusion Vulgar indeed but in the best kind of way. There is a huge amount of potential being teased with this EP. The industrial scenes is starting to lack current day dark raving artists. With this release RED MEAT unleashes something dark and undeniable, like a prelude to a storm of violence to come or the foretelling of an ancient beast rising a-new to swallow everything in its wake. HOMO VULGARIS is a self destructive, filthy romp through the underbelly of the dark Gothic world and it is most welcome indeed. Scores Technicality: 7 /10 Dance factor: 7 /10 Energy: 8 /10 Vocals/Samples: 7 /10 Re-play value: 8 /10 Overall score: 7.4 / 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

This was to be my first visit to the legendary Gothic venue Electrowerkz since Covid restrictions lifted – and this was the venues first hosting of a tour event after re-opening. Not only my first visit after Covid, but also my first since the death of Mak, the co-founder. There was a small queue outside when I arrived, and as I waited various members of the bands arrived outside too. It was an odd feeling stood outside, with my own kin, and a large picture of Mak hung outside, instead of seeing him in person. RIP Mak. Review The Frixion The event wasn’t off to the best start, the sound check hadn’t gone ahead as planned, and the staff seemed rusty and disorganised. The result was a 45 minute delay, which had one or two members of the queue becoming restless, eased by the allowing of entry into the bar area. Eventually we were allowed into the downstairs hall, and a few minutes later The Frixion arrived on stage. A two piece electro band with a special knack of writing melodic, almost pop style tunes, but from the darkest places we all experience in our lives. It’s relatable, but very personal to the band – I like the style very much indeed. Gene Serene has a splendid tuneful voice, and Lloyd Price’s ability to provide bouncy electronic soundtracks blends together to provide something quite unique and very special. Both are great to watch on stage, as well as to listen to – this was a great opener. Any promoters listening? They need to be heard more out there! Highly recommended. 9/10 Black Light Ascension Next up were a real favourite of mine, Black Light Ascension. They’ve been around a while now with their gritty style of mixing emotion, hard topics that are often uncomfortable to explore with electronics and a post punk style angular guitar. Once BLA arrived on stage I knew I was in for a treat of dark post punk grooves! Andrew Trail provides vocals and guitar, and Hunter Barr takes over the electronics, programming and keyboard. Andrew looks such a cool dude, for all of five minutes, with his hair initially tied up – once into the first blast of his characteristic guitar playing his locks are flowing and untied! Hunter is equally as enthusiastic with his keyboard – I love to see such an enthusiastic player. From my vantage point as photographer I can see how busy Hunter actually is – very accomplished indeed (a fact often overlooked, must be frustrating at times being a keyboard player!). They managed to provide a perfectly balanced mix of a set, delving into the back catalogue of their slightly stark, paranoid world. This was a fantastically good performance, at all levels. I must add BLA to my list of repeat must see bands, sometimes we all need a reminder of how good a band actually is. Splendid indeed. 9/10 Danse Society Danse Society arrived on stage – their latest line-up is female led, with only Paul Nash on guitar from the original 1980’s line-up. Maethelyia is on vocals, Billy Bostanci on bass, Jonathan Housbey on keyboards and Dylan Riley on Drums. It’s such a shame that this event hasn’t attracted a better crowd size, people in the UK are presumably still Covid cautious, bit I really did feel for Danse Society as the hall was noticeable less crowded than the previous two bands. It must be soul destroying for all involved – but the show has to go on. Danse Society have matured into a different beast from which they started – their key ingredients are all still there, but with female vocals everything is somewhat different. They played a good mix of their new and classic songs, I must admit I have a soft spot for their newer material so it was good to hear tracks from their last couple of albums. All are very fine performers and they provided a truly inspired gig – just a shame it missed out on that all important atmosphere inducing element, a decent size crowd. All the same, even with a guitar string breaking episode mid-way the band was ultimately in fine form – just what the doctor ordered a fine dose of post punk gothic cool! Love it, love it, love it! 9/10 Inertia Inertia have always been in the upper tier of live performers in my book, and I knew no matter what they wouldn’t disappoint tonight – and they didn’t. Reza Udhin is a whirlwind of energy on stage, dashing from side to side of the stage – how he and the equally energetic guitar player, didn’t crash together I must admit amazes me entirely! The current line-up of Ollie Cater (Guitars), Andrew Lowlife (Live Synths) and Blue Jigsaw (Drums) stands its ground after Alexys B left, and somewhat like Danse Society I must admit I do somewhat prefer the latter half of Inertia’s career. Having said that, please Alexys B, please come back to the fold! Anyway; the band more or less concentrate on the mid to late era tonight, so I was a happy bunny. I presume this was to coincide with the release of ‘Decade of Machines Volume 2 (2007-2017)’. They did puzzle me by including two covers in such a short set – perhaps their set was shorter than intended due to the late start? However as one was a huge personal favourite of mine, I was content – it was Peter Gabriel’s ‘Games Without Frontiers’. The first outing for ‘Scowl’, the new single, was a welcome addition – a new track that is destined for my playlists. Another sparkling moment was amply provided - I loved the moment that the guitar player leapt into the crowd, it just added another special memory in amongst the energetic frenzy! Not content with playing at the front of the crowd he mingled amongst us all – surely an impromptu decision! I loved it. 9/10 The whole set ranked highly in my estimation, Inertia are still one of the best and most aggressive bands in London – and I steal that quote from Gary Numan. Praise indeed, if ever I heard 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

Terra 3808 and the Chaos Rising saga brought us one hell of an apocalyptic setting; Man vs Machine in the ultimate grim dark meat grinder of nightmares to come. MATT expended a fury of ammunition with the heavy calibre of those tracks. Now with remixes on this compilation by some of the most incredible artists on the scene, this album is like carrying around the nuclear 'football' - only in CD form. MATT HART – industrialist, dark alternative, electronic artist – with his eagerly anticipated remix album Tales of Terra & Chaos Retold brings listeners back to familiar and sought-after tracks with remix twists. 21/06/2021 – Matt Hart’s Tales of Terra & Chaos Retold is the definitive collection of remix tracks (on physical CD) from prominent scene artists, with many of the already digitally released remixes receiving online play from DJs around the world throughout 2020-2021. This CD offers follow-up from Terra 3808 album (2019), Chaos Rising Trilogy EPs (2018 – 2017) and Judge & Punish EP (2017) and extracts selected tracks from these seminal back-catalogue offerings, along with other previous digital only releases and NEW unreleased remixes too. Part sci-fi/post-apocalyptic, part commentary on the current state of the world during a pandemic, this remix album delivers punchy, tension building fever and some thunderous beats; current fans will be enthralled with the sounds and it undoubtedly will attract new fans too. Who, can then discover a back catalogue steeped in creating a journey for the listener through the wastelands of existence. For fans of: Moaan Exis, ESA: Electronic Substance Abuse, Antibody, spankthenun, Simon Carter, Witch of the Vale, NitroNoise, Xavier Swafford (3TEETH), MXD_BLD, Metalogue. The sub-culture roots of MATT HART’s signature sound of industrial metal forged with electronic driving beats makes this remix 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 hear more from this artist. Few remix albums have been met with such worldwide vigorous DJ play and building on this momentum, Matt Hart will be releasing a full-length album of all new material by the end of the year 2021. Review MOAAN EXIS don't holdback after the very short time they allow for a build up with 'TERRORFYING'. Even amongst the slapping beats and rivet head stomps, a sense of hope and joy exudes from the track. Witch of the Vale slam the brakes and steer in a very different direction with their version, to a slow yet unstoppable pace much akin to the old school boss battle of retro games. Trust this band to make everything they touch sound magical with their twist of fantasy poured over the electronic. ESA hot on the heals with his remix of 'TRIOLOITH' makes my jaw feel like it's a kid in a cyber candy store. This is already shaping up to be the soundtrack we SHOULD HAVE HAD for Cyberpunk 2077. It's edgy yet vibrant, thumping and serotonin filled, perfect for a night time drag race. There are some wildly different takes in this album. From the rather subtle ANTIBODY remix of Outlaws to the aggressively tuned NITRONOISE remix of 'Chaos Rising'. There will be at least one track in this album that a listener will love, personally I love a good three tracks and found the rest suitably satisfying and enjoyable even if not to my particular taste. Tracklist Conclusion A remarkable compilation filled with an arsenal of talent few artists would be able to command and call upon. MATT HART has taken the strong foundation of his previous works and cemented those foundations in to a nuclear proof bunker of aural destruction. I can't wait for the next album to drop.. Scores Technicality: 7.5 /10 Dance factor: 8.5 /10 Energy: 8 /10 Vocals/Samples: 6 /10 Re-play value: 7 /10 Overall score: 7.4 / 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

Take a ride with us as we breach the chaotic storm of sound waves that makes up a very unique and fantastically interesting album, as well as asking Adam just what his music is all about. Album releases Friday 23rd of July. Noise, breaks, occasional melody, and something that sounds a bit like tinnitus. - Muta-scuM Interview Q. For those unfamiliar with your band, how would you describe your music, and where does the name Muta-scuM come from? A. Stylistically it’s probably easiest to call it industrial breakbeat. It’s a bit of a mish-mash. I’ve tried to incorporate a mix of rhythmic noise and break core with a bit of techno but it’s kind of ended up not quite being any of its component parts. Believe it or not the name actually came about way before the music. It was originally a logo design I doodled during a lecture at uni and when I wrote the first track it just kind of fit as a name. The idea is that it’s mutating scum although loads of people used to pronounce it as “mutter” as though I was insulting someone’s mum. It’s become an almost prophetic thing for the music though, the mutation of what started as absolutely crap music into something half decent (I hope). Q. The religious element is very clear throughout your music from the artistry, to the song titles, and the places you’ve taken media samples from. This is a very rare element to be found in industrial so can you tell us about the direction of Muta-scuM and what message your music portrays? A I’ve grown up in a family that have a pretty strong Christian faith going back a couple of generations so it’s probably not much of a surprise that I’ve chosen to follow that faith and just about everything I write comes from that. It’s the biggest thing that’s happened in my life and has affected every decision I’ve made since; So a lot of the stuff I write is more to do with interpreting my worldview and experiences and getting that into some kind of cohesive sound. Some of the tracks are just music for the sake of music. “Still Here, Still Breathing” for example is just how I’ve always answered the question “how are you?”. Some of the tracks have more actual meaning, like “Welcome to the Meat Grinder” is me tackling the fact that I lost 3 mates to suicide within about 3 years of each other. That one is me kind of trying to scream at the cliff-edge that there’s still hope, hence the vocal sample saying “Never give in to the pain. You are loved. You are not alone.” Q. Which songs are you most proud of on Idle Worship and do they all culminate into a specific story or are they more of an amalgamation of theme rather than a concept? A. It’s probably a tie between “A Truly Divisive Icon” which was the last track I wrote for the album and “Rebuilding Jericho” which has been sitting in the vault since about 2012. Icon’s got the most interesting rhythmic layers, I was messing about more with drum editing and wanted to keep it as atonal as I could but still wanted it to have the religious theme running through it like a stick of rock. Jericho on the other hand was more about making something that shifted and moved so it’s got some odd fills and is a bit more cinematic. The album overall is kind of an anthology of songs from the last 10 years. The track listing does seem to have kind of clumped together into a couple of sections though. The first bit (Still Here, Life_Online, & Meat Grinder) ended up being a kind of life and death themed section and then Icon and Porn Scars kind of ended up being about moral theology. That was purely accidental though. Q. Tell us about your history. Where did it all start, and what inspired you to start making music? A. I’ve always had some habits of making music. My folks signed me up to piano, guitar, and violin lessons in primary school so I’ve had a habit of playing music since I was really young. Muta-scuM almost started by accident. The brother of one of my uni mates had a really basic bit of software for writing music back in about 2006 and I’d just discovered EBM so we had a bit of a mess about session writing some sludgy electro trying to copy what I’d heard from the likes of Wumpscut. Frankly, it sucked, but not as much as the rubbish I tried writing on GarageBand after losing contact with him. Over the next few years I started messing about with found sounds and samples and eventually got some decent writing skills layering up tracks. I have to say a massive thank you to Infest here because if I hadn’t won a copy of Ableton Live 6 in their raffle back in 2006 I might have never got anywhere with my production values but many years later, here we are. Q. Which bands have you shared the stage with and which bands would you love to play alongside in future? A. Annoyingly it’s been absolutely years since I got to play live with this project. I had gigs playing alongside the likes of CE Digest, The Ladder, Wrapped In Plastic, and Cyferdyne (although they might even have still been Cyberdyne then) back in the day but I had to put everything on hiatus in 2012 because I joined a pop-punk band (Malokai - search for “Malokai epic fall” on YouTube… you won’t regret it) that took up all of my time. It was great fun, but it meant I had no time to even think about Muta-scuM although I got to do more touring and played more gigs than any other time in my life. In the future I’d love to play shows with the likes of ESA or Cacophoneuses, and Infest one day is obviously the dream gig, but for right now I’d be happy to just get out and play live again. Q. What artists are you listening to most right now? A. I’ve been listening to a ton of LITH recently, I recently discovered Bambi OFS, and been listening to a lot of the stuff that Hands have been putting out like the newest Mono No Aware and I’ve revisited older stuff like Twinkle quite a lot. It’s either been that or hammering Ska-Punk bands. There’s not really much middle ground. Q. What life lessons has being in music taught you over the years, and what would you change about the scene if you could? A. The biggest one is probably “Write what you enjoy”. If you don’t enjoy it, nobody else will bother with it, but also, you might be the only one who ever hears it. I’ve been sat on bits of Idle Worship for so long I’m almost sick of them so it’s great to finally get other people aware of it. The other thing I’ve learned is knowing the right person is a big part of the music world. Having taken all that time off from the scene to tour in a pop-punk band, I've lost lots of contacts from years back so I’m having to start from the ground up again. I think if I could change anything about the scene it’d be to make sure that as many small music venues survive the pandemic. I think that’s going to have a big impact on how easy it is for bands to get in front of new audiences and get known or even just keep going. Q. Anything you’d like to say to your fans? A. Just a huge heartfelt thank you. Some of you guys have been around since the very first gigs back in 2009 or whenever it was (Hi Dad!), and if you’re new, thanks for listening. Hopefully I’ll be able to see some of you in a venue soon. Review An almost psychedelic pulse of concentrative Theta waves ripples out across your body and mind in the introduction track of 'Inhale'. This meditative peace is juxtaposed with an odd resemblance to the introduction of 'A Clockwork Orange' and it's electronic score that lends itself to its foreboding ultraviolence. In many ways this track feels like a deep dive and reflection in to the state of your own mind, opening yourself up to fully appreciate the album you're about to listen to. The synthetics tones and pulses are chaotic yet orderly, intense yet soothing. It's only when Muta-scuM's signature style of -Break Beat- hits in the second track 'Still Here, Still breathing' that you open back up to the world around you with some very energetic and energizing dance worthy tones. It's a very catch track and got me fidgeting to the beat in my chair all the way through. It's a nice touch that it contains the sample "Chaos is what killed the dinosaurs darling." -from the 1989 movie 'Heathers'. 'Life_Online' is a bit of a barrage of self help quoting which personally puts me off but it goes well with the beat and I suppose it is inspirational in a way, especially if you're the type that likes people like Anthony Robbins. 'Welcome to the meat grinder' has a swarm of chaotic power noise that makes me reminisce of fantastic low budget sci fi 80's movies that all had great soundtracks thanks to abused modulators and synthesisers; This track captures that feel brilliantly. It's like a blockbusters burning down in some oddly serene anarchy! Check out our previous review of the track 'Lying Idol' HERE. 'Rebuilding Jericho' opens with a retro wave twist of trance, electronics, and the unexpected. This whole track feels like fighting your way through a mash up of video games. Much like in the film 'Ready player one' this track would have worked well in that film no doubt. Next up we have 'Bad Friday' - You can find our earlier review for it HERE This is where the album really starts kicking up the pace with 'As the fire burn out'. The tempo and aggression seems to have been taken in an almost ESA meets Nero's day at Disneyland blend of power noise and high toned madness which carries on in to 'Porn Scars' which is a fantastic track. This is a track I can see filling up a dancefloor easily and one of my favourites on the album. It brings a lot of industrial's and trance's successful formulae respectively and creates a beautiful, high octane, rave of a tune. 'A truly divisive icon' brings about the old school EBM feel of gritty instruments, malicious impact, and the scrapping satisfaction of early industrial. It's a fantastic track to bounce off the back of the previous showing just what directions Adam is capable of with his unique break beat style. In to 'Pain and Adrenaline' now which is the third released single before the album. It's like stumbling down a kaleidoscopic cyberpunk city tripping on some new found sci-fi drug while robots stare at you emotionless and oblivious to the mind bending chaos exploding all around you. 'Under me' is a chilled out rest, like the day after the night before in it's slow paced serenity. That is until 'Throneless' once again throws you in to a very impressive and action packed track that really gives the sense of a spiralling world of technology and hopelessness. It can only be described as art in audio motion. Finishing up the album we have 'Iron Hide' which although lacks the grandiosity and energy of previous offerings and containing a voice sample that some might raise a questioning eyebrow at, it still packs a decent punch in it's own right. Tracklist Inhale Still here, Still breathing Life_Online Welcome to the meat grinder Lying Idol Rebuilding Jericho Bad Friday As the fires burn out Porn Scars A truly divisive icon Pain and Adrenaline Under Me Throneless Iron Hide Conclusion Idle Worship is a powerful and strong debut album that keeps on giving with each listen. Extra layers of depth and intrigue flash past your senses with each new repetition. It's hard to stand out in a world where the term industrial can be broken up in to dozens of sub genres and yet Muta-scuM does indeed stand out with his self called 'Break Beat' style of industrial that feels unique and fresh. This is certainly an avenue of sound experimentation that I would love to see explored further! Scores Technicality: 7/10 Dance factor: 7/10 Energy: 7/10 Vocals/Samples: 6/10 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

