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. 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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! 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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

I'm pleased to be writing about one of the most interesting and unique bands to come out of the USA in recent times. Although they have a retro edge to their sound, it never feels out of place and always leaves you hungering for a little bit more. You can't get much more rock n' roll than this duo. You can read our previous articles on them here: Spotlight article Unicorn Bones EP review 2020 was a year where most bands could be excused if they decided to take time off and hope for the best in 2021, but then again BELLHEAD isn’t most bands. The critically acclaimed duo of Karen and Ivan are following up their highly successful regarded 'Unicorn Bones' EP and subsequent "Sanity Assassin" single, with a new EP titled 'Remix with Guns' + an additional EP's worth of Bonus content for free. While 'Remix With Guns' will be available on all platforms, the bonus content ‘Remix With Guns: Part 2’ will be available completely for free only through BELLHEAD's brand new mailing list. BELLHEAD burst onto the scene in late 2019 with the release of two strong singles released back to back, “Fire Control” and “Runaway”. They fast tracked their rise to prominence with the release of their debut EP, ‘Unicorn Bones’ in July of 2020. Crossing over fan bases and genres from the post-punk, gothic, industrial, alternative and metal scenes, ‘Unicorn Bones’ opened many doors for the band as they started to reach the mainstream with articles and reviews in such high profile media outlets as Bass Magazine, WhiteLight/WhiteHeat, Post-Punk.com and many more. BELLHEAD were recognized with some prestigious awards during the summer and fall months of the year; “Band of the Month for August” by Music Eternal and winner of September's “Artist of the Month” award from the esteemed Deli Magazine. Their songs were featured on several radio stations including Q101 Chicago with many stations keeping BELLHEAD in constant rotation. BELLHEAD also worked with two very talented directors; John Weaver and Scott Fedor (who has also worked on multiple MCU films) for music videos in support of their releases. The “Unicorn Bones” video quickly garnered over 1,000 views in just two weeks time, while their cover of the Bauhaus fan favorite “Sanity Assassin” debuted on the highly respected White Light/White Heat website. BELLHEAD completed a remix of their own song "Knife" for the Cancer benefit compilation 'Electronic Saviors Volume 6: Reflection (Metropolis Records). The band was approached to do further remixes throughout 2020 by artists such as Stoneburner and Attrition. After the release of the ‘Unicorn Bones’ EP, thought was given to putting together a remix EP to share BELLHEAD songs and shine a light on the talent of other related artists and ‘Remix With Guns’ was born. ‘Remix With Guns’ EP features not only the new title song “With Guns” but also a remix done by the band themselves of the previously unreleased song “Drugstore Keri”. The EP is rounded out nicely by remixes from musicians that BELLHEAD has hand-selected including artists from the esteemed Side-Line Music Magazine ‘Face The Beat’ Series. Across ‘Remix With Guns’ and ‘Remix With Guns: Part 2’ listeners will hear the work of contributors, producers, or members of: Chemlab, Sister Machine Gun, Pigface, Hip Deep Trilogy, Mnpltr, The Final Cut, Bounte, I:scintilla, Atomica Project, Missing In Stars, Emulsion and more! As large corporations' algorithms throttle communication via Instagram, Facebook, and Twitter the band decided to take things into their own hands with an old school guerrilla mailing list. Karen and Ivan wanted to give something back to their long time fans and reward new listeners by creating an email mailing list kicking off with an EP of bonus material ‘Remix With Guns: Part 2’ The band describes their mailing list as: “Part mailing list, part free patreon, and part secret Santa. We want to be able to give our fans something special, so they realize they are important to us. You may get a random song emailed to you, an exclusive mailing list advance to our new releases, or stickers or holiday cards from us in the mail.” The band further states “We are thinking of making it monthly, we don’t want to fill your inbox. We may also take the opportunity to turn the spotlight on other creators both musical and visual. It’s very exciting to have a direct dialog with our listeners and let them know directly how much we appreciate each of them as individuals and their feedback.” For those fans who sign up to the mailing list now at the address below they will receive the Bonus EP ‘Remix With Guns: Part 2’ content for FREE in the spring. This supplemental EP to ‘Remix With Guns’ sees the band deliver a more throwback industrial dance remix EP that will be right at home for old school fans of import singles. Seven tracks available directly to listeners stylized as an exclusive European import extended play. You can sign up for the mailing list here: http://eepurl.com/hndoUr For “With Guns” BELLHEAD returned to their trusted production team of Neil Strauch (production / technical assistance for Counting Crows, Iron and Wine) and Car Saff (production / technical assistance on Acid Mothers Temple, Smoking Popes, Red Fang, Guided by Voices). BELLHEAD are a Post-Punk duo made up of two Chicago music scene veterans who have left their mark across the tattered music landscape. Consisting of High Bass/Lead Vocalist Ivan Russia, formerly of the infamous Ahab Rex, Mr. Russia, and Sheriff Scabs; partnering with Low Bass/Vocalist Karen Righeimer who has been a member of bands such as Fashion Bomb, Team Cybergeist, W.O.R.M, and Bethany Thomas. BELLHEAD’s releases are for download and streaming on all major platforms. Review 'With Guns' returns to that creepy horror ambience BELLHEAD seem to be establishing themselves in rather well. It instantly puts me in the mind of films like 'House of a thousand corpses' Or 'From dusk 'til dawn'; In fact the moody 90's feel would probably have done well in classic shows like 'Buffy the vampire slayer'. Whereas in a modern show, it would be the track playing over the final few minutes of montage for a shocking TV thriller. The pace is slow and seductive, dangerous yet enticing and makes for an impressive opener. The remix makes it even more sinister like a haunted fairground theme but also adds an interesting effect that makes the brass wind instrument they have used sound almost dub-step like to a certain degree and to quite a slow paced song this is something much different to what I've ever heard before. It's almost like BELLHEAD want to be 'THE' go to Halloween band and I'm all for that! 'Drugstore Keri' is a dark ballad with a great vocal effect at the start of the chorus. Definitely one for the darker, slower, more edgy nightclub dancefloors to which the night time denizens would no doubt join in with singing 'She's my Drugstore Keri!' In contrast 'Fire Control' has a nice - fast and filthy cyberpunk edge that adds some real fist pumping, boot stomping rhythms and loops. The lyrics work so well in the aggressive undertone mixed with chaotic electronic samples creating a digital art piece exploding in your mind through the medium of sound. I imagine this is what an Android's dreams might sound like. That quintessential and all American voice that was on every horror and blockbuster film trailer since the 70s and 80's (And As recent as the film Machete I think) introduces us to 'Snuff Film'. The nostalgia and feel good factor is instantly off-the-charts. What an incredible choice of sample to include in a song!! This is a flaming dragster race of powerful rock and metal that only the USA can produce. It is by far my favourite track on the EP. Finishing off is a remix of 'Sidewinder' from the 'Unicorn Bones' release. It has a smooth and mellow vibe that brings a wonderful relaxing and fresh end to the EP. Like a pallet being cleansed after a meal by an expensive drink. A rather impressive and somewhat more industrial pop angle that proves BELLHEAD will throw some curve balls now and then to keep you guessing with each release! Tracklist With Guns Drugstore Keri (BELLHEAD Remix) Fire Control (Ordinary Mammal Remix 2) Snuff Film 1974 (Sister Sarin Remix) Sidewinder (Bounte Remix) With Guns (Afterbirth Remix 2) Conclusion If there really is another 'Nightmare before Christmas' film being made then BELLHEAD neeeed to be on the soundtrack. They have the perfect level of grit and spine chill levelled out by easy listening. Rock and roll, punk, metal, and spike of industrial make for a unique and rather charming EP which is at direct odds with the lyrical horror content. BELLHEAD do far more than impress with every release, they also set the foundations for a very strong future with a great variety of direction. I really hope I get to see them perform live one day. Whether that be with them pacing around fancy lounge bar tables playing to the horror concept and bringing the audience in to their performance, or be it a packed out venue in a much heavier setting; Either way Karen and Ivan would slay any performance for sure! Scores: Technicality: 7/10 Dance factor: 7/10 Energy: 8/10 Vocals: 7/10 Re-playability: 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