MORIS BLAK joined me for an in depth chat about his music and all things industrial and electronic. Enjoy! https://morisblak.bandcamp.com/ https://www.twitch.tv/morisblakhttps:// www.facebook.com/morisblakaudio 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

At last, we are starting to see more live music! Covid has created a struggling music and hospitality (and music journalism) industry. Support is critically important right now, please consider supporting all involved wherever you can. The Fox and Newt in Leeds is a venue I was unfamiliar with. It has developed a dedicated live music venue on the top floor. It’s a relatively small room, on two levels and is excellent for intimate live shows. I was looking forward to this gig, I have never seen Rome Burns play live, although I have followed their music from the mid-1990’s. Stella Wembley organised and promoted this gig and I recently saw her play live at West Coast Gothic Blackpool mini-festival – I loved that performance and was equally excited to see her play again. As per the Covid regulations at the time this was a limited capacity seated only gig. Review Stella Wembley The crowd had settled and was ready for some live music when Stella Wembley arrived on stage. Dressed in all red – she is mesmerising to watch on stage. The gig is being video’d tonight and Stella has chosen her lighting herself – to match the mood of her music. She is not relying on the venues lighting at all. A simple lighting set up that at times had me cursing as a photographer, but with the candlelit tables in the crowd worked very well providing a characterful live atmosphere. It’s not often artists have this attention to detail – good stuff. Stella plays both keys and guitar as well as being an amazing live singer. She has a very appealing accent whilst singing – not instantly recognisable as Italian. An incredibly strong voice throughout, full of emotion and range – I could listen to her sing all night. I loved her style with the guitar, something just that little different from the norm in the scene. Some great song writing in all her songs, melody driven with great memorable hooks – the set showcased her work so very well. Even a slight technical hitch with gremlins in the system did not fluster her, for certain she is a natural performer. I’ve said it before, I’ll say it again, Stella Wembley is very special and you really must catch her play live, or get a copy of her CD’s – a rising star on the scene. 8/10 Rome Burns Rome Burns arrived shortly afterwards, it appeared a strict timetable to be adhered to. Rome Burns are a three-piece post-punk gothic guitar driven band that arrived on the scene over two decades ago. As much as I have waded through my old memory cells I can’t recall seeing them play live, although I have followed their music over the years. Lead singer Simon Satori as ever looked the part with a red tailed jacket, and was joined by David Jael and Nevla on guitars. They blast through a great set list of songs, mixing together nostalgia with their latest new album ‘All Monsters to Angels’ – I was so pleased to hear the new songs played live. I’m guessing as the album release was swamped under due to Covid it was great for the band to give the new tracks an airing at last. I’m pleased to say that the new material fits in seamlessly with the old, and it’s clear to me this is a band that are at ease with themselves and the world. Simon is full of energy and is a great natural performer, he entertains as he sings – he has an overall appealing and unique character all round. The two guitar players are very able indeed and completed the all round package of a quality band that were an outstanding way to spend an evening. Recommended. 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

Whether you're focusing on the deliciously smooth notes or the ever increasingly poetic lyrics, it seems like Bellhead just can't stop levelling up. This is one of those bands that continues to show so much incredible potential to 'blow up' one day and become a regular name upon the lips of the wider alternative culture. With this release, it feels like the lid's about to blow! (Releases July 16th 2021) Check out some of our other articles on Bellhead HERE While many artists took time off in 2020 and 2021 to just hope for the best, BELLHEAD continued working at full speed. The critically acclaimed duo of Karen and Ivan are once again releasing new music with their latest EP titled ‘Dead Lights’. In addition, the duo are currently booking dates to support the EP in 2021 and 2022. The band returned to their trusty production team of audio engineer Neil Strauch (production / technical assistance of Iron and Wine, Counting Crows, Owls, Joan of Arc, Walking Bicycles among many others) mastering engineer Carl Saff (production / technical assistance of Acid Mothers Temple, Smoking Popes, Red Fang, Guided by Voices, etc), and management team David Schock (Wtii records). The new EP titled ‘Dead Lights’ features five new songs expanding the band's signature sound. While you’ll hear the familiar gritty low bass that BELLHEAD has grown famous for on songs like “Mercy”, you can see a definite growth to the writing and recording styles of this group. The band nods to Type O Negative and Neil Young in “The River”, while the duo’s industrial roots areheard in the noir detective tale of “Nothing as it Seems”. “Frankenstein” is a frenetic journey into the madness of Mary Shelley’s gothic novel with a Alice Cooper / White Zombie flair, and “Dead Letter” resolves the ep with a slow burn erupting to a cathartic resolve Review I'm not quite sure how Bellhead surprise me with each new release as much as they do, maybe it's cause I'm an absolute sucker for soft female vocals alongside lightly emotive piano keys; Not to mention the sinister edge to round it all off in the form of Ivan's vocals amongst the aggressive beast that is the genre of rock. I am of course talking about the opening track 'Mercy'. It's not often I say this about a song but I actually LOVE this one. I'm somewhat reminded of the Mars Volta and other gritty alternative masters of the early 2000's in one mind, and computer game music tracks the likes of which blessed the Sega Megadrive and SNES in the other when listening to 'Nothing As It Seems'. There's a beautiful sense of frustration that plays especially evident when listening to this track which I will mention later in the conclusion section. 'The River' is a much slower and gut churning song than their usual offerings which hints once again at their subtle and therefore quite masterful blending of genres, be that intentional or not.. Am I in an 80's horror movie, an early 2000's emo album, or listening to an epitaph? It's honestly quite a lovely confusion. 'Frankenstein' has a fantastic twist upon a prayer everyone must have heard at some point before they lay themselves down to sleep.. That alone makes it a very enjoyable track but the sense of insanity and House of 1000 corpses style madness really bring a sickeningly awesome twist to the fun to be had from listening. Finally we have 'Dead Letter' which takes on a slight post rock format, especially as it closes out in a serene fashion. There is also that slight emo hook that I mentioned earlier, made especially clear from a change in to softer vocals for Ivan. It almost brought a tear to my eye when his vocals reminded me of an early 2000's emo(ish) band 'Trophy Scars' who I had almost forgotten about. So thank you Ivan and Karen for such a beautiful track that has ended up meaning a lot to me in the form of uncovered memories! Conclusion It's honestly very difficult to pick out any criticisms when it comes to this duo but it is frustrating that they can remind me of a half dozen bands from one track to the next that are always on the tip of my mind but I can never quite grasp and yet, this sure as hell makes for one very entertaining band to listen to. Once again Bellhead have rung out an incredibly impressive score of tracks that grow in magnitude, depth, and quality each time. Truly my favourite release from the band yet and an EP that will be going on my Spotify driving playlist for regular rotation, that's for sure! Scores Technicality: 7/10 Dance factor: 6.5/10 Energy: 7/10 Vocals: 9/10 Re-playability: 9/10 Overall score: 7.7 / 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

Let’s start by saying I have been a Gary Numan fan for over forty years. Being a Numan fan has been a right of passage for me, introducing me not only to electronic synthesiser music, but also to the various alternative lifestyles that have followed me through the years. When you peer inside my inner core, you’ll find Numan. For this reason you may find what I’m about to write deeply surprising as this review is for a Gary Numan tribute band. A very, very good one. Yes, even though it maybe viewed as sacrilege to imitate my self-confessed hero, I loved the gig I recently attended. It’s the 19th June 2021, the venue is a small local (to me) live music venue called The Forum in Darlington. I’ve been to this venue before to see the lead singer of tonight's band and his Pat Martin Gary Numan Experience solo show. I’d never been a huge tribute fan, and never took this kind of band seriously at all, but Pat’s show had swayed me a little as he had attention to detail and put on a good show. So I returned to see him now with his full band The Liquid Engineers. By full band there are two keyboard players, one of them also plays bass – alongside a guitar player and live drums. I’d seen the bass / keyboard player before, she plays for a rather good band called Berlyn Trilogy, and I had previous contact with the drummer as he is a local lad to where I live. So I thought why not, and why not attend with the camera? I’m glad I did. The gig starts, darkness. Opening notes indicate the first track is Ghost Nation. Lights start to swirl from the top of the rig. The backdrop has two lighting panels reminding me of the 1979 Touring Principle stage set. There is a pyramid in front of one of the keyboards – again evoking the 1979 concert look. There are two smoke machines either side of the set. There’s atmosphere. This is showing great promise. Two powerful smoke machines blast two spouts of smoke directly into the air, the lights catch and it looks like fire and pyrotechnics. The band arrive one by one, suitably attired in black with Intruder style red face stripes. The powerful initial drum beats of Ghost Nation rattle my ribs – that’s one good set of drums, and a very good sound system. They definitely have my attention now – this is good! Then they are off! Wow! They launch into a great mix of songs from various era’s throughout Numan’s career. They don’t limit themselves to the classics, there are surprises there too – songs long forgotten by Numan and no longer played live. Pretty risky for a tribute to move away form the nostalgic needs for classics and hits? Indeed. But this band doesn’t care about deep rooted nostalgia and pleasing a casual fan. They have one task in hand when performing to a crowd – and that’s to convince you that you are at a Numan gig. When was the last time you heard Numan pandering to nostalgia? The attention to detail is phenomenal – yes Pat has the movements down to a tee, the facial expressions and the vocal range. Yes, they have that stage set to impress, just like Numan (I couldn’t stop myself questioning how they achieved this on a much lower budget) – but the quest for perfection has also encompassed the musical style. The drummer has studied the various drummers in the Numan band over the years, you can hear this when listening to The Liquid Engineers blast through the different era’s. The keys and electronics are a sheer masterpiece, and have none of the amateur edge often heard even with some of the bigger electronic bands (Midge Ure are you listening?). Guitar and bass – sublime. This band have studied. They have great musical ability. It shows. They really are that good. Nearly twenty songs later, split into two performances with an interval and costume changes and myself and the crowd were loving this show. All I heard afterwards was “Wow” style comments – even the sound and lighting team provided by the venue were blown away. They weren’t Numan fans but they planned to check out his back catalogue – so huge was the impression The Liquid Engineers left. This long standing Numan fan says – Numan, be careful you have competition in the form of The Liquid Engineers! Check out over 100 stunning images of the night in the slideshow gallery 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

It's not very often I do a double take with music but with WARM GADGET's 'If only I could' music video, I found myself listening intensely and studying the visuals at least a half dozen times. This 'Rituals' EP has a brilliant mix of tracks that puts me in mind of a new found NIN or Ministry. Their sound is certainly one I'm glad to have discovered. We spoke to the band about their latest release and their history. WARM GADGET, the recording trio made up of multi-instrumentalist/ producer Colten Williams, bassist Austin Williams and vocalist/part time instrumentalist Tim Vester has self-released a brand new alternative metal/industrial E.P. entitled Rituals. The Rituals E.P. showcases five brand new, original songs, as well as remixes by notable electronic artists such as SNOWBEASTS and WITCH EYES. This E.P., which features the band's signature blend of industrial and alternative metal, was released in digital format exclusively to the WARM GADGET Bandcamp page. For fans of Helmet, Dillinger Escape Plan, Ministry, Nine Inch Nails, Faith No More, and Deadsy. This new release, 'Rituals' is filled with the band's brand of hard-hitting songs, electronic beats, synth melodies, un-melodic synth chaos and hook-laden, crushing guitars. It also showcases the longing, bleak, dismal yet aggressive lyrics and deliveries that the band has perfected. Colten Williams has topped everything off in the studio by producing an album that sounds crisp, heavy, and intense. The Rituals E.P. also marks the band’s return to writing & recording together after a 3-year hiatus, showing that they have violently shaken the dust and cobwebs off and have come out swinging. Interview Q. For those unfamiliar with your band, how would you describe your music, what your live shows are like, and where the name Warm Gadget came from? Colten: Musically it’s a meld of heavy industrial-ish beats, synths, heavy vocals, and sludgy guitars. Live shows are always morphing but we try our best to sound as close to the records as possible with clips of horror films we’ve scored over the years playing behind us. As far as the name goes I can’t really remember where it came from. I think I just needed a name for the project and I thought it was fitting. Tim: Our music is a hot pot of sludge that blends bits of everything we have loved (art, music, cinema..etc.) with a generous serving of exactly who we are. Q. How has your sound and style as a band changed since your 2014 album "Brides" and what changes would you say you are most proud of? Colten: During the time of Brides we were playing shows with a drummer so we thought we should record those songs the way we were playing them live. We added a lot of electronics and synths later during mixing whereas this record is more like how we started out. Just programming a hybrid of electronic drums and acoustic drum samples. Our sound has gotten a bit more electronic and synth heavy. This record is by far the closest to sounding the way we intended this band to sound in the beginning. I’m pretty happy with how close we were able to get the sound we were going for. Tim: I think there is more experimentation now- more electronic elements and I feel that we have each, individually become more skilled at our roles in this pairing. I am personally blown away at the levels Colten has reached in the realm of production. I am proud of the sound of this album, and I give him 99.8% credit for that (with minimal suggestions from myself.) Q. Can you please explain the imagery and story behind the music video for "If Only I Could" and how/if it relates to the other tracks on the Ep overall? Tim: If Only I Could is, in the visual aspect, telling a blatant tale of love, fear, loss, triumph, letting go and holding on. Finding ourselves, our people and our place in love and life. The imagery bounces back and forth between all of these, as to never allow the viewer to become comfortable, complacent, content or held hostage by any of them for too long. In a way- it is life: condensed. The things we get mired in, and the things that eventually pass in our lives. The emotions and experiences portrayed are fleeting- just as life can be fleeting. From a story-telling aspect, every one of these songs shares a common bond of all of the previously mentioned experiences- as those are the “Rituals” that we go through as humans. Every single one of us… all the way back to pre-dawn times, presumably. Colten: What Tim said! Q. Tell us about the history of the band. Where did it all start, and what inspired you to start making music? Colten: Warm Gadget started out as a studio project. I was really wanting to experiment in the realm of Industrial types of heavy music fusing it with horror film score type sounds. Tim and I knew each other from playing shows together in other bands and we had always wanted to work on something together and this seemed to be the perfect project to tackle. Once he started writing to the demos it was clear that we were going more in the direction of actual song structures instead of scoring cues. We definitely realized we had chemistry when it came to song writing. Tim: It all started in Colten’s head and blossomed outward like some kind of infectious pollen. Making music had a natural attraction, and it seemed like something I had to do. For me. A way to get things out… a therapy, of sorts. Q. Which bands have you shared the stage with and which bands would you love to play alongside in the future? Colten: Tricky, Shabazz Palaces, Fishbone were really great artists/bands to play with. These days I would love to play with HEALTH, Youth Code or Stolen Babies to name a few. I feel our sound and vibe would be a great fit with those bands these days. Tim: We have individually shared the stage with a myriad of artists… from The U.K. Subs to Powerman 5000. (Still very bummed about a weather cancellation for an opening slot with High On Fire…) In the future, I would love to play with ANY interesting, unique artists. If I could timewarp artists ala’ Bill & Ted, I would grab 90’s Ministry, 80’s - Mid 90’s Butthole Surfers, 70’s Bowie, Early 80’s DEVO and The Stooges. Q. What artists are you listening to most right now? Colten: I’ve been listening to Disco 4 by HEALTH quite a bit these days. The new Youth Code album is really great. I’ve also been listening to Greg Puciato’s album Child Soldier: Creator of God A LOT. Love that album. Tim: I’m listening to my previously mentioned timewarp/kidnap list, Alice Donut, The Plasmatics and lot of 80’s New Wave and Pop as well. Q. What life lessons has being in music taught you over the years, and what would you change about the scene if you could? Colten: There’s so many life lessons to be learned if you write/produce and play music as long as we have so I couldn’t really list them without a few pages. As far as what I would change if I could would be to eliminate the popularity contest aspect of what music has turned into because of social media. It’s just one big popularity and numbers contest which is really sad. Some of the best artists out there today aren’t even talked about or even heard because they don’t have the social media numbers. It’s ridiculous. Tim: Make the music you want to make, even if it isn’t going to pave out a golden road in front of you. Give all you can give and expect nothing in return. Enjoy creating and enjoy performing or move along to something else. Scenes are scenes. They are ever evolving. I would like to see heavier music getting more attention, but otherwise, the changing flow of a scene is fine by me. The grass is only seemingly greener until you get there, and your boots tear it apart. Q. Anything you'd like to say to your fans? Colten: Thanks for listening and supporting! We have a lot more music and accompanying videos in the works so keep looking for us. There’s a lot more stuff coming. Tim: As always, thank you for the support, thank you for sharing and thanks for getting on this ride with us. Be sure to thank the people here at ELEKTRO VOX for bringing you cool artists to check out and go tell all of your friends! Thank you both 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

Truth be told I've been known to say Biomechanimal are one of the next in line to the pantheon thrones of industrial Godhood. With this unholy alliance with the might Sentinel Complex.. Little did I realise they would be Gods of genre corrupting filth the likes of which men would sell their souls in order to be even half as talented in the ways of electronic genius. Although they are a force for good and new life which the industry and scene so desperately needs right now, they've also come to collect skulls for the skull throne, once the audio waves have torn them from the shoulders of the baying crowds. This is a duo none of us were prepared for! Biomechanimal and Sentinel Complex join forces to bring you Crown of Glass, an intense mashup of sounds and styles, leaving a trail of destroyed genres in their wake. Both acts deliver huge vocal performances and brutal production, pulling from symphonic metal, midtempo, harsh industrial, dubstep, and more. Liberation in Domination! 'Crown of Glass' refers to the ego that we see in ourselves; this fragile symbol of our own strength. The song deals with the negative side of this ego, how it can lead us to view others and ourselves in a distorted way. On Friday 25th, Biomechanimal, Mechanical Vein and Sentinel Complex will be throwing a release party on Twitch. Expect exclusive new tracks, mashups, and our usual dark electro bangers. Come join us as we celebrate the release of 'Crown of Glass'. Starts 9PM UK time. https://www.twitch.tv/biomechanimal Facebook event page Review "Holy genre bending amalgamations Batman!" Psytrance, metal, industrial, dubstep, orchestral violins, a choral piece, and retro synths all f**ked in to a cyber orgy. Just.. wow.. On first listen my jaw and that of my partner's had met somewhere between the floor and the fifth dimension. I often find myself scrunching up my face and loudly verbalising the term 'Oooof!' or 'CRUNCHY' but never before quite so hard as to this song. My only problem with this song being that by the time you reel your jaw back up and try to pay attention to the song, it's already over. This track is a militarised tactic that we all know as shock and awe. There is an epic introduction of strings and guitar riffs building up the epic drama to the likes of which DOOM slayer would be proud. That intro is thrown in to warp speed with a psytrance tunnel of flurried beats and mind churning bliss. Matt's signature growling brings that Biomechanimal joy that no one else can provide, yet he even twists his voice a little similar to that of Bring me the Horizon for a moment which is unexpected but fits perfectly. A slower pace takes over to build suspense with an ominous choral section leading to more strings and an ever rising tide of riffs. A build up to that tidal wave of destruction approaching in the distance that comes crashing down in a mid-tempo and dubstep breakdown enhanced by harsher vocals this time sung by Jamie Everett of Sentinel Complex who has clearly added so many layers of detail and extra firepower to the song. So with such a powerful and intense track it's hard to know where Bio begin and Sentinel end so to clear this up a little we had Matthew Simpson of Biomechanimal explain some of the process: So the chorus was written by me first, which kicked the whole thing off. Jamie took that and sketched out a full track with guitars and drums. I reworked the drop, and added choral parts and some further synths; I wrote my vocals then he brought in his verse, and he added some of his own synths and instrumentation, along with the post production. - Matt This is a cacophony and a half leading to a powerful but all too abrupt end. The talent of these individuals alone is incredible, as a band they are unstoppable, now smashed up with Sentinel Complex things have turned legendary. The MORIS BLAK remix is a nastier, grittier, deep dive in to chaos and the 'Immaterium' of horror. If the Chaos Marine on the artwork is any indication of theme ;) The vocals are twisted in to the likes of 80's monstrosities such as zoanoids being slaughtered in Guyver, or corpses lurching in Hellraiser or The Reanimator. It makes for a powerful effect. The break beat mixed with ever increasing speed sections creates a real assault on the senses that makes it unbelievable that you're listening to the same track essentially. It is surreal yet unstoppable. The Dawn of Ashes remix brings a much more 80's or 90's EBM feel to the table, lumbering in it's own power like a mighty titan on the move backed by an emotive and awe inspiring twist on the synthetic strings. Visions of a beautiful horizon slowly drawing in the inevitable destruction. It reminds me of old school machine films like Hardware and The Terminator. A nice touch is that the band have included an instrumental version of the track too. Conclusion This is without a doubt a perfect backing to a vampire fight scene, a gun-fu John Wick feature, a bullet storm in a Judge Dredd movie, or a ship being thrown in to the fiery death of a supernova. Either way Biomechanimal and Sentinel Complex bring across a sense of epic action that no other artists could achieve. With each release Biomechanimal continue to destroy genre barriers and push the limits of alternative music. No other band can attest to pioneering 'that next great style' with the way they experiment and adapt to a rapidly changing taste of such a fast paced and difficult modern world. Never before has music been so demanding but never before has a band been so satisfying and masterful at what they do. It is only a matter of time before Biomechanimal and the bands they collaborate with, take the rest of the world by warp storm. Scores Technicality: 10 /10 Dance factor: 9.5 /10 Energy: 10 /10 Vocals: 9 /10 Re-playability: 10 /10 Overall score: 9.7 / 10 Pre-save below; It's the best way to help bands attain more reach and success with algorithms! 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

Elektro Vox spoke to Gabe Wilkinson about the new release 'Save Me' which has some incredible remixes, including one by I Ya Toyah, a new favourite of ours! This is an EP I very much enjoyed listening to with its real playground of different styles to keep me entertained throughout. Gabe has played alongside some giants of metal rubbing shoulders with the likes of Slipknot, System of a Down, and American Head Charge. June 6, 2021 - Electro-Industrial band MICROWAVED has just unleashed their new EP, Save Me. The video for the title track featuring BOW EVER DOWN made its premiere on ReGen Magazine HERE. The EP contains 16 tracks, 14 of which will be available on streaming platforms June 12th. The Bandcamp release will contain two bonus tracks: a collaboration with LIEBCHEN on a cover of Pink Floyd's “Comfortably Numb” and an additional remix from the talented and outstanding remix artist Steven Olaf. 'Save Me' refers to the album's theme of loss. Gabe Wilkinson, the founder of MICROWAVED says: "All of my songs seem to be about loss, addiction or monsters. These songs fall into the loss of love category. This record for me is also about taking these songs and expanding my musical vocabulary. It's about stretching some mental muscles and playing with ideas I may not have been very comfortable with." Interview Q. Gabe you have mentioned before that ‘Save Me’ relates to the theme of loss in the EP, can you elaborate upon how each main track reflects loss and how it ties into the overall theme? A. That’s a tough question since I didn’t write the lyrics. I write the music from a place in my head that is filled with dark stuff. I’m an addict. I’ve been dumped by people I loved dearly. My kids don’t live with me. My brother died young. My life has been filled with drama and loss. My father didn’t want me, my mom took off on me. I’ve been alone most of my life to an extent. But when I’m writing I draw on those themes to help make the music dark. Angry. My life hasn’t been as bad as other people’s lives that I know but my experiences are mine, so they inform my art. Q. How does this EP differ from previous releases and do you feel this is the direction you will carry on with in the near future or will the sound perhaps change even further with future releases? A. This is the first release where I didn’t incorporate guitars from my friend Dave from The Derision Cult. I programmed all the guitars for a change. I was also experimenting with drums. My drums have always been pretty four on the floor dance beats. Very coldwave industrial, but I wanted to branch out into more metal sounding drums. I’ve been listening to a lot of metal lately and I feel like the double kick was really inspiring these new songs. I’ve always wanted to write a song like Fear Factory, this was probably the closest I’ve ever got to writing a fast metal song. I’ve written other metal like songs.. (“Worthless” is a great example of a slow burn metal song) ..but I’ve never really written one with double kicks like these songs. Will I keep going with this sound? We will see. I have about 15 other demos right now in various forms and none of them sound like what I’ve got going on right now. So we will see what happens. My sound I hope will ALWAYS evolve. If not I don’t think I’m doing it right anymore. Q. There is a vast array of talent in these remixes, which remixes are you most fond of and which ones do you feel took the track/s in a direction you really didn’t expect? A. Asking me to pick a favourite is like asking me to pick between my children. LOL! I will tell you though that I was most impressed with Stacey Jones’ (pilgramOmega, Monster Voodoo Machine). When he first heard the track he was like.. “Her voice is perfect for an 80’s teen drama movie.” I automatically thought of The Breakfast Club, lol, I always wanted to be Bender, but I was not (side track there). So when I handed the track over to Stacey I wasn’t expecting the cinematic grandiose of the track he sent back. That’s why it was the first remix people got when they pre-ordered the release. It just blew me away. Another stand out for me was Steven Olaf’s mix. I’ve heard Steven remix for countless other artists. Lots of artists that are far more qualified than I am for his level of talent. He has remixed for me before as well but this remix really took the track in a new direction. Almost a “pop” feel to it. I remember Steven emailing me and telling me that he changed the tempo of the song because his idea didn’t fit with the original BPM. I always love it when people get creative with my stuff. I’m also very fond of the I Ya Toyah remix and the spankthenun remix. Honestly I love them all. Each one has reasons that they stand out. I must say too that the 46 Year Old Virgin mix is from my friend Eric who hasn’t ever done a remix before. We played together in a band (the most successful band I was a part of and the band that I played with all those big bands with) and this was our first collaboration in probably 20 years. It was really cool to have him on board. Q. Tell us about the history of the band. Where did it all start, and what inspired you to start making music? A. Well Microwaved started a LONG time ago. I was in a band called Smakdab a very nu-metal band. (Soundcloud of the song featrung Corey Taylor of Slipkont HERE) We had a lot of success regionally, we played a lot of shows and did some cool stuff like record with Joey and Corey of Slipknot. At the same time I was writing music on my Roland XP-50 music workstation. I played keyboards and samples in Smakdab and while I LOVED what we were doing I was also dying to write music like 16Volt and Hate Dept. Both bands were a huge influence on me during this point in my musical career. Anyway Microwaved was born as a side project. The name was taken from the Pitchshifter song “Microwaved”. If you haven’t heard it check it out, it’s pretty amazing and still relevant today. Any way, Microwaved started as a way for me to get out the music in my head that we couldn’t use in Smakdab. After awhile Smakdab kind of fizzled out for me. There was some in-fighting in the band and I just lost my love for the project. I had a lot of fun and played a lot of shows but it was time to move on. At that time I started a couple of different projects De-Solut!on with friends of mine. We played some shows but didn’t really do much. Then I stared Experimental Mind Therapy. All the songs I had written in Microwaved were crossed over to EMT and we began there as a starting point. EMT found some fans and success and played a lot of local shows and some shows out of town and out of state. As always the band was kind of pulled in two directions and I went back to Microwaved. I’ve been doing Microwaved since then (early 00’s I think, I don’t remember anymore lol). Q. You’ve shared the stage with some big names, who were your favourites to play alongside and who would you like to play alongside in future? A. My favorite, Hate Dept. Seibold is an amazing front man on stage and an amazing human being. He pulled me on stage to sing with him on “Release It” and my world would never be the same again. I also had a lot of fun playing shows with American Head Charge. We played with those guys a lot. In fact we were opening for System of a Down with American Head Charge and they got discovered and the next thing you know our good buddies were signed to American Records and recording with Rick Rubin! The big bands weren’t very big when we played with them, they got big after that. I mean Slipknot was a local band when we started playing with them, they hadn’t even really played out of Des Moines yet (I’m based in Iowa). I also really loved playing with Anyone. Riz Story is an amazing song writer and that record he was playing when we opened for them was so fucking good. I was so jealous of that band. They were signed to RoadRunner too and I don’t think RoadRunner knew what to do with them. Kind of psychedelic rock. Now asking which shows kind of sucked to play with that’s whole other story. LOL! Q. What artists are you listening to most right now? A. Ok, so I have been on this total metal kick lately. Records I have been spinning are the new Red Fang, Genghis Tron, Zombi, EYEHATEGOD, Gojira and a lot of older stuff. My playlist is crazy, I go from B.B. King to Public Enemy to Carole King to Deicide. Oh and I just got Violator and Songs of Faith and Devotion on vinyl too. But right now it’s really been Gojira that has me jamming out. Q. What life lessons has being in music taught you over the years, and what would you change about the scene if you could?’ A. A life lesson? That’s really tough. I’m nearly 50 years old and I think I’m still getting lessons. I’ve been doing this since I was about 19 years old and I still haven’t learned my lessons! LOL. In all seriousness though, a lesson that I’ve found is honesty. Being honest to yourself as a musician, artists, human being. Are you doing what you want to do as an artist? Do you like what you are creating? Success is all relative. Be honest to the people around you. Other artists, fans, booking agents, club owners, DJs, bloggers who ever you come in contact with be honest. And remember to always do it for you and your love of what you do. Q. Anything you’d like to say to your fans? A. LOL! I have no idea. Buy my records. LOL! Well in honesty if you are reading this that means your probably a fan and I just want to say thank you for supporting me whether you’ve known about me for 20 years or you’re just discovering Microwaved. And thanks to you guys for taking the time to ask me some questions. Thank you Gabe! 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 @ElektroV