The machine God will see you now.. What is it to be human and what is it to compete with ever prevalent machinery and biological obsolescence? What use is the flesh against these aural shockwaves and legions of electric belt fed riffs delivering shock and awe munitions of ever increasing guitar magnitude? Join the assembly line and find out. Interview: Q. You have mentioned to me before that ‘Machine ready’ is not just about A.I, algorithms, and machines manipulating our future lives more than they already do but that being human is about the ability to lose control and that a lot of recent events have set the foundations of the future your album seeks to explore. Do you see this as an ironic and accidental planned obsolescence of the human race, and can you elaborate more on the core concept of Machine ready as a whole in regards to this theme? A. Machine Ready is about the omnipresence of AI and algorithms, and what it means to be human in the emerging machine age. We thought creating artificial intelligence, we would be creating life, we would become gods. But instead, we are becoming Neanderthals – where it dawns on us that were are not the smartest entity on the planet. We will not be able to compete with super intelligence. We shouldn’t try, its a losing game. Instead we should focus on what makes us truly human, It's not our logic. The last few years has defo shown us that. What makes us really human is our soul – the ability to lose control, which machines will never do. The ability to create and imagine. Machines will never be created to feel loss, nor grieve nor experience those micro-bonds that even we don’t have words for – the touch of a hand, the smell of a new-born. A machine will never feel the joy of sweat, breathlessness, and ten thousand people in a field dancing to the same beat. It's these that makes us human, from when we first walked on the planet - not our ability to count. These are the signatures of our soul. To be machine ready we need to have soul. Machine Ready is a soul album. Q. In the release notes you say that you always tried to recreate what you imagined as a child when you read a Christian propaganda book about the dangers of Punk music. Do you feel like you’ve achieved that with this album and do you feel like the Mad Max style world your album plays out points out the absurdity of the world and how that kind of propaganda across many different aspect is actually pushing our world to the brink of destruction? A. The propaganda from that Christian book worked in ways they didn’t expect. Reading and re-reading it I got a sense that these dangerous punks and rock stars were vulnerable creatures, trapped in their own hell-scapes, the anxiety of falling out of Heaven, never being able to fit in. Fallen angels hiding in plain sight. I fell in love with the fragility of these characters and wanted to reflect the fragility in my album too. They never wanted to be bad, not all were lost, just made a few wrong turns. Years later you see sex drugs ‘n roll killed too many of them. So much propaganda today is trying to portray groups like Extinction Rebellion, Trans Activism, Black Lives Matters or Left wing thinking as some form of evil. We aren’t. In a way, we believe in a heaven too. We just want all to be part of that heaven, even if it feels Heaven kicked us out as we wouldn’t wear a tie! (Therapy?- ‘Going Nowhere’) I’m gonna leave this question with a quote from Mathew 9:12 – It is not the healthy who need a doctor, but the sick. If we don’t all work together, and give help where it's needed then it's game over for mankind, as a species and as individuals too. Q. This album has a lot of variety in it and the format of each track has very clearly had a lot of thought put in to each one. We see post rock with ‘Imitating art’ horror punk predominantly, Hip-Hop, and even a synth wave style intro/outro with ‘Disassemble me.’ With so many different instruments and styles, was this album a project to prove just how much you could push yourself musically or did it all just come naturally without much thought to variety? A. That’s a real good question and one I’m still trying to explore. I’m slightly autistic and dyspraxic. I used to have seizures as a kid. Its taken me until my 40’s to realise I experience the world differently to everyone I know. I dream in sound. The music in my head never stops. As I get older I’m more confident to talk about all the music that inspires me, because no-one likes the guy that says.. “Hey, I like all kinds of music”. I’m old enough to not give a crap. So once the song writing floodgates open, I just see wherever it takes me. It's fully natural and like visiting the 4th Dimension that no-one else can see. Image: William Mawdsley Photography Q. A lot of the guitar riffs in this album would give Doof warrior some real pangs of jealousy. Which track was your favourite guitar wise and would you say the album was written more around the sound or more around the lyrics? A. Ah waay cool. That’s a super compliment, thank you. The lyrics were written last for each track. I’d just create these soundscapes and listen to them repeatedly until the lyrics come to me. Normally I’d improvise the lyrics, but this time I had to force myself to get into deeper memories and revisit empathetically the events I’m singing about. I do love some of the solos as they capture experiences I’m reliving, such as one ‘As They Let You Down’ as it sounds like I’m hugging my partner. It’s a solo with love in mind. My proudest moment though is probably the intro to Collapsing New Stars. Nothing too complex, it just syncs together perfectly – lead, rhythm, and noise. Same with 'It Came To This' – my bass, rhythm and, lead all blend together satisfyingly. Q. What sort of people do you feel would benefit the most from the messages of these songs? A. Not that I want to exclude any demographic, but I really hope young men listen to this – masculinity can be so tragically defined by ‘being tough’ or ‘manning up’. There are gonna be times that are so incredibly hard that it feels like it will destroy you. You don’t need to compete, nor ever need to be shamed about being vulnerable. All the lyrics are true stories and about real people. Some heavily disguised for reasons of anonymity. These are events people went through too, just like young folk are going through today. Q. Are there any music videos and merchandise for this release in the works? A. Oh yes!! T-shirts and CDs to support the album and a video too. As long as lockdown lets us record the video. So far, all I can say about the video is that its going to include a LOT of fire and LOT of petrol. It's being done by one of the best metal video makers. If you have seen any Napalm Records videos, you will have probably seen his work. As an artist I guess I'm supposed to do merch as it’s the done thing. But I want to create merch that's worthy of people’s support. It means everything to me when people buy it and I want to give people something to love, art that means something. Image: Nigel Messenger Q. What do you see the world being like in five years and how do you think SYD.31 and musicians in general will adapt and change accordingly? A. Reality is going to hit hard for many people at the top. Brexit is an utter failure for the arts and I can't see any way forward than for the government to make big changes for us. In addition, the streaming industry is starting to be held to account and its inequitable distribution of income. Both of these are going to change, thanks to pressure from artists and movements like The Musicians Union. I’m part of the MU and glad to see them make progress. I think in five year’s time there will be even more progress on mental health and music. Most large employers have Mental Health First Aiders in the workplace and I would like to see MHFA being part of health and safety at gigs and creative spaces. Its something I’ve taken the first steps to try and arrange. As part of positive mental health, I think in the next five years we will also see a Post-Marilyn Manson world where misanthropy and intention to cause harm isn’t seen as cool anymore. Q. Is there a favourite funny or important moment that you like to tell people in regards to SYD.31? A. Haha, yeah. Its when I played Infest. A load of pals went to town and bought loads, and I mean LOADS of granny pants. I was trying so hard to keep a serious punk face when a wall of pants just kept flying at me. I did what any professional musician would do – I put a pair on and twerked! Q. What difficulties with lockdown have you had in putting this album together? “I don’t see problems, I see opportunities” and other bullshit catchphrases; But I’ve had to take a strategic view of this and its worked out well for me. What would Sun Tzu do? One of the biggest obstacles I’ve overcome is people saying over the years that you can't do things by yourself. I realised that’s more about their own limits and insecurities. You certainly can do what you need to do, even if it means doing things differently. The biggest difficulty was doing everything by myself – no signature yobbie crowd vocals as we couldn’t socialise or meet up. But I made that work, I could do vocals that are very ‘me’ instead. If you listen to the album closely there are layers of different vocals low in the mix, some spoken, some shouted. It means every time I listen to it myself I hear something different. Sadly though, it’s the first recording I’ve done since the 90’s without sharing a microphone. A strangely lonely experience and you have to be very content with your own company to do that. Q. Which track/s are you most proud of with this album and which has the most personal meaning to you? Is it a cop-out to say I’m proud of them all? I don’t want to release tracks that I can write, I release tracks I want to write. I don’t see myself as limited by my ability to craft a song. This really helps when I’m telling a personal story. I enjoyed ‘Demon Night’ as it was about a haunted house we lived when I was a kid. I shivered all the way through recording the vocals on that. ‘Collapsing New Stars’ is probably my most personal though. A true story about being in my first band and thinking we were going to change the world. Remembering that optimism, bravery and ultimate failure was cathartic and gave me a sense of closure on that time of my life. Q. What artists are you listening to most right now? I’m currently writing my follow-up album, so far entitled ‘Prayer Songs’. As part of that I’ve been re-visiting all the Grebo bands I heard when I first came back to the UK, especially Pop Will eat Itself, Gaye Bikers On Acid, early KLF, and Neds Atomic Dustbin. Incredible crossover artists with a sense of groove and fun. If you want a taste of what the next Syd album will sound like, check out PWEI’s ‘Dos Dedos Mos Amigo’. I really miss the sense of groove that’s absent in a lot of contemporary alt-artists. Q. What venue has been your favourite to play at? Jeez, that a tough question. I’ve had so many good gigs, it's hard to say. Sometimes the smaller gigs have more soul, just a handful of genuinely like-minded people. Other times bigger venues and stages make you feel like a total rock star. Tomorrow’s Ghost festival was like that. We sold out of merch as everyone came over and just wanted to talk and to support us. It was phenomenal. I also loved playing Coalville Bikers bar, lots of punk, ska, and metal bands. A genuine rock ‘n roll venue. More of this please. Dr.Magic when I first met him at Resistanz 2016 Q. What life lessons has being in music taught you over the last year? This has been my most creative year and probably the biggest for my self-awareness. None of us have to return to doing things the old way – we can rebuild and better. But we have to accept that extinction exists and WILL happen unless we wake up. We can't just plod along, we have to keep progressing, building, creating – making things that inspire others; And it starts with ourselves. Q. What (provisional) plans do you have for 2021 if things improve? I just want to at least rehearse the Machine Ready tracks together with my Kara Wolf and Harry Shavo. The album is out on Easter Friday. Ha, more religious themes around resurrection and re-awakening. I just plan on being part of the musical resurrection, get out gigging again and putting on a show for people that makes it worth coming back out for. Harry Shavo, Dr.Magic, and Kara Wolf Q. Anything you’d like to say to your fans? Huuuuuuuuuuuuuuuuuuuuuge thanks for supporting us during the lockdown and still buying merch too. I can't put into words what it means when people dig the lyrics and art, even though I’m a millions miles away. A big thank you. Review Rolling thunder, an eerie desolate and seemingly digitalised wind sweeps across the landscape of the album's opening track. Despair and foresight given life through reverbing, pulsating soundwaves. With a devastating clap of lighting that shatters the artful construct, the guitars herald the telling of the end times; With unchained guitar fury, SYD.31 return. 