Who would have thought that a virus originating on the other side of the world would mean we’d have over a year of no live music? After the gap I was chomping at the bit to get out there with my own kin and listen to some bands! Thank you West Coast Gothic for working so hard to put together this mini-festival in Blackpool so soon after the restrictions were lifted – it certainly lifted my spirits! I arrived at the venue, Waterloo Music Bar to be greeted by a gathering of people dressed in black – how I’ve missed this! After a short introduction to everybody involved from the mastermind behind this event Stephen Farr, and a brief overview of the guidelines for this socially distanced ticket only gig, I was free to enjoy myself. The venue would be classed as a small music venue, but in pub terms its pretty large. It’s split into three areas, the largest of course being the stage area where the bands play. Tonight it is laid out with tables and benches as it is a seated gig to keep within government rules. Masks were to be warn once you are on your feet, the time sat at your bench you didn’t need to wear one. Servers bring the drinks to the table, but they were pretty slow in recognising when you wanted a drink – the idea was to light up an empty wine bottle when drinks were needed. We devised various methods to make sure the servers saw the lights! All adding to the fun of the evening. Review Stella Wembley Stella Wembley arrives on stage to kick off the evening. She looks simply stunning, and dives straight into her characterful style. I love her singing voice, a seductive accent that just seems to somehow echo of yesteryear, a period of time perhaps in the 1930’s in my imagination. She plays keyboard and guitar on stage. She is a confident performer and conveys emotion brilliantly – I was completely mesmerised. I loved her performances of ‘Images of Death’, and if you’ve not heard this single I would urge you to give it a listen. A short set, I would have happily listened to more, a predict she has a great future ahead of her in the scene. 8/10 Still Forever Still Forever were next to take to the stage – another soul performer, Amelia Griffiths. I’ve not seen Still Forever play live before – perhaps I have an over-active imagination but as the set progressed I couldn’t stop thinking of how much Amelia reminded me of Alison Moyet in the Yazoo years. All the electronics and a soulful voice no doubt helped this along. I really enjoyed watching and listening to Still Forever, it’s an artist’s back catalogue I will be delving into more. A rather spiffing performance was slightly knocked off track by a technical hitch with a loose cable. Quickly and professionally rectified, none of us were the worse for it. 8/10 Novus I’d talked to Sarahjane from Novus before the gig. She admitted to being nervous and was worried she might not remember the words to her songs. She needn’t have worried! As she arrived on stage she looked great, joined by Peter Jones on guitar and newcomer Blackstone Angie on bass. The three looked fabulous – but I can tell you, they sounded even better. I’ve not seen Novus play for many years, and have missed them, it was great to hear those tunes and Sarahjane’s great voice. They put on a near perfect, good choice of songs, and even managed to pull this off without rehearsals with the new bass player – outstanding. I say near perfect as Sarahjane was sticking to the floor with what appeared to be some kind of gooey white snow on stage! But as they powered through, she eventually gave the thumbs up to us all – she was as happy to be on stage as we were to hear her. 8/10 Before I get to the headliner, the interval provided a great giggle for us all. The ‘snow’ on stage that had caused problems for Novus was being ceremoniously hoovered by one of the Waterloo Music Bar staff. Whoever was playing the interval music had a great sense of humour, and quickly swapped tracks to play Queen’s ‘I Want to Break Free’. The crowd immediately saw the funny side, and the poor guy hoovering had one choice – to play along doing the Freddie hoovering moves! Auger The rather splendid Auger took to the stage in their legendary energetic style. These two know how to put a show on! They both have immense talent and energy, and are currently one of my favourite bands to emerge from the UK scene. Kyle literally bounces around the stage, with that booming deep voice just effortlessly filling our ears whilst Kieran somehow still manages to steal your attention playing in a style that just seems to ooze excitement. The longest set of the night, they play to the crowd and can work an audience as well as any other performer. Scorching through all the favourite songs, the crowd lapped it up and the evening was now a party. Song after song I’d hear myself say to myself – I’m so pleased they played that one. Now how often do you see a gig when that happens? There’s always the one I’m tired of hearing or otherwise think it would have been missed off the set. Not for Auger tonight, simply a stunning offering of songs – even managing to sneak in a new single ‘Dark Clouds’ before it was officially released. If you never seen Auger play live it needs to be said that you are missing out, a hugely talented band that you need to hear. 8.5/10 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

Few singles hit the satisfaction levels where usually just one track and a singular remix is hardly a worthy appetiser. Yet with a substantial original track and three of the heartiest remixes I've ever heard, 'I DETACH' lays on one amazing buffet of delicious musical genius! The new single ‘I Detach’ sees J Blacker again pummelling the listener with his unmistakeable wall of dark electronic sound. With a writing thick, snarling bass line that comes strange from mid-tempo techno hell, flattening kicks and glorious synth hooks. ‘I Detach’ is yet another reason why ESA is regarded as a must in DJ sets around the world. Alongside the Single release comes remixes from Moris Blak, Mechanical Vein and surprisingly, the enigmatic Mr.Kitty. Further proving that Blacker will never be prepared to do what is expected and is always ready to turn things on their head. Accompanying the Single release is yet another game-changing official music video, which is yet more evidence of Blackers story-telling and directing ability. I DETACH official music video Interview Photo and editing by Olivia Grenadine Chloé Q: There is a lot of visualisation to unpack in this video and the release mentioned that this was a very important subject to you in what happens to women. So can you please explain the premise of what the video portrays and the importance of the butterfly? A: Absolutely. So the main premise of the video is to tell the surface story of the detached / sociopath Antagonist (Caretaker). It was to build a story around him, his childhood, the reasons for his detachment / reason for his relation to mannequins and finally delve into his extra curricular activities of transforming humans into mannequins. As with the other videos I've produced, I try to use the surface stories to communicate sub plots that are basically commentaries on some of the uncomfortable things that I see and feel in the world we live in. In this case I wanted to nod towards the breaking down and building up of the people we are supposed to love. Holding people to ideal standards and forcing them into a new version through control. I used parts of the Greek tale of Pygmalion to help me build a character around that. This can often go hand in hand with physical and mental abuse, which whilst happens to both sexes, the majority of the time (especially over history) this has been a man to woman dynamic. I wanted to point to that in the most sensitive way I could through the process of the mannequin transformation and also the Antagonists need to control the full transformed mannequins like puppets. Olivia Grenadine Chloe (Protagonist Mannequin), really helped me to get to the core of that message from a woman’s POV when this was the role dynamic we were exploring. There is only so much I can communicate abut this particular subject from my own perspective and she really kept me on point with how to deliver that as elegantly as possible, without sacrificing the impact and brutality of the video. The relevance of the butterfly is that of transformation. The butterfly transforms from cocoon into its more ‘elegant’ state. The Antagonist is obsessed with butterflies and relates that transformation to the human to mannequin process. Hence why the scenes are intertwined before the main climax of the video. Q: With the video and the title of the track it seems that the antagonist is detached from reality. What made you chose this as the main way to characterise the video in both his ‘current’ age and his youth? A: I wanted to create a story around detachment. I also wanted to use the mannequins in someway that I had been shown by my brother in December 2020, so the job was to merge those two contents together to create the narrative. I wanted to show the Antagonist in his youth to explain where the infatuation with mannequins and butterflies originated from, that being that he had been neglected and hidden by his parents with only the mannequins as company…and one book, the life of butterflies. The combination of detachment from human love along with the two things that carried him through his childhood created a template for his perspective on connection. Its ambitious for a 5 minute video and it was hard to pack it all in but I got out the bare minimum that I could to explain this, whilst still creating a visually exciting video. Q: Tell us about the second male character (The warehouse owner) near the end of the video and how he plays in to the story as a whole, and also the dancing mannequins near the end. A: On the surface, the Warehouse Owner came into the story to stop the charade that the Antagonist was creating. He employed the caretaker to make humans into mannequins so he can sell them on to commercial companies. He saw that farce and ended it so he could deliver his consignment on, which is what preludes to the final climax of the story (which I won’t spoil for anyone who hasn’t seen it). I also really wanted the main Antagonist (who had been in complete control up until that point), to be made completely redundant in the story. I wanted him to shrink from the person in ‘power’ to that of a coward and for the narrative to basically move on without him. Again, it was hard to pack into a 5 minute video but I hope we got the message across. Q: The overall sound ties in well with your other recent releases and feels like a continuation of the current ESA style but with quite an eerie twist, as well as the quite unexpected 1920’s style cut away. So which came first, the story behind the song or the music beats that then evolved in to a story and how would you say this track differs from what fans have heard on ‘Burial 10’ and ‘Eat their young’? (For those who have not heard this single yet) A: The idea for the video came first and I used that to inspire the track. I’m a big fan of ‘The Shining’ (in particular the scenes where Jack Nicholson finds himself in a 1920’s version of the hotel). So I knew I wanted a black tie, ballroom dance style event in the video. I had to make sure that part of the track tied into that cohesively. It turned out great for the track and really delivers an interesting nuance that I’m quite proud of. For me, visuals inspire audio and vice versa and always has done. They are both intertwined arts and its my job to perform both of them homogeneously and as well as I possibly can. I’d say that the feel of the track sits alongside nicely with ‘The Scorn’ from the Eat their Young / The Scorn EP and ‘You are Not Safe Here’ from Burial 10. It’s ESA at its most accessible whilst still retaining the grittiness and power that ESA is known for. Q: Each of the remixes on this release are vastly different to the original track, especially the Mr.Kitty version. How do you feel about each artists interpretation and what do they add to the overall context of the single? A: I chose all the artists because I love what they do. They all did exactly what I was hoping and I'm really happy they did, rather than following the structure or rules of the original. I will always try to push ESA into new areas and will never go for the predictable remix from the predictable artist through intention. I always want to collaborate and explore different perspectives both with my remixes and collaborations. Q: What do you hope people take away from the lyrics and the music video? A: Firstly I hope they take away the feeling that they have been cinematically entertained. I hope that the mix of the music and the visuals leave them feeling energised and excited. This will always be my first priority. ESA is all about energy and power, but delivered in a high quality and interesting way. Secondly, I hope that they think about the different nuances of the video and the story behind it and what they could mean to them personally and from their perspective. The sub-plot is there to remind us of how imperfect we are and how control is a real living thing that has existed as long as we have been around. It’s a reminder that abuse is alive and is going on behind closed (warehouse) doors. The last seconds of the video is there to show us that we do have a voice and we can break that wall. Photo and editing by Olivia Grenadine Chloé Q: You’ve become quite the artistic video director, is ESA transforming in to much more of a story telling media project in both sound and visuals in order to project the creativity and passion you have for your art? A: Thats an interesting question. ESA has always had strong imagery but over the last 5 years, I have developed the confidence to communicate my imagery from a more personal and cinematic perspective. there will always be limitations on what I can achieve as an underground artist but I am pushing that boundary as far as I possibly can. I feel very comfortable telling stories and directing now, but at the epicentre, ESA is an audio experience and that will exist with or without film-making. I just hope to explore the film-making side of my art for as long as I can. The moment I run out of ideas, is the moment I stop. But that works for both of these arts. Q: Have you had any difficulties in putting this release together? A: Yes, in many ways. The hardest part of the video to pull together is quite a dull answer and that was rounding up the right MUA’s to pull of the level of SFX that I needed. I probably chose the most difficult prosthetic effect that I could to make the story travel and nearly gave up a number of times. The MUA’s that were involved in this, came in and saved me at almost the last step and I will always be hugely grateful for that. Those MUA’s were Andreea Calin, Michelle Hardwick and Marlena Stencil (under the supervision of Nikoletta Tzani) and if anyone wants their details, i’d be happy to pass on. Olivia Grenadine Chloe, Keri Bailey and Myles Fearnley also managed to keep me from losing my mind in the process of making this work. It's safe to say, without this investment and support from all of the crew, this probably wouldn't have come to fruition. Other than that, just the usual logistical problems in creating a shoot that delivered. I also spent a lot of time working on the script so that it felt like a well put together product that said everything I needed to say in 5 minutes. Q: Finally, how do you personally see bands and venues adapting to our current world and in the future. What do you feel is the next logical evolution for the music scene? A: The honest answer is I don’t know. Obviously we are all hoping that the world will return to the state it was pre-2020 (in relative social matters). But no-one knows when that will fully happen. Personally I am not engaged in the live streaming platform. I only understand live and seeing the whites of the eyes and the tribal togetherness of a live show. So for me, that is why I have resorted to the next labour of love in communicating to people, that is though visual art and that's why there has been 3 music videos released in 10 months. How everyone else charters these waters is up to them and how they feel most engaged and most comfortable. Review ESA's use of electronic drums seems to always hit that deep and primal core of my being, like some sort of ancient astronaut theory soundtrack. When I listen to ESA I feel like an ignorant peasant entranced by the technological power and machinations of a far greater entity manipulating me in to chanting, dancing, and worshipping the sounds blasted at me. 'I DETACH' is no exception, the concepts and use of vintage music brings a horrific hell-scape in the mental mind of the characters much akin to the horrors of 'Bioshock'. It's also great to hear Jamie continue with his recent style of sound and vocals which really bring a mature yet vibrant mix full of fist clenching energy. The Mechanical Vein remix sounds like Pendulum made a baby with Frank Klepacki (Responsible for all the killer guitar tracks for the original Command and Conquer games) and hits you with a jaw dropping intensity. It brings not only nostalgia but a fierce joy that wants to break out. This is quite possibly the finest piece of remix work Mechanical Vein has produced thus far! MORIS BLAK has moistened this track with the filthiest bass and mid-tempo electronics, wringing it out for all that it's worth and leaving the listener so gods damn thirsty for more. There are few bands who can make me gurn simply from a bass drop when it kicks in but MORIS BLAK has done it, I'm sober gurning away at the sheer, brutal, stunning FILTH of this. Mr.Kitty has really cut out the precious diamond that is Jamie's lyrical genius and beauty hidden amongst all of the usual chaos and aggression, revealing an industrial pop piece of master artistry I'd have never expected when consuming ESA. It's a trance like direction of feel good, sunshine vibes and I absolutely love it! Tracklist I Detach I Detach (Mechanical Vein Remix) I Detach (MORIS BLAK Remix) I Detach (Mr.Kitty Remix) Conclusion For a single release this is quite possibly the most important release of the year. The original 'I DETACH' track is a worthy successor to ESA's current and epic saga; However the addition of three incredible and MOST importantly widely varied remixes are the main jewel in this crown. Within this one single you have everything that makes Industrial great. Starting with ESA's powernoise, to Mechanical Vein's EDM and almost metal smash up, to MORIS BLAK's cyberpunk mid-tempo aural GOLD, and finally some trance like industrial pop. In essence this is the perfect string of tracks to play to someone who wants to know what industrial music is. I mean, there are so many subgenres and this perfectly encapsulates some of the main ones. This release has it all. I'm going to stop now before my tongue ends up any further into these artists and their work! haha Scores: Technicality: 9.5/10 Dance factor: 9/10 Energy: 9/10 Vocals: 10/10 Re-play value: 10/10 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

Gary Numan has been one of the strongest pillars of alternative culture throughout the years and with the monumental 'Savage' album released in 2018 he certainly became an even stronger presence in the Gothic scene. With this release, 'Intruder' feels like a sequel to 'Savage' continuing on with similar themes and ominous songs of the end of man. This is one of the finest albums of his career and of 2021 so far. This has been an incredible joy to review and I'm certain every Numan fan will fall in love with this latest release easily. Gary Numan is set to release his brand new album ‘Intruder’ on May 21st. The album is now available to pre-order here. ‘Intruder’ is Numan’s 18th solo studio album and follows 2017’s ‘Savage: Songs From A Broken World’, which became his highest charting set in almost forty years when it debuted at #2 on the Official Albums Chart. That commercial success was complemented with wide-reaching critical acclaim from Mojo, The Quietus, PopMatters and more. Whereas ‘Savage’ depicted earth as a barren wasteland in which humanity and culture had been largely crushed by the effects of global warming, ‘Intruder’ presents a fresh but complementary narrative. It’s a philosophical examination of a potential future apocalypse: the planet can only survive by purging its inhabitants. Numan explains: “‘Intruder’ looks at climate change from the planet’s point of view. If Earth could speak, and feel things the way we do, what would it say? How would it feel? The songs, for the most part, attempt to be that voice, or at least try to express what I believe the earth must feel at the moment. The planet sees us as its children now grown into callous selfishness, with a total disregard for it’s well being. It feels betrayed, hurt and ravaged. Disillusioned and heartbroken it is now fighting back. Essentially, it considers human kind to be a virus attacking the planet. Climate change is the undeniable sign of the Earth saying enough is enough, and finally doing what it needs to do to get rid of us, and explaining why it feels it has to do it.” The title track and lead single provides a tantalising taster of what to expect. As austere synths loom like shadows and industrial beats are detonated, Numan’s beguiling hook towers like a beacon in the darkness. It’s visionary, fierce and fascinating: three traits that have become hallmarks of the musician’s influential career. The song, he says, finds “the Earth angry and hostile, and more than willing to fight back.” Partially written and recorded during lockdown, it’s no surprise that current circumstances have been assimilated into its themes. It’s especially evident in ‘The Gift’, which evolves from a sparse introduction into a resonant Middle-Eastern sonic motif. It imagines Covid-19 as the first weapon that the planet deploys in order to eradicate mankind and once again flourish. While anger and vengeance rage in its opening chapters, ‘Intruder’ charts a wider spectrum of emotions. ‘Is This World Not Enough’ and ‘A Black Sun’ exude regret and then despair that this fate could’ve been avoided. The finale presents a black-hearted double-bill to bring the curtain down on the tale. First ‘Now And Forever’ offers a hope of eternity in the end days during its theatrical intensity, before the sparse, sorrowful ‘The End Of Dragons’ ends on the chilling reminder that what’s broken can’t always be fixed. Select formats feature two bonus tracks: questions of faith in ‘When You Fall’ and a plaintive, stripped back version of ‘The End of Dragons’. ‘Intruder’ was recorded between sessions at Numan’s home studio in Los Angeles and at producer Ade Fenton’s studio in Bath. It represents their fifth studio album together after ‘Jagged’ (2006), ‘Dead Sun Rising’ (2011), ‘Splinter (Songs From A Broken Mind)’ (2013) and ‘Savage (Songs From A Broken World)’ (2017). ‘Intruder’ will be released on CD, deluxe CD, black heavyweight double-vinyl, picture disc double-vinyl and digital formats. There will also be three exclusive coloured double-vinyl formats: in red (at select indie stores), silver (from Amazon) and gold (from Gary Numan’s official store). The official store will also exclusively stock the cassette. Since coming to prominence with era-defining hits such as ‘Cars’ and ‘Are ‘Friends’ Electric?’ (with Tubeway Army), Gary Numan has remained consistently creative and released a huge catalogue of work. His impact on electronic and alternative music has been hailed by pioneers such as Prince, David Bowie and Nine Inch Nails and remains impactful today, with Kanye West and Lady Gaga both crediting him as an influence. He was rewarded with the prestigious Inspiration Award at the Ivor Novellos in 2017 and shared his remarkable story with 2020’s candid autobiography ‘(R)evolution’. Review A slight change from usual, let's first look at the four singles already released rather than in track list order so that you get a better feel for the concept of the album. First up we have the title track 'Intruder' and as you may have already read above. The Intruder is very much mankind itself making the Earth sick like a virus which is a concept we have become all too familiar with in regards to our rapidly deteriorating planet brought about by mankind's climate abuse and not just the obvious pandemic. Intruder music video 'Exploring the idea of the modern world warning against and fighting back against humanity’s catastrophic behaviour, it proved that fans remain hugely fascinated by Numan’s still modernistic sound some four decades into his career.' 'Intruder' has so much depth to it. From the inquisitive and taunting lyrics, to the genuine questioning of faith and life itself. The quintessential sound of Gary's voice and yet another superbly catchy synth accompanied chorus delivers the feeling of not only premonition that this man is worth listening to, but that his entire career in sound has led up to this point. The weight of all this man's success and history in the industry rallies behind him as this track hits you will full force in a desperate attempt to muster what hope might be left in anyone that hears it. This is how you use a platform of fame and success to influence people in to changing the world. There is so much power in this track without it being forced or overbearing. The introduction and musical samples of 'Intruder' are mechanical, industrial, and unmistakably cyber punk in nature which is then completely turned upside down with the chorus - bringing in those retro 80's synths and long drawn out notes that create both nostalgia for the past and fear for what is being lost now. It's almost like this has been written with the psychology of music as its main focus. Simple in form yet brilliant in complexity. I Am Screaming Audio video At first, soft like a lullaby that transitions to a nightmare, this song drifts in and out of lucidity as you listen. Yet another nostalgia sparking song that makes you wonder how on Earth does Gary keep making such incredible songs in his signature way and yet sound so fresh each and every time? There are touches of pop, Gothic, mid tempo, and even Nu-Metal that makes for a strangely motivational and energy packed track that would fit in to any scenario, be it an emotional film scene, an action sequence, or even in a variety of different themed nightclub dancefloors. While ‘Intruder’ introduced the concept of a world withering in the face of its steady destruction by mankind, ‘I Am Screaming’ feels more like a desperate plea. It represents the planet rallying against its oppressors one final time, culminating with the haunting final warning: “You’re welcome to die with me.” Musically there’s a striking contrast between the beautiful simplicity of the song’s introduction and the cacophonous, post-industrial aggression that emerges. It also highlights a contribution from Görkem Şen, the inventor of the yaybahar (an acoustic stringed synthesiser), which adds a portentous texture to the dynamic production. The drums are the most impressive part of this for me. Not only do they provoke a sense of tribalism but also of impending doom. Like that of a prisoner brought before a firing squad, the drums march out a sinister warning. Drums are some of the most primal aspect of mans culture and to have them so defined in this track by an electronic and mechanical edge is a perfect metaphor for the very concept behind it. Mother nature stands ready to execute us if we don't heed the final warning. Saints and Liars Official Video Here's where the dark synths and far more Goth electronic keys and soundscapes come in to play. It feels like an epic ballad sweeping over all of Mankind's history with a sense of anger and disappointment. It is vibrant and truly this mans voice just gets better and better with age. It evokes such strong, deep connections as if he is speaking directly to your soul in this poignant manner. ‘Saints And Liars’ extends the album’s concept of the planet protesting and fighting back against mankind’s reckless occupation. Arriving towards the end of the narrative, the song exposes humanity’s hypocrisy as events reach the point of no return. If God and righteousness are so valued, how has this damage been allowed to happen? Sonically, ‘Saints And Liars’ is infused with Numan’s ability to contrast the bleak with the beautiful. Industrial beats march with a mechanical intensity as destructed synths shimmer and then roar to the surface. Yet the counterpoint comes in the shape of a classically towering Numan hook along with bright, heavenly synths and eerie, textured backing vocals from the experimental electronica musician Gazelle Twin. “Saints And Liars is the earth drawing attention to our blind faith in religion, in a fictitious God, who in reality does nothing for us, while at the same time abusing and destroying the planet, which does everything for us” - Numan. 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. Thank you! Now And Forever Audio Video Melodic, Romantic, yet ultimately tragic. 'Now And Forever' has a similar energy to David Bowie's farewell track 'Lazarus'. This song however is much more of a reaching out to fans, letting them know that he is there for them as they have been there for him. Where faith in religion has failed, this is an anthem for hope and faith in one another and seemingly, that hope will always exist. At the very least this is my take whilst listening. As a popular show has made made famous recently, the line 'What is grief, if not love persevering?' Comes to mind. The melody is slow, peaceful and delicate, yet unstoppable and ominous. 'Black Sun' is an apparent deep reflection upon Gary's life. Drone electronics compete with well orchestrated piano and strings creating a touching piece of audio art. Continuing with the touching effect of music, 'And It Breaks Me Again' is a beautifully tragic piece that pulls on some deep heart strings that I didn't quite know I had. Singing of the precious moments and shortness of life itself, it makes you realise how beautiful the world is and further adds to the truly horrifying realisation of how we are destroying that every single day with our way of life. We have a sense of action and conflict in 'The Chosen'. There's so much dance energy pent up in this track that never quite spills out fully but it makes for one hell of an enjoyable track from start to finish. It is chaos and electronic dance blended in to a spine tingling offering with the lyrical context adding further depth and emotion to the intensity. This is the sort of track every action film needs. You can't get much more cyberpunk than this and it is by far my favourite track on the album. The remaining four track on this album are also fantastic pieces of work but I don't wish to make this review too long. After all, you really need to hear this album yourself! What I will say is that 'The End Of Dragons' is an exceptional piece, made even more poignant in the alternative bonus version. It has the feel and emotion to it of the classic film 'The Crow' and I wonder now if any of this album was slightly inspired by that soundtrack. It is definitely worth getting the special edition just for this one song version alone. 'Is This World Not Enough' also has one amazingly powerful outro with some incredible guitar work! Tracklist Betrayed The Gift I Am Screaming Intruder Is This World Not Enough A Black Sun The Chosen And It Breaks Me Again Saints And Liars Now And Forever The End of Dragons When You Fall (Bonus track on deluxe CD, vinyl and digital formats) The End of Dragons (alt piano) (Bonus track on vinyl and digital formats) Conclusion Gary Numan has always been far ahead of any other artist. Whilst the rest of the world catches up with the cyberpunk trend, Gary was already doing that in his last album and this now feels like post-cyberpunk. It is fresh, it is angry, it is the disappointment outspoken for all of us at the way the world has turned out. This album speaks incredible volumes not just for the concept it portrays but in immense recognition of his career. This album feels like a huge thank you from Gary and with that thanks he has presented a gift that fans of any Numan era will easily find a place for in their hearts. This man is always at the cutting edge and we are so, so lucky to have such a talented artists pushing these kinds of messages and incredible songs that don't fit the archaic and bland mould of music that current pop culture continues to push. Complex and artistic, Poignant and reflective; This album is a soulful cry out in to the void. There is hope and there is despair in equal measure in an album that blends nostalgia and fresh boundaries showcasing Gary Numan's incredible career of talent that shows no signs of stopping. Scores: Technicality: 9/10 Dance factor: 8.5/10 Energy: 9/10 Vocals: 10/10 Re-play value: 10/10 Overall score: 9.3 / 10 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 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!

Dav Dralleon returns with his fourth full length dark synth onslaught of an album. Dav's tracks are some of the most intense and heavy maelstroms of retro, synth, and -dark as all hell- beats that you may ever stomp to. This is one of those albums you put on when one of your 'normal' music friends says to you.. "Oh I'll listen to anything" and because it absolutely slams and you want them to enjoy it, you put FALL OV MEN on; Only to turn around a shortly after and observe that the music has unfortunately 'Kicked their teeth in'... They weren't expecting to be slapped that hard by the firestorm that is Dav Dralleon, and who can blame them? † 💀 F A L L O V M E N 💀 † Man corrupted by his infernal doctrine causes the massive extinction of life on earth, bringing irreversible consequences to the world. War, barbarism, savagery becomes the daily life of peoples, only myths and beliefs once again become fundamental in the hearts of men, costing them a heavy sacrifice. The malediction is devouring the Earth and this is the last revelation of mankind: "And I saw the angels of death falling down from heaven in a celestial fire, crashing to Earth like meteorites, slaughtering everything in their path, saying: This is the end of God's creation. We are the Alpha and the Omega, no human on Earth is worthy to exist. All thrones will be destroyed, all kings will be slaughtered, man will suffer for centuries, his carcass will rot in oceans of blood and his soul will fall into the depths of the Hades" Review The first two tracks open on a flurry of rhythm and powerful melodies that can drop your jaw just as hard as it drops the beat. The sinister overtones and fast passed chaos makes for some incredible modernisation of the darker side of synthwave; Followed closely by the action packed horror movie action theme that is 'VAMPYR GOLGOTHA'. This album couldn't have had a stronger trinity to introduce the album. If that track didn't have you thinking something along the likes of Cyberpunk Castlevania or Dracula 2077 then 'HYDRABOMINATION' certainly will. A truly skull-crushing track of fast tempo action, and archaic piano melodies. Almost like piloting a fighter through a Warhammer 40k space battle. There is a tsunami of guitar and drums spewing forth from 'VULKANDEATH' and a parade of pure Chaos pilling from 'METATRON' This whole album feels like war of the worst kind. A futuristic hell scape of high tech weaponry, blood cheaper than munitions, and demons everywhere. I envision the battlefield of man vs hell before Doom slayer arrives. Each track playing out a separate struggle on a vast theatre of war. 'DARK SHEPARD' brings the unrelenting mid tempo stomp and 'FALL OV MEN' is a real treat to end the album upon. The Gothic overtones and powerful depth of the track plays out with morbid fascination. The 3.49 sample of "Forgive me Father for I AM SIN" descends on one hell of a drop that leaves your spine chilled to the core with the ever present guitar and piano playing out their final swan song.. Tracklist Conclusion Gothic science fiction amongst an unholy war. What an incredible beast of an album. Never before has the fall of civilisation sounded so epic. Dav has continued to put out amazing album after amazing album and this really is something special. The dark synths, mid tempos, and corrupted synthwave mix of styles is Gothic artistry at its finest. Scores: Technicality: 9/10 Dance factor: 8/10 Energy: 9/10 Vocals / Samples: N.A Most instrumentals 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