'Broken Blank' is wasteland aggression fury going toe to toe with drum and bass lunacy. Back when mosh pits in punk and metal were crucibles of friendship and anarchistic brotherhood against a common foe. This track breathes remembrance in to that golden era of better times in direct contrast to the album's concept of an increasingly screwed up and divided world where such things are becoming obsolete. 'It came to this' feels very much like a continuation of the previous track and brings forth another of the shout your heart our chorus' that SYD.31 is known for. Controlled chaos and over bearing remembrances of pain reforged and crafted with passion in to a dance floor boot wrecker. These guitar riffs are pure Doof Warrior frenzy. How loud is too loud, how fast is too fast?.. Image: Mad Max Fury Road - Doof Warrior A real change of pace and a blind-siding of emotion comes from 'Imminent failure'. There is the familiarity of classic Goth Depeche mode and The cure but in a more early 2000's dramatic style the likes of which AFI and Slipknot used to implement to tug on heartstrings everywhere. The pace is soft and slow like a warm depression blanket lulling you to sleep only to be suddenly torn off and thrown to the fire with nitro injected aggression and guitar dismay. If this isn't a perfect metaphor for mental health bad days, I'm not sure what is. 'As they let you down' and 'Demon night' continue the same onslaught; Pouring forth pure fuel from flaming guitars, speedy drums, and throat tearing vocals. If you're a fan of the heavier fist pumping, leg kick, chaotic concert madness then these tracks will get you swinging. Retro kicks are abound in 'Collapsing New Stars' with a track somewhere between 'Video killed the radio star' mashed with Duran Duran, Frankie goes to Hollywood, and The Human League all pretending not to stare at the Sex Pistols pissing in the corner. Slide guitars and slap bass goodness. It's a real feel good vibe and a track that would rock a summer drive in a convertible. With that euphoric rush of endorphins we are now suddenly brought down to beautiful, sorrowful depths in the post rock ballad of 'Imitating Art'. The vocals are incredibly soft and heartfelt, it no longer feels like a SYD.31 song. It seems to return once again to that AFI like emo style. Its depth may be sorrowful but it is just as vindicating and uplifting as the previous songs - just in contrary style. It is self reflective and serene; I love it! 'Disassemble me' teases a synthwave chillout vibe that is to die for and continues to re-emerge throughout. However the aggression kicks back in but at half the intensity of previous tracks, there's some real horror punk influence here and the overall vibe is a dark, spiralling descent in to a screwed up wonderland. Where the guitars really shine on this album is with 'Machine ready' this track brings to the imagination an orchestral army of robots riffing in concert. Possibly doing the 'robototron' dance of Evil Scarecrow. See HERE. The lyrical content is clear in its quite literal rage against the machine and that standing up against this horrific change is in itself seen as a rebellious act. Imagine a bunch of Mad Max warboys trying their best to smash up some Terminators in full scale urban warfare and you 'might' be close to the scale and scope of the intelligent musical storytelling on offer. Finally we have 'We Turned The Lights Out' which is a very different track to anything you would expect. Influenced by Dub reggae and Zimbabwe culture. It feels like an 80's time warp that throws slightly different ska at you from different angles. Quite an odd choice but SYD.31 is quite experimental and odd Indeed! Tracklist (With notes!) 01 - Intro (A Night Visitor) Setting a mood - capturing the feeling that ‘something’ was coming. Borrowing a lot from 1950s and 1960s sci-fi horror shows, with a modern feel rather than nostalgia. 02 - Broken Blank A true story based on a pal who came off their medication just so they could do recreational drugs at a party. It was horrid for them and frightening to see as they fell into a mental health crisis. The dramatic collapse of their health made an impact on me and I wanted to channel some of the turmoil I saw them going through. Musically, it was wonderful to do some hardcore punk guitars, merged with some classic Chuck Berry riffing. 03 - It Came To This Based on some pals, you know the types, they wont help you when you need them. In the end its never the words from our enemies that cause pain, but the silence from friends. On the musical side I wanted to channel Troublegum era Therapy?, tracks like ‘The Knives’, one of the nastiest songs ever written. I struggled to get a perfect snare sound as the track was very busy and any distinct snare hogged the mix. The solution was to use samples of sticks and metal spoons hitting tin buckets. It works. It shouldn't, but it does. 04 - Imminent Failure Based on when I realised what my ex-wife had done and that its over. I’ve always been interested in capturing the thoughts and feelings as something happens - that split microsecond when we realise something has ended. Most songs talk about fear of something happening, or their feelings after the events - reflective and thought provoking. But this is the penny dropping moment, that moment of utter vulnerability. The bassline for this just happened straight away, almost as if the song had already been written - pure Joy Division stuff. Listen out for the huge door slamming sound effect. Its inspired by Discharge lyrics ‘Can You Hear the Sound of an Enormous Door Slamming in the Depths of Hell’. That slam was the starting point of the whole song and it built up from that. 05 - As They Let You Down A love song of sorts. People can be so cruel. This is a true story about when people ganged up on a partner. High school never ends really. The track is written in the style of my first band (Freaks Union), an angry pop-punk band, mixing hardcore punk with Depeche Mode and Duran Duran. It was great to do this style of song writing all over again. 06 - Collapsing New Stars A true story about being in Freaks Union all those years ago. A tale of being young, ambitious and believing you can change the world. The music was written in the style of 70’s glam rock meets Transvision Vamp. Its probably my favourite intro to any song I’ve written. 07 - Demon Night When I was about 10 years old, we moved into a house which was just horrible. Some ‘thing’ would come into my room every night and stand by my bed. Whether you believe in ghosts or not, it was terrifying. Other people saw it too, including family, but we didn't talk about it until years later. I loved doing the vocals on this. You can hear the genuine fear in my voice as I remembered how it felt to be a scared kid again hiding under my blankets. I shivered all the way through the vocal recording. I still cant sleep with the lights out. The ‘spooky’ lead guitar was inspired by The Cramps and surf/punk, using a little bit of extra reverb and using the wonderful Gretsch Bigbsy tremolo arm. 08 - Imitating Art My and my partner got stranded at a party one freezing winter. We decided to walk home, it was only a 20 min walk. Being young punks we had just ripped jeans and t-shirts. The cold hit us hard, seizing up our muscles and turning a short walk into a 2 hour ordeal. Yup, we nearly died. The guitar solo was taken in one take. I was going to delete it as I thought it was too emotional and not exciting enough. Oh boy, was I wrong. I loved it and captures the feeling of being lost and cold. 09 - Disassemble Me A partner became very ill which led to crippling depression. They couldn't see a way forward and wanted help in passing. It was a crisis moment we got though. I wrote the song in the style of Amy Whinehouse as modern blues and soul is a big influence on me, artists like as Michael Kiwanuka and Charles Bradly. Some added guitar chuggyness works wonders for capturing the essence of the song. 10 - Machine Ready Social media algorithms are incredibly harmful - creating pain, drama and distress to ensure we react in certain ways. Imagine that some point in the future, when machines, droids and artificial life has the same capability to manipulate us at every level, using our own souls against us. The song is simply made from layers and layers of guitars over tribal drums, detuned brass instruments and some cinematic braaams. 11 - We Turned the Lights Out A theme I wrote in 2016 after the Brexit vote and Trump’s election win. A dark moment for me. I just wanted to turn the lights out on their world, burn it all down. Years later, when it came to recording the vocals, I doubted I could capture that vibe and was planning on ad-libbing some new lyrics instead. That morning I woke up to see the news that Trump tried to manufacture a coup, with the far right attacking the Capitol, trying to hunt left-wing politicians. Well, those original lyrics came right back to me and seemed perfect. I recorded them while watching the news unfold and I was furious. The music is inspired by growing up in Zimbabwe, surrounded by incredible dub artists like Yellowman. It is my tribute to heavy dub plate sounds. The lyric ‘them the rules, them the brakes’ is a reference to hip-hop pioneer Kurtis Blow. 12 - Outro (A Visitor Departs) I used to wake up around dawn and my bedroom lamp was still on. I’d finally turn it off and get a bit more sleep, feeling much better knowing daytime was a better place for me. Whatever it was in my room would be gone. Conclusion SYD.31 has presented the apocalyptic future we really don't need, but sure as hell deserve. Although not my usual taste in music the interlaying complexity of story, instruments, concepts, inspiration, musical 'Easter eggs', emotion, and experience have amalgamated in to one impressive construct that any cyborg would be glad to have backing their slaughter. In the same way 'Djent' is seen as intelligent metal, I would say SYD.31 have created intelligent Punk. (Well, more intelligent, Punk has always had some incredible minds in the scene and I certainly wouldn't want to diminish that.) let's call it AI-Punk maybe? I'm sure others could come up with a better subgenre name. Machine ready is the formidable devastation of machine enhancement interjected with authentic Human soul, passion, and what it is to survive in the evolutionary war between creation and creator. It is pain and ecstasy, tragedy and beauty, fear and hope. The machines are already here. Mankind.. 'This is what you want? This is what you get'... Machine ready is available for pre-order on March 5th and releases April 5th. Bandcamp page: HERE Scores Technicality: 8.5/10 Dance factor: 8/10 Energy: 8/10 Vocals: 8/10 Re-playability: 8/10 Overall score: 8.1 / 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. Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