Music is of course one of my greatest passions as it speak to my soul and in an ever more concrete and digitalised world, it is harder to connect with that 'soul'. The Roots Of Saraswati album art's depiction of cyber connections flowing in to natural roots is a concept I think most of us can connect with. For those of us who find solace in the living history of Heilung and Wardruna, we also find just as much solace in the electronic rhythms of industrial music and the sense of tribal and clan like community we feel when listening to these juxtapositions of expressive sound in our alternative community. So it was that iVardensphere brought tribal drumming to industrial; Now Scott Fox who is the central part of iVardensphere has added his talent to This Morn' Omina. The ritualistic and tribal story telling has added so many layers of depth and proceeded to further blur the lines between the electronic science fiction of music we find ourselves surrounded by and the music of nature and soul that our ancestors have played out for millennia. Just like those roots or branches of a tree, my tastes in music are just as varied and far reaching. With this album I can say for certain.. My soul is drinking deep from this entrancing journey. With "The Roots of Saraswati", This Morn' Omina add a new, dark facet to their already impressive catalogue. The latest album by the Belgian tribal industrial pioneers can be seen both as a continuation of their previous work as well as a welcome expansion of their stylistic palette. The broadening of their musical horizon is partly due to Karolus Leroq having been replaced by iVardensphere drummer and electro-musician Scott Fox. The Canadian from Edmonton arrived with new sound elements in his bag when he joined This Morn' Omina. This line-up change resulted in the current tracks offering an increased compositional depth and a darker atmosphere compared to the previous album "Kundalini Rising" (2017). The organic structures of the current songs put more emphasis on the tribal heart of the Belgians, while their psychedelic trance influences shining through on their previous albums have been audibly trimmed back. The extremely well-honed production of "The Roots of Saraswati" seamlessly blends driving atmospheric electronics with organic percussion, which will also prick up listeners' ears. Lyrically, This Morn' Omina remain true to their fascination for the spiritual traditions of the Indian subcontinent on "The Roots of Saraswati". In Hinduism, the name "Saraswati" ("The Flowing One") represents the goddess of wisdom, art, and learning, yet also denotes a mysterious river from which knowledge, inspiration and divine grace spring. In Hindu teachings, "Saraswati" is also used as a term for scholars and seekers of truth. All the aspects of this word contain an element of flowing and profound transcendence as a common theme, which also defines the content of the new album, musically, lyrically, and in the artwork as well. "The Roots of Saraswati" irresistibly call to the dancefloor via hypnotic club hits such as 'The Mongoose King' and 'The Nothing Space'. Yet after several spins, the raw percussive power and cinematic scope of mid-tempo tracks like 'Vadavighni ("The All Consuming Fire")' and 'Nepenthe' starts to grow into focus. The coup de grace is delivered by the soothing chords of 'Song of Elo'im' that could have had a starring role on a John Carpenter soundtrack – seasoned with a tasty industrial dash. The impressive evolution of This Morn' Omina finds a perfect outlet with the hypnotic and varied tribal industrial masterpiece "The Roots of Saraswati". Review We start with a calm and collected opening with the first track 'Nadisti Sukta'. An introduction fit for a royal procession making it's way across a vibrant and packed out cityscape. There is meditative peace with the lighter hand drums, yet depth and thunderous magnitude with the larger percussion and horns proudly announcing This Morn' Omina's arrival. 'The Mongoose King' provides a spine chilling endorphin rush. As the music rises and falls, punctuated by industrial loops, soul touching bass, and well placed voice samples, you find yourself carried away on a vivid experience. At the 3.54 mark the electronic kick in and melodic vocals perfectly personify the album cover with the mixing of the natural and the cybernetic. There is a dark, malicious overtone to the whole track that intensifies towards its climax making for a truly magical track worthy of mystical sagas. There is a lot of trance and mindful reflection to be had when listening to 'Naous'. It feels like an invitation to not only reflect on one's self but on mankind as a whole, as well as what defines good from evil. The electronic melody constantly complimented by the hand drums is a brilliant piece of art in itself. 'Vadavigni (The All Consuming Fire)' Sounds like the soundtrack to a tense horror game of slow build up and infinite creep factor around every corner or revelation. There are epic undertones of imaginative storytelling intermixed with interpretive scales, loops, and eastern tones that causes the mind to run wild with creation if you let it. I honestly wish I was intoxicated listening to this to get a deeper effect and understanding. The final act of this track is intense and powerful. We are again treated with a dark and eerie opening to 'People of the Serpent' that then becomes a colossal stomp track. Like a God rising from the depth called upon by its people, the voices in the track call out to the Serpent as the horns herald its arrival. This is some Indiana Jones mixed with Blade Runner kind of surrealness. '1000 Cuts (Lingh Chi)' brings a much more electronic beat and tribal dance feel to up the tempo and BPM. It's a track to lose yourself to on a dance floor. The kind of track that would play out in a John Wick fight scene. This is true human passion and energy; It is vibrant and it is beautiful. 'The Nothing Space' follows this similar path of vibrant dance and tribal expression laced with electronic body motion. I never though I would be wanting to rave to a Digeridoo (I hope that's the correct instrument used) anywhere near as hard as I do when I listen to 'Blood Oath'. I've never heard this instrument sounding so incredible and in sync with 'Industrial'. Everything about this track is fire and bliss. It has industrial electronics, pounding bass, an impressive drum line, unexpected samples to mix it up, and drops to die for. This almost sounds like an 'Infected Mushroom' tracks with its psytrance-esque constructs. SERIOUSLY, go check out the mixed up digeridoo at 5.02! Just.. WOW. I need a rave. NOW!! 'Nepenthe' once again forces us to look inside of ourselves and those around us with its emotion provoking voice sample and haunting introduction. However with the electronics build up around 3.40 the track takes on a whole other form entirely. This feels like the music that a Pantheon of Gods would dance to, especially if they are inclined towards some ultraviolence or debauchery which pulls away slightly from the more 'Enlightening' aspects of the album. There is power in abundance within the music, like a dangerous spell being weaved with utmost conviction and passion. 'Song of Eloi’im' is a long outro to the album, cleansing the mind ready to listen all over again or go about your day feeling empowered. I would suggest jumping straight in to their previous album though to keep the serotonin flowing. Tracklist Nadisti Sukta The Mongoose King Naous Vadavigni (The All Consuming Fire) People of the Serpent 1000 Cuts (Lingh Chi) The Nothing Space Blood Oath Nepenthe Song of Eloi’im Conclusion Cinematic in scope, colossal in scale, monumental in impact. This Morn' Omina have touched something beyond human comprehension with this album. A blending of electronic and the natural soul of all man's history finely interweaved. Not since Heilung have I felt a spiritual connection to music this strongly and in so doing it pulls my soul in yet another musically yearnful direction for more! I am beyond impressed and lost for words at the magnitude of what I have just witnessed and the mental journey I have experienced. Scores: Technicality: 10/10 Dance factor: 9/10 Energy: 9.5/10 Vocals / Samples: 8/10 Re-play value: 10/10 Overall score: 9.3 / 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

Beinaheleidenschaftsgegenstand (German roughly translated as 'The things that you think is going to be the thing, but not quite') aka Bein-E for short return with a remix album featuring some VERY impressive artists. For an experimental ambient band to have pulled so many big names in proves just how influential the members of the band are in the alternative scene. They seem to have even tempted Ruinizer out of 'retirement' for a remix! Review Most impressively we start off with the iVardensphere remix of 'Icarus' which has taken the eerie vocals of the original and pushed them further back in to the edges of the track instead leaving a haunting, ghost story of a track. It brings an even darker atmosphere to the number. The clacking sounds peppered throughout make it sound like someone preparing their gear before a suicidal fight, forlorn with past memories. 'Blackest Rain' is much improved upon by BeineXruin (Ruin = Ruinizer) making a great use of the original's voice sample before absolutely ripping the track open in to a furious industrial rave that hits you out of nowhere. The great thing here is you tend to listen to Bein-E quite loud to hear the finer details in the ambient tracks, so when this kicked in with the loud and heavy drop, the full force of it hit me with that volume turned waaay up making for quite a fantastic experience! Cease2Xist's remix of 'Stalker' provides some cyberpunk grime and mid tempo darkness to the mix throwing in a very catchy rhythm and BPM-again unexpected of the original. This feels like the soundtrack to a 21st century Dracula. It goes without saying that Karkasaurus were gonna bring some hardcore and supremely speedy beats. Their 'Black Rain' remix is powerful and jammed packed with energy. It hits you in the face with the force of a runaway magnet train. The voice samples have been twisted in to something akin to an anime fight scene. This whole track feels like a souped up episode of Dragon Ball Z or Doctor Who on drugs and I love it. 'MMMXIX (v2)' continues the artful expression of looking in to important discussions like sexual abuse and anti-abortion violence. NonBio's remix bring a lot of chaos and noise, whereas G&T bring in some almost garage like techno worthy of a dance. Bitman brings some Synthwave and electro pop humour with his offering. The final two tracks finish off with a much more signature style that Bein-E usually produces. Tracklist Icarus - iVardensphere Remix Blackest Rain - beineXruin Stalker - Cease2Xist Remix Black Rain - Karkasaurus Rex Remix MMMXIX (v2) Icarus - G&T Remix Stalker - NonBio Remix Icarus - Bitman Remix Monsters (Exhale) Icarus (Single Version) Conclusion Something rather unexpected and very well presented from Bein-E. I didn't expect to be thrown so much energy and powerful rhythms to get my head bobbing along to. One minute experimental and dark, the next upbeat and brilliantly ridiculous. Such is the exploratory nature of Bein-E and this release sees a plethora of talent and ideas playing out wonderfully. Like grabbing a load of random ingredients from the fridge and somehow coming up with something that tastes amazing. Impressive work for sure. Scores: Technicality: 7/10 Dance factor: 7/10 Energy: 8/10 Vocals / Samples: 6/10 Re-play value: 8/10 Overall score: 7.2 / 10 Check out Bein-E's listing in our Alternative Directory 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

Lockjaw has played alongside some big names like Type O Negative and Lords of Acid to name just a couple. Medavon joins us for a talk about his latest EP and his unique sound known as 'Hell Rock'. On April 2nd Milwaukee’s long time “Hell Rock” band, Lockjaw, released their newest EP, Reverent, which includes a cover of the Cars hit “Just what I needed”. With their latest release, Reverent, Lockjaw are bringing the Hell Rock revolution back into the minds of the masses. Long time Milwaukee Industrial Rock veterans, Lockjaw, led by their charismatic frontman, Medavon DeRaj’e, have returned to the midwest’s Industrial Landscape and are determined to make their presence felt. In dealing with all of the of the challenges and emotions that the year long pandemic brought, Medavon wanted to re-invent the band not only musically, but also lyrically, as he strived to deliver more positive and deeper messages in an effort to combat the previous years darkness and feelings of isolation. To help with this transformation Medavon decided to reach out to well known engineer Ted Jensen (Vast, Mastodon, Evanescence, the Faint) to master the upcoming release. Ted’s mastering highlighted the bands new found 80’s Darkwave meets Industrial sound. The EP boasts not only the aforementioned Cars cover, it also delivers its second single in the lead track “Never Say Never” and the Bauhaus inspired “Keep On Trying”. Plans are underway to shoot videos to supplement the upcoming singles off of the EP. Lockjaw became a household name throughout the Midwest thanks in part for sharing the stage with national acts including Mudvayne, Type O Negative, Damage Plan, Wednesday 13, Hell Yeah, Prong, KMFDM, Powerman 5000, Mindless Self Indulgence, Lords of Acid and also providing direct support for multiple sold out shows for MARILYN MANSON. Since starting out in 1998, Lockjaw has released 14 albums to date on Dark Drug records with their previous effort being 2019’s “Drowner”. Lockjaw's "Bored Again" from the CD "Dirty Minds and Smiling Faces"(2004) is featured on the X-Box360 game "Dead Rising". A political and religious uprising against the system. Abrasive vocals, dark chord progressions and machine gun like electronics define this band's sound. Don’t let their new found positive messaging fool you, their live intensity and their over-the-edge stage show, filled with all the necessary elements of sweat, smoke and unrelenting honesty; will continue to keep its loyal following coming back for more while becoming more accessible to a entirely new generation of dark alternative music fans. Hell Rock for the masses forever and always! https://www.reverbnation.com/lockjawx https://www.facebook.com/darkdrugrecords Interview Q. Medavon, you’ve said about wanting to change the band in to a mostly positive vibe and direction musically. Can you tell us how this EP differs from previous EP’s and if you feel this is the direction you will carry on with in future or will the sound perhaps change even further with each release? A. The positive vibe is more related to my lyrical messages and just in general how I want to come across. In the past a great majority of my songs revolved around my ego and inner problems and needing an outlet to release that. Not all but 6 out of 10 songs on an average album. I'm sure I will still go there on a song or two but I'm more about focusing on outwardly themes and the now. Lyrically some things may still come across pretty dark but there is usually a lesson in the lyrics or some ending optimism to make the listener not feel as alone in their plight. But positive energy just vibrates at a higher frequency so when one can tap into that, it not only helps them but everyone and everything they come in contact with. Q. You describe the band as ‘Hell Rock’ and “A political and religious uprising against the system.” How would you describe Hell rock to those unfamiliar with your music thus far, and what religious and political aspects do you address most, and how? A. Ever since I was a kid I have always been more attracted to music with dark chord progressions or edgy lyrics. Growing up I'd seek out records that had curse words on them cause I was told you aren't suppose to say those things. And I'd listen to songs like that and get all charged and be laughing, singing them all around the house. Later I became more into bands like Motley Crue and WASP who had that super evil dark image. So for me hell rock represents the rebellion of youth, things you aren't suppose to say. Singing about the Devil or hell. Not as often political back then but in more recent times it is hard to avoid. Religious and political institutions have always seemed to be the major forces in trying to control society and ones mind. I don't really sing about religion but have always gone back to it for references that everyone can understand. Like God, Heaven, hell, the soul. Religion is man made. Faith and spirituality come from within. Q. Tell us about the history of the band. Where did it all start, and what inspired you to start making music? A. I started recording 4 track demos in my bedroom when I was a late teen. In 98 I put out my first official album that was much more trip hop inspired then hard edged rock. In 2002 I decided to put a live band together and it became more of an industrial influenced rock band. So many things have inspired me to make music from Elton John and Fleetwood mac to Def Leppard and The Crue. To not feeling like I fit in or enjoyed many other things. To getting heart broken and having mental lapses. In essence Lockjaw is me and my band are different personalities inside my head. I have had many live members over 20 years and a few collaborators. Some longer then others. Q. You’ve shared the stage with some big names, who were your favourites to play alongside and who would you like to play alongside in future? A. Well all the shows opening for Manson introduced Lockjaw to thousands and thousands of more fans then any other shows have. And playing sold out shows is epic to say the least. Unless you are really huge then those opportunities don't come along very often. Opening for Type O Negative was also something that I'll always cherish and was a dream come true. Seeing Peter Steele after getting off stage and him shaking my hand and asking if I had a good time was priceless. I'd love to one day open for NIN or Skinny Puppy. Q. Which songs are you most proud of in this EP? A. This may be my first album that I am completely satisfied with each song and how they worked together as a whole. Normally at least one or two songs on an album have had questionable tones or executions to myself. But this one turned out much different. My fav is probably The Cars cover of Just What I Needed. It was my first collaboration with Scotty Damned(Creepy Little Things) who is gonna be playing with Lockjaw live at some point down the road. It is way more satisfying when you can create something with someone and you hit that point of blissful creation that you didn't know you were gonna hit. The title track reverent is also a fav. musically it is unlike any other Lockjaw song before it and the music formed out of just testing my new recording equipment. Often the unexpected can turn out the best. Q. What difficulties with Covid have you had in putting this album together? A. I don't think this album would of been possible without Covid. I was working 5 jobs and hardly had enough money coming in to stay a float and was usually stressed out to the maximum. Then Covid came and all my jobs stopped. I was pretty introverted before hand so the lack of socializing didn't matter much for most of it. But it gave me lots of time to create and work on music. For about 3 months I was working on these songs for 8 hours or more a day. I just wouldn't of had that type of time if life hadn't changed. Plus the stimulus checks enabled me to get a new computer so I could make albums again. Q. Is there a favourite funny or important moment story that you tell people about Lockjaw that you can tell us too? A. A more recent important and favourite thing was when Ty Elam of the nu metal band, Videodrone, agreed to collaborate on a song with me. Him and his band were a huge influence on the early incarnation of Lockjaw and someone I never imagined I'd become friends with let alone do a song with. He is one of the most unique vocalists and has always inspired me. We have it almost finished but the pandemic and relocations have slowed things. But either way a success to me. Q. What artists are you listening to most right now? A. I love the NIN/Trent Reznor soundscape albums such as GhostsV, Gone Girl, The Vietnam War. I can listen to those all day. Massive Attack, Tricky. Lots of classic rock like The Cars and ELO, 70's Aerosmith. King Buffalo, Gods and Punks. Q. What life lessons has being in music taught you over the years, and what would you change about the scene if you could? A. To always follow your intuition whether it is on a song part or a path you are taking with your music as a whole. Always believe 100% in what you do and eventually the universe will present opportunities. Then it is your choice on what you do with them. The most important part is connecting with others and sharing vibrations. Especially in collaborations and just playing with friends and people you love or respect. Q. Anything you’d like to say to your fans? I appreciate and love everyone that has given myself and Lockjaw a chance over the years and in the now. From supporting at shows to listening to the music. To telling their friends or just telling me I rock when I'm having moments of self doubt. It helps define my purpose and makes me a better person. And thank you so much for the interview. Thank you for your time Medavon Review As the EP opens, I'm instantly taken back to the gritty, grunge fuelled 90's. 'Never Say Never' is one of those tracks that would grace a film right as it's builds the tension up before an action scene. 'Mocking Bird' has a bass and guitar twang that fills a rockabilly turned industrial sound I didn't know I had been missing. 'Keep On Trying' definitely shows the Gothic roots inspiration and the Bauhaus feel is fairly clear. Atmospheric and heavy, these tracks drip like decadent honey. The title track 'Reverent' has a rather upbeat to it and reminds me of The Clash and The Cure with the instruments, but Marilyn Manson with the vocals. It's a really enjoyable song that has a lot of style and class packed in to it. It's probably the best track to introduce yourself to the band with if you're new to them. 'Just what I needed' is a song easy to connect with, it has a rather personal feel to the lyrics and a memorable set of riffs that bring in a touch of old school guitar solo rock which your really don't hear in industrial so the mixing of styles is impressive. The keyboard when it comes in brings an even more light hearted and easy going mentality to the track that rounds it all off with a smile on your face. Finally 'Charged By Death' finishes up the EP in an amalgamation of all the previous songs with its darker edges mixed with upbeat sections, and deep guitar riffs. Tracklist Never Say Never Mocking Bird Keep On Trying Reverent Just What I Needed Charged By Death Conclusion A rather interesting take on Industrial and rock that has a lot of nostalgia value. This EP mixes up the genre in a rather different and fresh way whilst still remaining quite true to classic inspirations and the sounds of strong bands in decades past. These two factors make this EP from Lockjaw a rather interesting and enjoyable listen that is dripping with signature American style. Although not my kind of music, it's not hard to see why this band has supported / toured with some incredibly big names in the alternative music business and will no doubt continue to do so. Scores: Technicality: 6/10 Dance factor: 5/10 Energy: 7/10 Vocals: 7/10 Re-play value: 6/10 Overall score: 6.2 / 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

Perhaps one of the most interestingly diverse albums I have listened to recently. The main thing that stands out from the rest is a blending of modern vocals over retro sound, and then retro vocals over modern sound in several places. It is a fresh and energising listen. Many highs and few lows, like a damn good night out - wrapped up in an album. A Complicated Genocide, the first album from J:dead (Jay Taylor)is an exploration through modern Synth/Electro-Pop with influences taken from the 80's to the here and now. Expect a combination of emotion led vocals, dark synth vibes and stand-out melodies to keep you moving. The album tells the tale of our own struggles of becoming who we wish to be, and the challenges we face along the way. After the success of the first single 'Feeding on me' with an outstanding video, we are happy to provide you to an 11 original track album with a further 4 bonus tracks on the physical release from the likes of: Grendel, Tactical Sekt, ES23 and Auger. A Complicated Genocide releases 29th Jan 2021 via Infacted Recordings Interview Q. A controversial title for the album, what's the theme behind it and the album in its entirety? I never thought of the album title as controversial, more so a visual depiction on something which is intangible to the eyes of others. What I mean by that, the title track, and the album title; is that you never truly know what is going on in someone’s head. The album and this period of writing the album for me has been a real discovery. Musically as well as personally. The theme behind the majority of the tracks on the album is about how we deal with our own challenges and the emotions that surround them. I feel like I have worked on parts of myself recently that I was never even aware of before, and what is complicated about that is eradicating patterns that you don’t like. That’s not a slant at myself but more of a self-awareness reaction. I found this theme, even though my exact situations and realisations will be different to others, quite inclusive. We all have challenges, we all have to get over them, and we all have to deal with our emotions (positively or negatively) as a counter to this. Q. It’s a nice mixing of style throughout this album, what sub-genre would you categorise yourself as and why? Ahhhh I always struggle with this question, mainly because I don’t want to sound like the polar stereotype of.. “Its this” or “I don’t fit into one”. My music taste is vast and it all has an influence in my music. Synthpop, metal, industrial, dance, techno, prog; blab la bla. In a world of social media promotion I have had to settle on the closest match which I think is Synthpop, as a lot of the core elements of the album is 80’s inspired. However for those who will listen to the album I hope they can enjoy something which isn’t just the box I’m being pushed to slot it into. Q. Which track are you most proud of and which has the most personal meaning to you? There are clearly some 'stand-out' tracks on the album of which I am proud of as I think they will really catch the ear of what I expect a J:dead fan to like, but as this is my first album release – I am more proud of the fact that I actually got there in the end. All of the songs have elements of personal factors, and some of them are literal personal situations. However I am a big believer in the fact that people connect to songs in the way that it reaches out to them. So my literal situations, even though they have provide context to the tracks, shouldn’t mean that people should listen to them with my situation at heart. But, to give one example – 'A thousand adventures' is a song about my children and my realisations as a father. Q. We have had two music videos already for this album, is a third on the way? Also can you tell us a bit more detail of the story the viewer is seeing in the video for Haunt and Feeding on me? Yes there is another single planned for release after the album which I very much hope will have a video. However… UK lockdown restrictions are making this very difficult to achieve what I am looking for. So I am feeling unsure about what the end result will be (if anything) at the moment. Again the two released video fit very much into the theme of the album. HAUNT is a video which shows something coming back to haunt you (but in this case it’s visualised with an object with a marker that moves to my arm – which is actually a tattoo of mine with a important personal meaning – hence why this is on the cover artwork for the album). Feeding on me is a story about jealousy and how this emotion can 'feed' on you and alter your perception or decision on things. This is visualised in the video via a 'stalker' type role fantasising over a girl from a distance. Again this is something that a lot of people can relate to (very unfortunately). Q. Has creating this album impacted on your role in other bands in any ways, or has it even helped broaden ideas? (Tactical Sekt, Harmjoy, and Tyske Ludder - Drums. Mutagenocide Vocals) No, only for the betterment I hope. I will still continue to play in the bands that I do now and have no intention to change that, as these friends and bands are important to me, even as a solo artist. Without them I wouldn’t and couldn’t have created the J:dead album/project. I hope it will bring further opportunities for live shows, especially at festivals which are over multiple days. I don’t write for any of the other bands I play in, so there are no crossed wires or conflict in this area. Q. Any Merchandise coming out soon? Yes! I hope to have the artwork completed in the next few weeks and the design is set around the album cover. This has obviously been on the back burner as most artists would sell volumes of merch at physical shows, so I have used parts of my earlier budget elsewhere to start. Q. Which bands are you listening to most at the moment and who would you have loved to support an album release tour if things were still ‘normal’? At the moment I am listening to so much, and part of the reason for this is that you listen so much to 'yourself' when writing an album, I find it hard to find time to listen to other things. If I look at my spotify my top artists over the past few weeks have been Dead when I found her, Scandriod, Nine Inch Nails, and Depeche Mode. Nothing too 'new and exciting' but these artists are very much some of my daily go to’s. There are loads of great acts that I would like to share a stage with and I cannot wait for the world to start turning again for this to happen… One band that comes to mind is Auger. Kyle and I had a great time working together on the Ft. track of 'A Complicated Genocide' which features on the physical release. I would love to do this song live with these guys and hope we can make it happen when shows start happening again. Q. What life lessons has being in industrial taught you over the years, and what would you change? I can’t say that this is specific to being in industrial but getting to meet some great and talented people that I can now call friends has been important to me and specially this project. Be nice to people and take an interest in who they are and what they do. You are never too big, small, important or an unknown to show people some respect. You can do amazing things with the right people around you, and that for me has enabled me to release something which I am really proud of. In regards to change… well, I am a believer in the fact that if I want something to change and its in my control then I should have already done it, but you can't change the past – only learn from it. Q. Anything you’d like to say to your fans? Just that I am extremely grateful for all the support that I have been shown with this project and upcoming album. I am writing again for a second release and I really hope to see everyone safe and well at a show in the future. Thank you for your time Jay Review This will be a short review as I have already written two articles on singles from this release which can be found below. Feeding on me: https://www.elektrovox.com/post/single-release-j-dead-feeding-on-me Jay has brought Vintage Human League emotional story telling in to modern day synthwave production. Haunt: https://www.elektrovox.com/post/j-dead-presents-haunt-interview-review There is indeed the personal turmoil and almost supernatural element to the tone it creates. It is one hell of an impressive opening to introduce J:dead with. Feeding on me is one of my favourite tracks from this album and hopefully that comes across in the above article. The Tactical Sekt remix adds a trance edge to it and the Grendel remix somehow makes the track feel markedly more retro. Which brings me straight to the title track which is by far the best track on the album, 'A complicated Genocide'. It has hallmarks of multiple industrial bands we love from Assemblage 23,to Colony 5, Rotersand, and even Mesh. There is something distinctive In Jay's style of singing that sent me frantically trying to remember who exactly it sounds like but I think what matters is that this very air of familiarity makes the track so instantly lovable. What is also impressive and fresh is the metal growls thrown in that compliment the verses in a manner not ever really heard in 'Synthpop'.(Sorry Jay!) It's thoroughly enjoyable to sing along to and the samples, synths, and beats are dangerously infectious. I hadn't realised I was banging my heard, bobbing along, and phantom singing wildly (with headphones) until I caught a glimpse of my partner giving me an odd sideways look! ES23 have done a great job of making it even more dance floor worthy than it already was with their wacky twists. It feels like a joy ride through an old school B movie. It's a real roller-coaster of joy for the soul. Auger, where do I start with the incredible Auger? A band that I went from knowing nothing about before Elektro Vox, to wanting to listen to almost every chance I get. Kyle lends his vocal talent to this feature and the added guitar layers so much depth and emotion to the track that is doesn't sound like a remix at all but a brand new hit waiting to smash the market. The chorus is enriching beyond words, this is one of those songs you listen to again and again as a heartbroken teenager or adult fed up with life lessons. It is genius and my favourite song of the year. It sure gives the latest Bring me the Horizon sound a damn good run for their money! The remixes are only available with the physical copy and this one feature alone is definitley worth the extra cost. 'Ethereal' and 'Rewind' have that wonderful 80's nightclub feel to them and several of the other songs have great beats to dance to after a couple of long intros before the beat drops such as in 'Fade in / Fade out.' Tracklist (Remixes on physical copy only) Conclusion This is an album that grows on you for sure. There are a few songs that instantly gratify your choice to listen to them, whilst others take a few listens to truly appreciate. For a debut album this is certainly one of the best I have heard. The story concepts of each song are far more important than with most artist's work and that adds a mature depth that brings the best of 80's and modern era electronics in to a comfortable cohesion. There are some great dance tracks as well as remixes to make your jaw drop. J:Dead has offered us up a remarkable display of talent and skill to choose from with this profound album. Scores Technicality: 7.5/10 Dance factor: 8/10 Energy: 8/10 Vocals: 7.5/10 Re-playability: 8/10 Overall score: 7.8 / 10 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. 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

It can be quite a fun endeavour to explain to people just exactly what Pretty Addicted is musically. Part of you wants to quantify the electronic chaos in to sub-genres and descriptive examples along the lines of angry, punk, rave-like madness. Which of course can never explain P.A with any true justice. The other part of you decides 'Nah, screw that' and just plays a banger on the nearest device; Be that one of the classics like 'Mania' and 'Filthy Whore Mouth' or the new contender for top tune when it comes to Pretty Addicted in the form of 'Dickhead' that finishes off this latest album. Either way whoever you're explaining it to will no doubt be loving it! Vicious Precious has been powering through the last year. Despite the difficulties of lockdown and constantly postponed tours, she has managed to make no less than eight music videos for this album already, with another on the way I believe. Two done professionally, and six from the artistic realms of her own home and mind. (I've not put them all in for fear of slowing down the page too much but check for more on the P.A YouTube!) Let's take a dive in to an aptly named album for someone who really has put their soul in to their music. Review We kick off with a strong start. 'Mother' is a real angst fuelled tear in to force-fed religion and personal life realities. The tempo gets you moving and appreciating the rave value Pretty Addicted often delivers but most importantly there is a slight air of humour to it all to take the edge off. 'Soul For Sale' feels like a fall down the Rabbit hole with its descent like synth tones. The way these tones introduce the track feels like a real twist on classical music, in a sense of how far a classical structure could be electronically corrupted whilst still retaining that classic composition vibe. This album explores mental health in great detail and that comes across well in this ballad. Nothing is ever quite as it seems with Pretty Addicted; Will the next verse drop some bass and bring more rave or will it drop to a slower, more poetic experiment in song structure? You're never quite sure and it makes for a truly cinematic experience in your mind as you listen. 'Lone Wolf' has a nice air of underlying trance and euphoria in amongst the personal growth message. There is a hint of Prodigy and Pendulum in this track that brings depth to the dance breakdown parts. Continuing with the theme of mental health and mindful exploration of the self we have 'Too Much (90 Days A Cycle)' and 'Phobia'. The later has one hell of an entrancing beat that pulls you in, or at least it did to me whilst wearing headphones. It's only by the end of the track when a voice sample snaps you out of it do you realise how invested you've become to the beat. Remember you can get you band, shop, or skills listed on our Alternative directory and have a slice of our website dedicated to advertising your work! Which brings me to ''Tones & Whiskey' which I was lucky enough to be a part of in the music video. The 'Tones part referring to one of Vish's favourite bands, Deftones and the whiskey to her favourite drink, Jack Daniels. It's a drawn out lustful song with a good break down and injection of energy where you don't expect it, making for a rather mature and complex song. Much like the appreciation for a fine whiskey, this song hits all the right spots once it kicks in. The aggression returns with style in 'Oink Fukkin Oink'. Plenty of drum loops to keep the electro head boot stompers happy, whereas 'Puppet' would keep the slower darkwave Goths entertained as they weave malaise-d shapes across the dancefloor. I love a bit of activism in my music that's without a doubt and 'Inappropriate Nursery Rhymes' has to be one of the best tracks I've ever heard in regards to veganism and addressing animal cruelty. Not only are the lyrics simple but effective, the easy listening nature of the track peppered with sinister lyrics echoes the wonderful feel of legendary bands like Placebo and Garbage. Definitely one of my favourites on the album. 'Made your Bed', 'My Own Salvation', and 'Planet Trance' are great tracks to relax to. there's been a lot of thought put in to their compositions, especially 'Planet Trance' which bring a chilled out respite from the aggression in the rest of the album. It's one of those tracks that would take you on a fantastic trip should you ever be looking for another addition to your playlist of intoxication. Finally we have 'Dickhead' which is a powerhouse of a track. If you liked 'Mania' then you will love this. It's brings a vibrant industrial beat verging on aggrotech but intermixed with trance, after all the two genres are pretty much siblings at the bare bones. With Vish piping out some metal as hell vocals this song has all of the best alterative genres rolled in to one fantastic song that will have any dancefloor packed out the second it comes on. I for one can't wait to see dozens of Goth chanting out 'Dickhead' in the future. Tracklist Mother Soul For Sale Too Much (90 Days A Cycle) 'Tones & Whiskey Lone Wolf Phobia Oink Fukkin Oink (Piggy II) Puppet Inappropriate Nursery Rhymes Made your Bed My Own Salvation Planet Trance Dickhead Conclusion There are albums written to appeal to mass markets and sell, sell, sell. There are album that space off in to weird and experimental venues with no real expectation of selling many copies. What we have with 'Soul For Sale' however is a personal diary of pain and experience penned out to music that speaks deepest to Pretty Addicted's soul. In that sense it is an experimental venue that addresses some very important issues of toxicity, family, religion, animal cruelty, mental health struggles, and much more. The impressive creativity required to put these subjects to such upbeat music and still come out with a very enjoyable album for a lot of people is certainly not lost on me and it indeed makes it worth buying. Vish's Pretty Addicted 'Crackhead' (FB Group name) fanbase absolutely love every piece of work she puts out. Always there for the video premiers, regular live chats with fans to keep them updated, and throughout her sometimes very visible struggles online. In this many of us who know what it is to go through similar themes in life connect with her music in a very poignant way and this album is very much the epitome of that connection and understanding between artist and audience. So it is that this album was easily crowdfunded from and every hungry audience. I see a couple of these tracks becoming nightclub classic floor fillers in the near future. This is the pure, angry Electro-Punk that the scene needs right now. Scores Technicality: 7/10 Dance factor: 8.5/10 Energy: 8/10 Vocals: 7/10 Re-playability: 8/10 Overall score: 7.5 / 10 Check out Pretty Addicted listing in our Alternative Directory 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. Thank you! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us!