I was asked to write up this review of the new NIN double album Ghosts V: Together and Ghosts VI: Locusts. This is my first EVER proper article, so yeah, no pressure right? I’ve been listening to NIN on and off for a long time so I’ve always been a fan, but I’m not familiar with every album they have produced. So admittedly I did do some extra research especially for this article, as I’m not exactly reviewing a mate of a mates band who played open mic night that one time... Ghosts V and VI continues the collected instrumental works of NIN after releasing Ghosts I - IV back around 2008. This first collection stuck to the more industrial metal side of NIN in several mid tracks, with the deep, dark, and drifting stuff collected within the start and finish. A huge collection of well varied but signature sound pieces of music. Trent Reznor describes Ghosts as “a soundtrack for daydreams”. These new albums however do not really feature any of the aggressive Nails sound we are so familiar with; Guitars are replaced with pianos, sharp beeps and crashes have now become softer, muffled, and distant. I realise I might not be selling it well so far to the old schools Nails fans out there so I’ll try and go into some more depth. The opening track of the first - Ghosts V conjured up some great visuals in my mind, like floating in shallow waters on the shoreline at 3am, spooky and beautiful. It led me to feel that as the album progressed I should expect similar sounds to that of the latter half of With Teeth (2005), mixed with the strong eerie sadness of selected tracks from The Downward Spiral (1994).. I could tell it was going to be emotional. Further listening revealed Ghosts V to be an overall sleepy sounding album that gets deeper the longer you listen. Very closely mirroring the instrumental sounds of How to destroy Angels (a post-industrial band and project of Trent, Atticus, and Trent's wife - Mariqueen.) Check out their album 'Welcome Oblivion' if you do not already know of this group and want to hear more. Moving on to the second album - Ghosts VI. What stood out to me the most was the change in tempo and further depth, this album has woken up a bit. In the 4th track titled ‘run like hell’, there’s a sound to it that I can only describe or compare to that of some of the tracks from Massive attack's 'Mezzanine', deep drums, strong build up, and a lovely trip-hop/industrial fusion. Overall, these albums are very much a soundtrack or a background accompaniment, probably not interesting at all to the old school NIN fans who favour the aggro - mechanical - metal of all well known NIN productions. Ghosts V is definitely a sleepy evening or misty morning album, but we know NIN has always had two very different musical sides. When it comes to criticisms, I don’t really have any. I always got the impression that Trent wanted to do classical/concept focused work. He clearly has always had a passion for eerie atmospheres and exploring great depth in his music, but also a great sadness, pushing boundaries to achieve great emotional responses to his music. It's honestly beautiful. Trent’s more recent works consist of other interesting pop ups in tv & cinema, having worked on the scores for The girl with the dragon tattoo and the hit Netflix series Gone Girl (as well as many, many other projects that I really enjoyed learning about). I’m excited to see what else will happen, and hopefully for those of us who still hold a lot of love for the classic sound of 'Pretty hate machine', maybe something fierce and angry will come out of the deep dark waters of present day NIN? I certainly hope so! Scores: (As this album has no singing or dance factor to it, we are changing the scores for this one slightly.) Sound quality: 9.5 Enjoyment factor: 5 Energy/Depth: 6.5 Satisfaction: 5 Re-playability: 5 Overall score: 6.2/10 A message from Trent: Friends- Weird times indeed… As the news seems to turn ever more grim by the hour, we’ve found ourselves vacillating wildly between feeling like there may be hope at times to utter despair – often changing minute to minute. Although each of us define ourselves as antisocial-types who prefer being on our own, this situation has really made us appreciate the power and need for CONNECTION. Music – whether listening to it, thinking about it or creating it – has always been the thing that helped us get through anything – good or bad. With that in mind, we decided to burn the midnight oil and complete these new Ghosts records as a means of staying somewhat sane. Ghosts V: Together is for when things seem like it might all be okay, and Ghosts VI: Locusts… well, you’ll figure it out. It made us feel better to make these and it feels good to share them. Music has always had a way of making us feel a little less alone in the world… and hopefully it does for you, too. Remember, everyone is in this thing together and this too shall pass. We look forward to seeing you again soon. Be smart and safe and take care of each other. With love, Trent & Atticus HERE’S WHERE YOU CAN LISTEN RIGHT NOW: FREE DOWNLOAD FROM US #NineInchNails #Ghosts #Review #NIN #together #Locusts #Industrial #Ambience #Soundtrack

BLACK ANGEL is an English goth rock band that came onto the scene in 2018 with their debut album The Widow. It was well received and inspired them to get back into the studio for 2020, working on their follow-up record, Kiss of Death. As mentioned in their biography, the band wanted to capture the essence and sound of the 80’s goth style, but to not sound outdated or like a carbon copy of the bands that were most popular in the scene back then. I believe they have done just that, bringing everything fundamentally goth and refining it in this album. Black Angel’s music has been a recommended listening for fans of The Sisters of mercy and Bauhaus, after listening to the new album I can completely agree but also suggest this style of goth rock to be very suitable for listeners who like a deep, echoey and melancholic sound to their music, so I personally recommend this album for fans of Clan of Xymox too, as just one example out of many I could put here. Review The title track ‘kiss of death’ pulled me in straight away and made me want to dance. Immediately you hear all the key components that make up the gothic sound, deep and gloomy, clear bass, guitar melodies that echo with lyrical content focused on passion. I could definitely see this track working it’s way into the essential DJ playlists of the UK's most popular goth clubs. The same can be said for the second track ‘Animal’, both have a fantastic moderate dance beat and complement each other perfectly. The album then takes us somewhere different. It hops from the echoed melancholy sound of Xymox to the fast and aggressive Sisters, then to a baseline dominated Bauhaus sound. Tracks 3 and 5 - ‘Alchemy’and‘Hurricane’ show clear influence from The Sisters of Mercy and Bauhaus; Staying true to what they claim by indicating a huge understanding of what great goth music sounds like. The guitars become more aggressive, the bass is a faster more dominant element, and the overall sound & structure just screams classic 1980s goth rock. Strong female backing vocals are present in tracks 4 and 6 -‘Call the night’/‘want for more', very recommendable to anyone who was a fan of the sisters 1990 album ‘Vision thing’. The rest of the album continues in this wonderful way, jumping between recognisable sounds and influences of these great goth bands. Tracklist Kiss of Death Animal Alchemy Call The Night Hurricane Want for More Put Your Lips On Me She Said Prisoner Black Angel Conclusion Every single track is enjoyable in its own, and overall I found it to be an absolute treasure. This is an album I can honestly say I will be listening to for a long time and is sure to be a fantastic addition to the music libraries of individuals young and old who adore gothic music that stays true to its origins. Scores Technicality: 8/10 Dance factor: 8/10 Energy: 6.5/10 Vocals: 6.5/10 Re-playability: 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 making a small donation - The price of a single drink - to keep us running, or sub to our YouTube for band interviews and streams. Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox #BlackAngel #KissOfdeath #Gothic #Classic #Goth #review #album #releases #darkwave

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 (Single) Agonoize - 666 Degrees Below (EP) I Ya Toyah - Out Of Order (Single) Hatari - Neyslutrans Remixed (Album) Gohma - Mancer (Single) Pretty Addicted - Dickhead (Single) Combichrist - Not my enemy (Single) BlutEngel - Fountain Of Destiny (single) Nature of Wires ft.Madil Hardi - Through someone else's eyes(Single) Eggvn - La Era de la Bestia (Single) Ludovico technique - Embrace (Single) Kiberspassk - Kikimore (Single) Massiv In Mensch - Monkey Islands (Single) The Gothsicles - Animal Songs (Album) OMNIMAR - DARKPOP (Album) Jameson Nathan Jones - Things I Wanted To Be (Single) Nytt Land - Ohne Dich (Single) Remember you can get you band listed on our Alternative directory and have a slice of our website dedicated to advertising your music! Short range sensors (We recommend) FRONT 242 - Ancienne Belgique 89-Front By Front (Album) Acylum - Kampf Dem Verderb (Album) Airghoul + PRIEST - Pusher (Single) Fury Weekend ft. Scandroid - Save The Queen (Single) EDDIE - Boondoggle (Single) Love + Revenge - Angel (EP) Tyler Cantrell - Color Into Space (EP) Renard - Waking Up In A Different World (Album) Still Forever - Witch (Single) Long range sensors (Worth mentioning) Orbit Service - Don't get lost (EP) Eye Steal - No Hope No Future (EP) A Cloud of Ravens - When it Comes (Single) Black Dresses - Forever In Your Heart (Album) ph4nt. - Viel Lärm um Nichts (Album) Rose Bonica - Send Forgiveness / Disengage (Single) Balvanera - Courses of Action (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

It's been almost two years since my best friend and I flew over to Germany for E-tropolis festival in March 2019. It was there that I finally got to see Solar Fake live and it was because of their wonderful performance I first thought of writing about music shows. Sven's crystal clear voice and humble blushes at the audience contrasted with André's incredibly infectious smile from ear to ear as he urged on the crowd. The band wasn't just performing their music and going through the motions, they were doing so with love and as much heart as musicians could possibly muster. It was indeed magical. So it was that my first (and very amateur!) Elektro Vox article (HERE) was born out of writing about Solar Fake, PRIEST, Suicide Commando, Welle:Erdbal and so many other great artists on that day. So it's quite an honour to have reviewed their latest album before it released on Friday the 12th of February. It feel like a nice 'full circle' Three years after the release of "You Win. Who Cares?", Solar Fake announce their new album "Enjoy Dystopia" - an album that consistently follows the path of its popular predecessor and even takes it several steps further. Singer Sven Friedrich agrees: "Some of the new songs are more close to "You Win. Who Cares?", others however are a bit more different. With each new album I always look a little bit beyond the horizon and attempt to bring new elements into the music, but without compromising the Solar Fake sound." There is a special new element that has a great importance for the sympathetic singer: "For the first time, there is a song with German lyrics on the album. We have never had that before with Solar Fake. I had the chorus lines right in my head when I wrote the song. And somehow, I didn't want to translate it into English, that would have been a compromise and with Solar Fake, I don't make any compromises. Ever." Strong words, but in fact, the song ‘Es geht dich nichts an’ fits perfectly on the album and shows a previously undiscovered aspect in the Solar Fake sound. Fans of Solar Fake can look forward to some rage infused melodies and beats: "The album is dominated by aggression, which is sometimes more obvious and sometimes more subtile. Of course, there are also calmer and sorrowful moments. Nevertheless, the ones who do not know where to put their feelings, their aggression, their despair of humankind, their vulnerability to an overall stupidity, will feel understood.” Left: André Feller (keyboards,bass) Right: Jens Halbauer(drums) Centre: Sven Friedrich (vocals) Photo: Melanie Haack Interview (With Sven Friedrich) Photo: Melanie Haack Q. In the latest music video for 'It's who you are' we see a small continuation of Jean's sinister character, will there be more music videos to further tell this story and how do the videos relate to the album theme as a whole? A. Oh, I don't know. We just thought it's funny to have this small part in the new clip to underline Jeans' psychopathic character, hahaha... Not really, he's a totally nice guy... Just with a light weakness for girls locked up in basements ;-) We have ideas for 2 more clips, one will be rather visual, the other has a cool story, but we're not sure when we can shoot... So far we haven't planned on continuing this, but who knows... Q.You have commented before that.. "The ones who do not know where to put their feelings, their aggression, their despair of humankind, their vulnerability to an overall stupidity, will feel understood." With the album being named 'Enjoy Dystopia' is the concept of the album an observation of the world around us, and was it easy to find inspiration for this album in the huge amounts of drama we have seen in the past few years? A. Oh, there was almost too much inspiration, lyric-wise... It sometimes seems that people become more and more self-absorbed and not even recognise there's a world around with other people in it, with animals in it... And honestly, four years of Trump could alone be enough inspiration for hundreds of songs; And the last year brought so many disgusting and horrible people to the surface... It's unbelievable... Q. The second CD has a lot of remixes by some incredible artists such as BlutEngel and Massive Ego. Which of the mixes is your favourite and what artists do you most enjoy working with both in album production and performing live? A. I really can't say that I'd pick one remix over another. I think they are all amazing and I was completely overwhelmed by the musical quality of every single remix and how much creativity the artists have been putting into their work. I'm totally honoured to have these great artists on the album and I hope that in the future we might perform one of those mixes live together. I never had many live collaborations, but I've had some with Aesthetic Perfection, with Project Pitchfork, with SITD, and Daniel Myer. All of them were totally great and challenging, but I enjoy doing something special and surprising... So I hope there will be more of this in the future. Photo: Melanie Haack Q. Since the last release 'You win, Who cares?' has there been a change in the message and themes of your music? -Also- 'Enjoy Dystopia' has that incredible signature sound of Solar Fake but also feels really fresh in a lot of ways, you always strive to make your music sound fresh isn't that right? A. Yes, I try to work on my own skills all the time. I've been working in a huge pro audio recording studio for a couple of years, so I do know what I'm doing in my own studio. But I always try to get better, to make my music sound better, to become a better composer and lyricist. I do love the Solar Fake sound, but I also want to bring new elements into the music... let's put it this way... I don't want to release an album twice. So I always want to make something new, without 'betraying' the style... And well, I think my lyrical themes are still in the same corner... It's about people's behaviour, mental issues and how people deal with it, about all the nasty abysses of human beings... haha... Q. Is there a favourite funny or important moment story that you tell people about Solar Fake that you can tell us too? A. Oh, when we're on tour we always have funny moments, we're like a family, band, crew, and even record company and booking agent. It's really hard for me to pick one story... And I think most of the funny stories we've already told in our weekly podcast, but of course, it's German language only, but a friend of ours usually translates some parts of it... With important moments... well there are a few... One is definitely when André joined me for live performances, the next was signing with Out Of Line and the next was Jeans joining us as a live drummer; And of course there were the many support tours that helped us being noticed... Q. What difficulties with lockdown have you had in putting this album together? A. Well, my deadline has been moved to a much earlier day than expected, because all manufacturers needed much more time. And that was because they had to work with a significantly reduced staff, in order to fulfil the covid requirements. For example, the vinyl master I had to hand-over one month before I had expected... That put me indeed under quite some pressure and I've been working nearly around the clock to get everything done. But that was all. I have my studio at home and I don't depend on musicians or technicians or anyone else to produce music, so I wasn't affected by the lockdown, except for the deadlines. Photo: Melanie Haack A. That's something I can't say. You know, I'm doing literally everything on my own. Writing, performing, mixing... So each SF song is 100% me and each song is like a part of me. So they are all equally important and I couldn't pick one song over another. For live performance we'll see... Of course some songs are more fun to play live than others... But since we can't play gigs at the moment, it's too early to say ;-) Q. What artists are you listening to most right now? A. At the moment it's Iris, Metric, and Soft Kill. Q. What venue has been your favourite to play at? (I was blown away by your performance at E-Tropolis 2019!) A. Oh yes, that's an awesome venue! Well, this is also hard to say for me... I love playing live so much, that I usually don't care so much, hahaha. But some very impressive venues were the Corona gig last year at Parkbuehne Leipzig, or our performance at Haus Auensee and the day after at Gewandhaus Leipzig; Or at Lido in Berlin... It's really hard to say... The funny thing is, that I don't recall one concert of Solar Fake that I didn't like... Q. What life lessons has being in industrial taught you over the years, and what would you change about the scene if you could? A. Well, I've learnt that people in this scene are very sensitive, sometimes a bit broken, but they're by far the most lovely people at all. You always find open arms and hearts and they usually look beyond facades. For me it's like a huge family... And it's the most interesting music also, hahaha Q. What (provisional) plans do you have for 2021 if things improve? A. We have some gigs planned, most of them were actually scheduled for 2020 and we have to wait and see, if they can take place. If not, we'll try to find some gigs under covid requirements and our next tour is being re-planned for next winter and we really hope that gigs will be possible by then. I think for this year we'll just try to take opportunities if there are any. Maybe we record another streaming gig... Q. Anything you’d like to say to your fans? A. I hope you'll like our new album and I also hope that our gig in Bradford can take place in August. We were also planning on more gigs in the UK, but well, it's all complicated right now... Let's hope this nightmare ends soon and we can see each other again on concerts, festivals and parties! Dankeschön Sven! Photo: Melanie Haack 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! Review Before we begin it's worth noting that there are 3 CD's overall to this album. The full release includes a second CD with a couple more new songs and a lot of remixes of the main album. The 3rd CD which is only available in the now sold out limited edition box set contains Piano and acoustic versions. A full track list can be seen near the end as well as embeds to the Solar Fake Podcasts and Spotify player. The album opens with a resume of their previous sounds packed in to one song, it's the audio equivalent of the first taste or smell of food bringing back swarms of memories. It has the more aggressive and distorted -almost- aggro vocals that 2015's 'Fake to be alive' had which is wonderful to hear again. There is also those oh so welcoming keyboard notes that hint at the likes of 'Such A Shame'. Finally there is of course the soft melodic tones that only Sven can give voice to in such pure ways. This track feels like a "welcome back", or even a "welcome home" which gives juxtaposition to the darker lyrical content about mental health. Who doesn't like upbeat songs with sinister lyrics? 