We bring you a musical selection from our inbox and elsewhere that has come to our attention! (whether they are freshly released or a few months old now) It can often be overwhelming with the amount of requests we get and how many awesome things we get sent. Some artists that you may expect on this list might have already had a recent full article by us and therefore not be in this section. Here are a selection of releases and suggestions that have slipped through the full article cracks or we haven't quite got round to just yet! Proximity Alert! (we love) This Morn' Omnia - The Roots Of Saraswati (Album) SKYND - Columbine (Feat. Bill $aber) (Single) Gary Numan - Saints and Liars (EP) Eggvn - Lvcifer Ex Machina (Single) Evanescence - The Bitter Truth (Album) The Birthday Massacre - The NeverEnding Story (Single) Hocico - Broken Empires (Single) Faderhead - Better (Feat. Chris Harms) (Single) Soman - Updown (single) Munknorr - Wolf Spirit(Single) MATT HART - TERRORFYING (Witch of the Vale remix) (Single) Piston Damp - Runaway (Single) Liya - Cold Moon (EP) Remember you can get you band, shop, or skills listed on our Alternative directory and have a slice of our website dedicated to advertising your work! Short range sensors (We recommend) Aesthetic Perfection - Automation (Feat.Sebastian Svalland) (Single) Ashbury Heights - One Trick Pony (Feat. Massive Ego) (Single) Die Kur - The Unsettling March To The World Domination (Album) AVARICE IN AUDIO - I Pray (EP) C/A/T - Embrace The Void (Album) Rabbit Junk - Reckoning (Remix) (Single) Tyske Ludder - SCHON ALLES (Single) Pretty Addicted - Lone Wolf (Single) CROWN - Illumination (Single) Long range sensors (Worth mentioning) A Cloud Of Ravens - Another Kind Of Midnight (Album) DILK - Bad Habits (Single) Paradox Obscur - Singles & Rarities (Album) Alia Synesthesia - Stop Go (Single) Edward Ka-Spel - Prints Of Darkness (Album) Ember Twin - Out Of Light (Album) WARNING - FLASHING IMAGES EYE STEAL - NOT THE ONE (Single) Kill Shelter & Antipole - A Haunted Place (Album) Nuclear Sun - Couldn't have said it better Vol.1 (Album) Did we miss any out? Let us know for the next one! Or Commission an article from us (See the button 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. Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

There are some signature sounds that Dark Electro bands often use that really satisfy my need for an industrial fix. XENOBEAT is another band that could have called themselves Aggrotech or Hellektro but they have done a great job of making a signature style remain unique to themselves. Listening to the EP was like biting in to a delicious burrito made of all the things I have loved about industrial music from the last twenty years. Forever the cybergoth at heart! 'Dis' is the third official single by XENOBEAT, taken from the upcoming album titled 'Unrepentant'. Along with the title track, the Dis EP contains a hard hitting remix of 'On The Edge' by the amazing Syd.31 and two remixes of the previous single 'Manipulator' one by Jake 'The Voice' Parr and another by MjN, who is a main staple within XENOBEAT's history for creating top quality remixes. The City of Dis encompasses the sixth through the ninth circles of Hell. Moated by the river Styx, the fortified city encloses the whole of Lower or Nether Hell. Inferno's cleansing has begun. XENOBEAT are: Andrew 'Aro' Owen (Left) and Thomas Yorkshire (Right) Review If a track has futuristic synths, media samples, dance worthy drums, and some distorted vocals.. Well, you're probably gonna see me dancing away like a mad man to it on a dancefloor with shivers coursing up and down my spine. So it is with this 'Dis' EP and I am in dire need of a dancefloor for Hell's sake so this has been a rather fidgety review for me as I bob up and down extremely unhappy that clubs are still closed. So no fair XENOBEAT.. No fair. How dare you introduce me to your great music at such a time?! For the single to be based on Dante Alighieri's Hell city of Dis in 'The Divine Comedy' is just an extra layer of intrigue for me. A cynical reviewers or dare I say 'Elitist gatekeepers' might say this sound and style has been done to death and brings nothing new to the genre. I would argue that it breathes life back in to the semi-recent era of industrial that caused so many new people to flood in to the music; Back when GRENDEL was pumping out tunes like 'Soilbleed' and MENSCHDEFEKT released their (Still) hidden treasure of 'The Human Parasite' industrial was booming. Bands like ES23, Alien Vampires, and Agonoize were absolutely killing it and it was this very style of music that brought so, so many millennials in to the scene like myself. XENOBEAT have brought back that diamond era of music (for me at least) that so many bands say they are trying to move away from. My question to them is.. "WHY? What's wrong with you? Bring back the stomp!" 'Dis' is a great single and on top of the two previous single releases of 'On The Edge' and 'Manipulator', the full album release of 'Unrepentant' is sizing up to be one of the albums I am most excited for this year. It is fast, stompy, packed with energy and excitement with all of the golden hallmarks I have already mentioned above. Electro-heads make sure you listen to this ASAP. The MjN remix of 'Manipulator' adds a lots more samples to the track and makes for a much more intense and enjoyable listen than it already was. Fans of popular dance floor industrial bands may even recognise some of the samples. The Jake parr remix of this turns it in to more of go hard rave after the first minute and a half. It would be a great backing track for something like an industrial scored DOOM game. Finally the Syd.31 remix of 'On The Edge' is not something I would have expected, but to have a rave industrial track slowed down and liberally sprinkled with guitars works surprisingly well actually! It gives me some strong Ministry or Zak Wilde vibes all set amongst some sort of decaying Wild West. Quite the twist and pretty much makes it more of a new song than a remix. Tracklist Dis Manipulator (MjN Remix) On The Edge (Syd.31 Remix) Manipulator (Resist For Record Sales Remix by Jake 'The Voice' Parr) Conclusion It's not very often I experience a sudden love for a band's music within the first thirty seconds of hearing them for the first time. Yet here we are. Sometime I am sent wonderful things to review and I often feel quite guilty that I hadn't already heard their work earlier. XENOBEAT show some incredible potential to bring back that glorious age of rave Industrial / Dark electro that I can never get enough of. 'Dis' is a corrupted beacon shining out to what seems to be a very dark and heavy ship on the horizon that is going to bring inferno and fury to industrial dancefloors everywhere. Be prepared. Scores: Technicality: 7.5/10 Dance factor: 8.5/10 Energy: 8/10 Vocals: 7/10 Re-playability: 8/10 Overall score: 7.8/10 Check out XENOBEAT's listing with our Alternative Directory: 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

Cover songs are fairly common place in the world of Industrial and often done so very well, take Solar Fake or of course.. Apoptygma Berzerk to name just a couple who consistently do justice to older tracks. Blutengel now throw down their own answer to the challenge of covering songs well with 'Fountain of Destiny' which provides ten cover tracks finished off by two new Blutengel tracks. So just a short review from me today for a change as this is a mainly covers album but it is still most certainly worth writing about! Blutengel dedicate again themselves to the eighties and dress in “Fountain of Destiny” ten iconic songs from probably the most musically formative decade in their own garb. In doing so, they manage the incredible balancing act of respectfully retaining the original essence of the pieces on the one hand and putting their own stamp on each track on the other. Perhaps this works so well because his songs.. “still sound a bit retro today”, explains mastermind Chris Pohl; And so the two new Blutengel songs fit in perfectly: The instrumental “Journey to the Edge of the World” is simply great, while “Unsere Zeit” gives the hope that is so urgently needed right now, without sounding pathetic. The cover songs were of course handpicked by Chris and Ulrike Goldmann and are those tracks.. “That seemed to me from today’s point of view not of this world”, explains Chris with that certain sparkle in his eyes that you only get when listening to eighties music. Whether it’s the emotional “Forever Young”, the already in the original wonderfully wacky “Dr. Mabuse” or the dystopian “Down in the Park” – there’s heart and soul in each of the cover versions. In combination with the professional skills and a natural feel for the right sound “Fountain of Destiny” offers a high delight for the ears. Ulrike Goldmann and Chris Pohl Review If you're gonna start a cover album off in style then with who else but Duran Duran, although I suppose Frankie goes to Hollywood may be comparable. (oooh controversial) Either way 'The Wild Boys' is one hell of a good choice to kick things off. It has a little less impact and energy than the original but it has a deeper, more satisfyingly mature tone to it which hits a whole different spot and I don't think I can fairly judge this with headphones, I'm gonna have to wait till it kicks me full force in the teeth at a nightclub and I cannot wait for that day! (DJ's take note) The next song that made me howl with joy is 'Down in the park' which is a cover of Tubeway Army, of which Gary Numan was their frontman and that's one hell of a beautiful tribute to one of the pioneers of alternative electronic music. Dare I say it, I MUCH prefer the Blutengel version, Chris' voice is just perfect for the feel of this track and makes it a truly relevant piece for the modern age whilst still respecting the hell out of historical roots. I love, love, love this! This then leads in to Ulrike's wonderful tribute to Heart's 'Alone'. Possibly one of the most loved songs in pop culture history and my Gods it takes a brave person to want to professionally cover something that beloved. This version although again not as powerful as the original, hits a slightly more emotive level that feels a little different and refreshes the whole song subtly yet most enjoyably. There are no bad covers on this album put it that way. They're all good but I am just covering the ones that really stood out for my personal taste, the last of which being a cover of a-ha's 'The sun always shines on T.V'. Blutengel give it a much slower, gothic edge that creates equal parts joyful relaxation as it does nostalgia. The way they have altered those very distinctive keyboard synths and drums is astoundingly impressive because it almost feels like listening to a new song entirely. Truly a wonderful, more futuristic approach to a beloved classic. 'Unsere Zeit' is a nice blast of modern dancefloor energy to pull you out of the retro reminiscence. It's uplifting and catchy and of course, undeniably the winning musical formula that Blutengel have become so successful with. Finally 'Journey to the edge of night' feels like a cinematic theme park ride through old school sci-fi B-movies with its alien like tones. It's a nice piece to finish off with as it seems to clear the mind and give you time to process the weight of such incredible covers in -somewhat- peace. Tracklist The Wild Boys Forever Young Hymn Down In The Park Alone Silent Running Nobody´s Diary Dr. Mabuse The Sun Always Shines On Tv (Blutengel Version) Ship Of Fools Unsere Zeit Journey to the Edge of the Night (Instrumental) Conclusion Well I guess my short review ended up quite a bit longer which I hope indicates some of the joy this album has provided me. It's certainly not what I expected but I have been pleasantly surprised and I am in awe that Blutengel would not only attempted to cover some tracks that most would consider off limits, but that they have done so beautifully. It is a masterful blending of retro classics and modern age spin that makes for one of the most enjoyable albums of the year thus far. Scores: Technicality: 7.5/10 Dance factor: 7/10 Energy: 8/10 Vocals: 8/10 Re-playability: 8/10 Overall score: 7.7/10 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

Muta-Scum release 'Lying Idol' which connects with the listener in several different ways in a unique take on electronic music that never fails to genuinely intrigue. Review 'Lying Idol' has an incredible use of voice samples from the monologue of Al Pacino's character John Milton from The Devil's Advocate. They punctuate the beat, the breaks, and the drops to compliment the track throughout. The electronic synths are relaxing even in their poignancy of the heavy message being played out. Even the more modular break beat tones and high pitches don't take away from the relaxing nature. In a way this could also be a metaphor for the title of the track itself of a false idol lulling you in to false sense of security. In fact, I added this one to my main personal playlist the first time I heard it before it had even finished playing! So needless to say, I really quite like this track. There is also a longer and shorter version included! "Who's got his eye on the planet? As the air thickens, the water sours, even the bees honey takes on the metallic taste of radioactivity.. and it just keeps coming." 'Another restless night' feels like a chaotic twist on the sounds of mobile phone ringtones, indeed like a bad dream and that dreaded morning alarm tone after a long, sleepless night. The slow and subtle bass also reminds me a little of the track 'Bad guy' by Billie Eilish and near the half way point there are some impressive retro feel keyboard notes. Then we have '3 people in 33 years' which reminds me of cute yet dark indie platform games. It's quaint and atmospheric with its much lighter feel in contrast to the title track. I found myself staring off in to space almost every time I listened to this track and that's a good thing. When a track can settle your mind and let you drift off then the music is doing what it should do, bringing enjoyment and reflection. Conclusion The title track of 'Lying Idol' is a rather hopeful sign of what Muta-scuM may continue to put out in future and a nice follow on from the previous release of 'bad Friday'. Review: HERE The other two tracks are a nice accompaniment but pale in comparison to 'Lying Idol'. I would absolutely love to hear more samples and story telling driven in to future singles in a similar fashion; especially if Muta-scuM continue with the religious theme of music. This release is 'pay what you want' which is a nice touch. 'Lying Idol' takes you on a trip inside your own head as it forces you to evaluate the world around you in its slow decay and then mellows you out to re-evaluate your own place within our current construct. 7/10 https://www.reverbnation.com/mutascum https://www.facebook.com/Muta.scuM https://muta-scum-music.bandcamp.com/music 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