'At least we'll forget' provides just that. The first track that came to mind hearing the keyboard intro was Apoptygma Berzerk's 'Kathy's song' (Victoria mix by VNV Nation). Where that track had long sweeping and darker tones, this Solar fake track is faster and free flowing but both sound very similar. However that could just be a pleasant memory hook, APOP having been the headliner band at the E-tropolis fest I mentioned at the beginning. It seems to be an overall feel to the album that the melodies make you want to dance, to smile at the friends you care about on a dance-floor in adoration and gratitude; and yet the lyrical content is far more tragic and darker than the melodies. This album is a beautiful tragedy. I feel like it is a perfect album metaphor for the state of the world at the moment and how much we long to be free again in music drenched clubs. This Pretty Life Music Video The first single for the album 'This Pretty Life' is upbeat and has that energetic flare and catchy lyrical hook in both verse and chorus that Sven nails every time with his crystal clear voice. That's one thing I also love about Solar Fake, I can always precisely hear what words are being sung with his wonderful annunciations. The video is also a rather accurate depiction of the side effects of anti-depressants.. "The individual 'home scenes' we each filmed separately, except for a few scenes we captured while shooting 'This Pretty Life' and of course, the clip is an exaggeration of the image of what everyone probably has of our private life through our podcast. The song itself is about unpleasant and slimy people who permanently try to manipulate their environment." - Sven I don't think I can quite describe to you with any real justice how incredible the synths that come in at the 29 second mark are on 'Arrive Somewhere'. They have the pure euphoric power of trance music and yet carry the depth and emotion that only electronic industrial music can convey in just a few notes. There is something about the bass and 'surround sound' feel of this track that resonates deep within like being in a huge concert venue by yourself. How apt that seems in the Dystopia of today.. 'Es geht dich nichts an' (It doesn't matter to you)as mentioned earlier is Solar Fake's first all German track. It's quite different than their usual offerings and justly so with its underlying aggression and sense of dread. It will be very interesting to see how well this will sound live in future. It's Who You Are Music Video The second single's video sees a slight continuation of the story from the previous music video for 'This Pretty Life'. The track has a profound chorus that personifies Solar Fake's signature sound like a golden example of how 'Industrial Pop' can and should be. This band set the bar very high, that's for sure. Once again a song that has deep meaning lyrically and yet you find yourself dancing away oblivious to them at first.. 'Cause this is who you are And this is how you fall And this is what you get I wish we'd never met 'Cause it's just who you are You looked stronger from afar And this is how you crawl 'Cause that's just who you are The next few tracks are still very good content for an album but don't stand out as much as the first half of the album, except perhaps for the rather enjoyable second half of 'Implode'. The album wraps up with 'Wish Myself Away'. Solar Fake may be known for their energetic up tempo beats but they are equally known for their ability to create some real heart wrenching songs that rip your emotions wide open. This track is another fine example of just that. It is a sorrowful reflection of ones life and will touch a deep sense of association with many of those who hear it. It reminds me just a little of David Bowies' 'Lazarus'. This is definitely a track you all have to her for yourselves. And of all the right words I could have spoken over the years when I was broken. I always picked the ones that would lead me further away. With CD 2 we have a euphoric opening track followed closely by an incredible cover of the Pixies''Where is my mind?' There are so many great remixes in here that I won't waffle about each track, however I will sat that Solitary Experiments' remix of 'Arrive Somewhere' makes that track so much more dance worthy than it already was. Also the Massive Ego remix of 'I despise you' puts such an edgy vibe to the song with some heavier retro twists that really does the Dystopia concept justice. It's impressive to see how many talented artists can really add to an already outstanding release. Tracklist CD 1: At Least We‘ll Forget I Despise You This Pretty Life Arrive Somewhere Es geht dich nichts an It‘s Who You Are Trying Too Hard Implode Just Leave It Wish Myself Away CD 2: Join Me In Death Where Is My Mind Es geht dich nichts an (Faelder Remix) Implode (Blutengel Remix) Arrive Somewhere (Solitary Experiments Remix) This Pretty Life (Iris Remix) I Despise You (Massive Ego Remix) Trying Too Hard (Dunkelsucht Remix) At Least We‘ll Forget (Backline Remix by Blood & Tears) It's who you are (Random Starlight Remix) I despise you (Vintage Remix by NAN) At least we'll forget (Uplifting Emotional Mix by Anja & Alex) It's who you are (Ost+Front Remix) Just leave it (Lord of the Lost Version) CD3: 'Masked' (Limited box set only, now sold out) I despise you (Piano Version) This pretty life (Acoustic Version) Arrive somewhere (Acoustic Version) Implode Just leave it (Piano Version) It's who you are (Acoustic Version) Wish myself away (Acoustic Version) Conclusion I have struggled for several days to review this album because it is BLISS. The perfectionist in me wanted to write it perfectly, yet my inner CyberGoth just wanted to boom-box the hell out of it down a busy Camden high-street screaming at random strangers.. "WHAT? THIS IS A.M.A.Z.I.N.G! DON'T LOOK AT ME LIKE THAT YOU UNCULTURED SWINE!" Whilst dancing like an idiot. Perhaps not my most professional start to a conclusion but you get the idea! This album is very familiar with that wonderful Solar Fake blend of ingredients and dishes they are well loved for but it is also just as fresh and surprising as Sven said aimed for. If there was ever a band's album to play to people new to the genre in the hopes to get them to love it, then Solar Fake's 'Enjoy Dystopia' would be a perfect choice. Dystopia has never sounded so inviting! Scores Technicality: 8.5/10 Dance factor: 9/10 Energy: 9/10 Vocals: 9/10 Re-playability: 10/10 Overall score: 9.1 / 10 See Also 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

In a slight branching off for Elektro Vox, I am going to write articles on the other half of my music heart.. Nordic and 'Viking' era inspired music. I soon plan to write an in depth look in to the strong connection industrial music fans also have towards Nordic music and the Aesir and Vanir polytheism; As well as the Animism both cultures display in different ways. There are so far four short episodes to do with the nature and inspiration behind KVITRAVN, the first of which you can see here: Episode one For me Wardruna is not about empty rituals or reciting the past or empty symbols. That doesn't carry any meaning any more. It's about giving voice to the thoughts and ideas that we still have use for; They still carry the same relevance as they did when they were a living tradition. I make music for those who are here and now and not as a form of escapism. - Einar episode IV We are very happy to finally share this long-overdue album with you all. In this past period leading up to the release, it has been truly overwhelming to see how well you have received the songs we have shared so far. We sincerely hope you will enjoy the rest! For me personally, this album represents a natural continuation and development of everything we have done so far. Through experience, reflection and hungry curiosity, we potentially continue to grow as humans, scholars and musicians and with this constant movement, our ability to dive deeper into our work also grows. More clearly than before, does this album and its songs address us as humans in our own time. And even though the songs convey ways and words originating from a distant past, they are still just as much ways and words for the “now”. They are ideas born out of the very grounds we still tread, which is also what gives them the ability to speak to and resonate within us still. Let us listen carefully, and sow or reaffirm the idea or attitude that nature is something sacred. -Einar Review This album will be so very familiar with fans of Wardruna and of course the History channel show 'Vikings'. Einar having written a lot of the music for the show and for Assassin's Creed: Valhalla. Many of the songs and melodies having been used in the Vikings TV show or played out in a similar fashion in previous Wardrunna releases. To this effect the entire album draws you in like a Siren's call. Each track feels well known to you and yet so new that your mind craves to hear more. It is hard to gauge space and time once you settle in to the living history weaving its way through your entire being. When I first listened to this in its entirety I was in a candle lit bath with the steam producing swirling images dancing to the tales being sung. Imagination was not hard to stretch with such a profound and enthralling soundscape. Now as I finally sit down to put some semblance of justice in to the words of this review I look out upon a snow storm and feel the same connection to the Gods, myself, and the spirit of all things around me that this album invokes. 'Synkverv' is a more haunting direction than we are used to with Wardruna but sets this album up for the mysteries of the listener own self and the knowledge within the music that one with an open mind might hope to find. Although the tracks are not sung in English of course, (Norwegian) the lyrical expression of the music still caries through and the following lyrics encompass that overall feel for the album: The harp plays Luring and drawing Winding you in In an imaginary spin Woven and tied Switched in a poem-spindle Desire for knowledge Playing in your mind Tones themselves Playing in your eyes Mistruths and lies Lure you in With the title track Kvitravn (White Raven) we find a journey all unto itself. From the deep ambient horns, the resonant lyre, to the choral depths, and Einar's and Lind-Fay's pure emotion provoking vocal talent; This track has all of the hallmarks that Wardruna is loved for. Be it intentional or not, As we later have a song titled 'Munin' which sings about Hugin and Munin (Odin's Ravens Thought and Memory) both, I find myself drawn toward the meaning of the album as a whole in that we should all be more thoughtful of our place in the world and our impact. Such a striking image to visualise Hugin (Thought) as the white raven in the artwork and music video, and therefore reflect on our own thoughts when listening. KVITRAVN music video Which leads us to 'Skugge' which is possibly my favourite track on the album. It brings out that primal urge to fight and stamp out injustice. The song “Skugge” (“Shadow”) is an eerie sonic journey voicing a dialogue between man and shadow or as Einar puts it; “It is a song about shadows, echoes, and the balance between seeking answers and wisdom internally and externally." The song starts very slowly, with the deep echoing resonance that seems to be their signature style. The deep voice introduces the story of being approached by a shadow and asking it for answers. Einar's voice then pierces your heart with an incredibly emotional and almost heartbroken sounding change of vocals before becoming ritualistic in its tribal drumming. Finally fading out in to whispers at the shadow reminds him their are answers to be found in ones-self. Skugge Official Lyric Video Grá (Grey) is our song to the wolf. It speaks about the ancient bond and relationship between man and wolf. It seeks to address and acknowledge the cost and responsibility of being part of, and not above nature. Once again, we were given the opportunity go to Finland and work with a beautiful and brave rescued wolf called Tihu and her caretakers. The video was directed by our friend Tuukka Koski and his fantastic team at Koski Syväri. Powerful and invocative, 'Grá' uses an impressive sound mix of wolf, drum, breaths, vocals, and ambience to create a masterful delve in to the psyche. If you don't feel at least a moderate chill in your spine to this one, are you even alive? Grá music video The songs 'Fylgjutal', 'Kvit Hjort', 'Viseveiding', 'Ni', and 'Vindavlarljod' continue with this theme of nature and finding the knowledge both in the land around us and from tales of the past. Each is a complex layering of traditional sound finely crafted to evoke emotional response. Each is beautiful in uniquely different ways. 'Munin' is a song that will strike deep in to the hearts of any who follow Odinism / Asatru / Norse paganism in that it quotes the Poetic Edda poem Grímnismál in which Odin describes his news bringing Ravens, as well as the connection they have with his own being. I own two ravens They are my dearest One for my memory One for my thought In each wind, from me flying their own way They chant songs to me when they come home Sometimes I fear, that Thought will not return home but more I worry, that Memory will lose his way 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 buisness on our Alternative Directory! Thank you! Einar and the wolves Tihu and Siida.. Photo by Kim öhrling // Koski Syväri Finally the album is wrapped up with 'Andvevarljod' (Song of the Spirit-Weavers).. 'The song is a central piece on the new album KVITRAVN. It explores the Nordic deities of fate; the Norns, the spinning of life threads and the Norse and Sámi common idea that a person´s spirit is connected to wind, both before and after birth. The song features guest appearances by a small group of prominent Norwegian traditional singers, Kirsten Bråten Berg, Sigrid Berg, Unni Løvlid, Ingebjørg Reinholdt alongside our own Lindy-Fay Hella. "On a personal level, Andvevarljod is a song I hold very dear and it was also my starting point on the new album. Musically, it gives voice to very old song traditions and on top of that it is voiced by some of the most central reasons why these traditions are being kept alive for us and the generations to come. So, special thanks go out to our guest singers for lending us their talents and for the invaluable work they do for keeping our traditions alive!" - Einar At just over ten minutes long, this track is a crowning achievement to the entirety of the album. What are songs for if not story telling, and how have the Norse gods become known to us if not through story and song? This song tells of the Nine Norns, also know as the women of fate who weaved the destiny of all things. Another song that starts slow as it builds a strong foundation to hit deeper and deeper in to the listener as Einar's almost tragedy filled voice enriches the song here and there bringing a huge inexplicable sense of pride to the listener with drive and purpose. Here is a more acoustic and shorter version sung by Einar: Andvevarljod (Skaldic version) Nine Norns – hear me Guard my path and lead with alleviating hands and in healing footsteps Tracklist Synkverv Kvitravn Skugge Grá Fylgjutal Munin Kvit Hjort Viseveiding Ni Vindavlarljod Andvevarljod Conclusion In a horrifically fast changing world and mankind's failure to protect the Earth we find ourselves in desperate need of things that will bring about the connection and Animism mankind once had for nature. Wardruna have created a complex yet beautifully simplistic way to connect with the spirits around us with their music once more. The deep serenity and spiritual tidings felt throughout their melodies and vocal story telling can teach us all to be far more considerate and mindful to the effect we have on the world around us. If mother Earth could use a voice to appeal to us all, then Wardruna seem to have found it and given voice to her woes. Einar continues to be the profound master of ancient music set amongst our electric chaos.. Scores Instruments: 9.5/10 Soul/Spirit: 10/10 Energy : 8.5/10 Vocals : 9 / 10 Re-playability: 9/10 Overall score: 9.2 / 10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! (Click the logo) Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

We bring you a musical selection from our inbox and elsewhere that has come to our attention! 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) Seraphim System - Cyberpunk & Chill Vol.1 (Album) Wardruna - Kvitravn (Album) "Even though the songs convey ways and words originating from a distant past, they are still just as much ways and words for the 'now'. They are ideas born out of the very grounds we still tread, which is also what gives them the ability to speak to- and resonate within us still. Let us listen carefully, and sow or reaffirm the idea or attitude that nature is something sacred." - Einar Aesthetic Perfection - Party Monster (Single) "I am elated to announce “Party Monster”, the second installment of Aesthetic Perfection’s 12 singles in 12 months project. My most ambitious effort to date, “Party Monster” is an industrial rock anthem that honestly and earnestly details my struggles with drugs and alcohol. Mechanized drums set against swirling, tortured vocals explode into a bombastic chorus, driven by guitars provided by none other than Jinxx of Black Veil Brides and crescendos with a blistering solo from former live member Elliott Berlin." - Daniel Graves. Solar Fake - It's who you are (Single) A single from the new album out February 12th 'Fans of Solar Fake can look forward to some rage infused melodies and beats: The album is dominated by aggression, which is sometimes more obvious and sometimes more subtile. Of course, there are also calmer and sorrowful moments. Nevertheless, the ones who do not know where to put their feelings, their aggression, their despair of humankind, their vulnerability to an overall stupidity, will feel understood.' Ethseq - Connection (Album) L.B.One,Datamotion,Perly I Lotry - My mother told me (Vikings anthem)(Single) Remember you can get you band listed on our Alternative directory and have a slice of our website dedicated to advertising your music! Short range sensors (We reccommend) BlutEngel - Nobody's Diary (Single) MATT HART - TERRORFYING (MOAAN EXIS remix) (Single) Dav Dralleon - Vampyr Golgotha (Single) † 𝕯𝖔𝖓'𝖙 𝖇𝖊 𝖆𝖋𝖗𝖆𝖎𝖉... 𝕺𝖓𝖈𝖊 𝖞𝖔𝖚𝖗 𝖇𝖑𝖔𝖔𝖉 𝖆𝖓𝖉 𝖞𝖔𝖚𝖗 𝖘𝖔𝖚𝖑 𝖍𝖆𝖘 𝖇𝖊𝖊𝖓 𝖈𝖔𝖓𝖘𝖚𝖒𝖊𝖉, 𝖞𝖔𝖚𝖗 𝖙𝖊𝖗𝖗𝖔𝖗 𝖜𝖎𝖑𝖑 𝖈𝖊𝖆𝖘𝖊 𝖙𝖔 𝖊𝖝𝖎𝖘𝖙 † The 4th song from "FALL OV MEN" the upcoming album † Aesthetic Perfection - No Boys Allowed (Empirion remixes) (Single) "I am happy to present to you the long lost "No Boys Allowed" remixes from Empirion. Initially slated for the deluxe edition of Into the Black, these remixes were never officially released via Close to Human Music." - Daniel Tyske Ludder - Ungewiss (Single) Mechanical Vein - TAKN (Panic lift remix) (Single) 'With this wild remix, Panic Lift has completely flipped Mechanical Vein's metal DNB track 'TAKN' into a massive industrial hip-hop banger, infusing it with swagger & gritty synths, which powerfully highlight it's deeply political call-to-arms. Crank this one loud!' A Projection - Darwin's Eden (Single) Neptune - My Heart Beats (Single) Piston Damp - Loose Ends (Single) Piston Damp is a side project of Apoptygma Berzerk League of Lights - Modern Living (Single) DEF NEON - War Beats (Album) Batavia - Batavia and their friends (EP) TERMINAL - Blacken The Skies (Album) NOIR - Just Fascination (Single) Long range sensors (Also in our inbox) Scenius - Make it shiny (Nature of wires remix) (Single) Vexillary - SurViolence (Album) In a darkened room - Final Vows (Single) The Other La and SINthetik Messiah​ - ​In My Dreams (Single) Total Chroma - Body Relics (Album) Dissonance - Damage 1st Assault (Single) Null Cell - Eternally ill (Album) Astari Nite - All Else Is A Curse (Single) Night Terror - Freak on the inside (Album) Modal Citizan - Control Alter Deplete (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

J:dead is the solo project from Jay Taylor, live drummer of EBM/Synthpop bands such as Tactical Sekt, Tyske Ludder and Harmjoy. For the last 16 years Jay has frequented many stages across the world performing in his own signature style of aggressive, hard hitting acoustic noise to the forefront of electronic acts. Now, with the creation of J:dead, there is an opportunity to show his ability in developing music which is at the core and drive behind his musical ambitions. J:dead is whatever it needs to be: without labels, stereotypes, scene driven boxes or goals other than to inspire others. J:dead’s ambition is to make others feel alive by listening and feeling the creation of someone losing themselves. The first release from J:dead (HAUNT), is a reflection on how we can try to push our own thoughts, actions and emotions down. However, we all know these never rot in the ground; they always come back to HAUNT you. HAUNT is available for free download. Bancamp page here Expect to hear and see from J:dead more as the first album is expected to be released in Spring 2020 Review: This track has a very addictive quality to it. The metronomic nature of the beat is both enticing and enticing as it almost brings around a sense of dissociation as you continue to listen. This is ironically a strangely euphoric feeling in contrast to its dark meaning and ambience. Several times I have found myself singing this out of nowhere, or listening to it on repeat without realising how fast the time is going. There is indeed the personal turmoil and almost supernatural element to the tone it creates and is one hell of an impressive opening for Jay to introduce J:dead with. Though a slow tempo song, it would never go amiss on a more chilled vibe dance floor amongst the older, slower goth classics. It is a perfect balance between old and new synthetic crafts that will bend your ear to its enthralling melody time and again. Interview: Q: You’ve described HAUNT as hidden thoughts and actions coming back to haunt people. How is that reflected in what we see in the video and i s there more meaning to it beyond this as there is obviously a form of covetous conflict between the two characters? A: Yes the video is strongly linked to the song and I particularly didnt want to release a video of me/a band playing for this track. The item in which the characters are searching for within the video is representing the thought, emotion, behaviour etc that you have tried to hide away without actually dealing with it. The conflict within the video represents greed, as I strongly believe that sometimes we dont know what we truly want hence why we bury these things. The symbol that moves from the item to the characters is the final evolution and represents that when these things come back to Haunt us they either come in different forms or become part of us. In this instance this is shown as the tattoo on my wrist. Q: J:Dead already sounds like a project that wont have one set sound of style is that right? And if so, what kind of an album can we expect to hear? A: You are right the album wont follow the same line as Haunt. Im 3/4 of the way through the album and at the moment Haunt is probably one of the darker tracks. There are quite a few which are more upbeat in their feel and others which are more emotional. Don't get me wrong, all will sound like what i want J:dead to be but it will be a mixture of what inspires me within the music style I want to portray. The album will be 8 tracks long and released in Spring next year all being well. Q: What was the inspiration and desire behind forming this project? A: The inspiration has always been there as i have been making music and composing songs since I was 13. Alot of it is situational as I now have the space, (limited) time and drive to do it personally. I have had the pleasure in playing with touring bands for 17 years and I have been eternally grateful for that, but now I want something i can call my own. Something I can be proud of, and someplace where i can store/bank my own songs. Q: What do you hope to get from this new branch of music and what do you hope to bring to your existing fans of the other bands you are in? A: Firstly this project is kinda a selfish journey. This project is for me, and I'm making the music that i want to hear and doing it in a way that makes me feel the emotions when listening back to them. I am very lucky to have so much support from friends that I have met along my musical journey and without them i wouldn't be able to release J:dead in the way i want. I know there will be a alot of fans of my other projects that wont like what im doing in J:dead and others that will, as i cant say that it mirrors anything im doing at the moment - however it of course inspires what i want to achieve. Q: Is there a particular band or album that has helped inspire you? A: Half of the songs so far are segments of songs which I composed from many years ago so my inspiration doesn't follow I guess what is popular in what is "new" at the moment. Im a music fan through and through and my taste in music is varied. An easy and stereotypical way to sum up my sound is that I want to make music that makes people feel the way i do when I listen to NIN, combined with how i want to dance round my studio when I listen to Depeche Mode. There are plenty of scene bands which I listen to daily which of course effect what im making but there isn't a desire to sound like anything else. Its more about how a track can make you feel and forget your surroundings. Q: Is it yourself we can hear singing in HAUNT and is there anyone else involved in J:Dead or is it strictly solo? A: Yes it is me singing on the track and at present J:dead is a solo project (hence the overly selfish name! haha). Most of my vocals have been used within harsh electro or metal bands and i really wanted to push myself with my singing voice. I wanted to try something new so I could explore what i am able to achieve (or not) - that challenge for me is inspiration in itself. Who knows what will happen in the future as the project will continue to evolve but for now this is my outlet? Thank you for your time Jay! I look forward to hearing the full album. Event page and tickets: https://www.facebook.com/events/424028331822849/ Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox Like Elektro Vox's content? Please help keep us running as it is a very costly and time consuming process. Thank you! You can also support E.V by buying products through my page, including cruelty free and award winning makeup brand 'Artistry', plant based nutrition supplements, and other home and living items! Everything will help E.V to continue to afford to keep the site running and the news, interviews, and reviews flowing! https://www.amway.co.uk/user/canislewis

It's been ten years since Imperative Reactions' album opened up with the now instantly recognisable track 'Side effect' which I'm sure we have all danced out one hell of a rhythm to more than once on a club dance floor, not to mention how many times we must have danced to 2008's 'Minus All'. That self titled album was released in the golden hour of industrial where almost every album had at least one dance floor filler that set myself and other fellow cyber-goths off twirling about to the beat. So many bands have left that golden formula in the past and I can't seem to understand why as it was the base of industrial becoming far more prevalent and successful. I hate to say it but Imperative Reaction seem to have left that style behind as well. That's not a negative reflection upon this new album however, in fact, it's a product of it's time with lower BPM, more complex layering, smoother vocals, and a sprinkle of synthwave with dystopia; Which we have to admit, is the signature sound of this particular time when it comes to Goth electronics. In this article we write an in depth review of the new album and had the chance to ask Ted Phelps some questions of our own. Following a near decade long hiatus, the Los Angeles based electro-industrial act Imperative Reaction finally release their long-awaited seventh album. Featuring eleven new songs, ‘Mirror’ was released on 15th January 2021 via Metropolis Records. Band co-founder and sole studio member Ted Phelps states that.. “I’ve never been as happy with an album as I am with this one, and I do think it is the most diverse album we’ve released.” Imperative Reaction was formed in 1996 by Phelps and David Andrecht from the remains of Digital Neural Assault. Their debut album, 'Eulogy For The Sick Child’, was released in 1999 by Zoth Ommog Records, following which they signed to Metropolis, who issued Ruined’ in 2002, ‘Redemption’ (2004), ‘As We Fall’ (2006), ‘Minus All’ (2008), and a self-titled album in 2011. Then, silence. In 2016, the band confirmed on their social media channels that another album was being recorded, but it has taken five more years to see it released. The good news? It’s worth it, with ‘Mirror’ setting a new standard for Imperative Reaction’s blend of emotionally intimate yet anthemic electro-EBM. Interview Q. What is the story and message behind 'Mirror’ and how does the amazing artwork tie in to those concepts? TP: My good friend and former-IR keyboardist, Clint Carney developed the concept for the cover. Clint has been working in visual effects for years now and he’s extremely good at it. When it was time to start thinking about the cover art, I had a couple of conversations with him about what the art should look like. I actually hired my wife who helped develop some great ideas. I knew I liked the idea of an “infinite reflection” type image but Clint is the one who took those ideas and came up with presenting it as an infinity mirror room. He proceeded to create a virtual room in a 3D space. He created the “man” with the match in his hand staring at his reflection. I really liked the idea of having many exact reflections with only one catching on fire. After the image was finished, it went to our graphic designer, Sam Pffankuche. He added some treatments and really drove the whole thing home and now we have my favorite cover to date. Each time I look at the cover I seem to see different ways it relates to the album theme. Presently the art shows a person who is forced to see himself as he is with no escape. The reflection in the background is starting to burn as a result. Q. Since the last release in 2011, has there been a change in the message and themes of your music? TP: I’d say more has been added to the message. While both albums are relatively personal, Mirror is much more so as it is based on my relationship with my wife. It chronicles a two year separation which was very hard at the time. We’ve been together for the better part of 28 years (met in high school) and we have a very intense bond. I’m not really into New Age all that much but we definitely fit the description of twin flames. Beyond that, Mirror looks at getting older and looking at life from a different perspective. Q. Tell us about the history of the band. Where did it all start, and what inspired you to start making industrial music? TP: When I was about 13 I was really into Depeche Mode and other synth bands but I also liked bands like Metallica. I discovered The Land of Rape and Honey by Ministry the summer I turned 14 and I was hooked. It combined all of the elements of the styles I liked and it was like the world just opened up. I started a band called DNA when I was 15 with a friend from high school. We recruited a third member the next year named Dave Andrecht. Dave and I hit off and soon found ourselves wanting to go in a different direction so, we left DNA and started Imperative Reaction in 1996. From there we started playing as many shows as possible in LA and worked to get the name out. After a botched signing with a shitty label in 1998, we signed with Pendragon Records. Pendragon was soon purchased by Metropolis Records where we’ve been ever since. Q. Are there any music videos planned for this album? TP: Yes, although Covid has made it difficult to plan the way we usually would so at this point, I would say – hopefully soon. Q. Which songs are you most proud of in this album? TP: Glass, Split, and Intertwined. I’ve always chickened out when it comes to releasing songs like Glass (plus early attempts at that style weren’t that great). But I really wanted to do it this time and I’m very happy with how it came out. Split to me is the perfect IR album opener and concert intro so I’m happy with it. Intertwined gets stuck in my head when I hear it so I’m happy about that. Q. What difficulties with lockdown have you had in putting this album together? TP: Due to the approach I employed with Mirror, the lockdown really didn’t affect production. On the last album I recorded in a studio outside of my home and brought the band in to record parts. If I had planned something like that for this album, it would have been problematic. Mirror was written, recorded, mixed and mastered in my home studio. Q. What artists are you listening to most right now? TP: I always listen to the top three for me – NIN, Nitzer Ebb, and Depeche Mode. Lately I’ve also been listening to Aesthetic Perfection and Horskh a lot. It’s exciting to hear their takes on this type of music. My wife plays me a lot of cool stuff that while not always “industrial” is close enough. Strvngers is cool too. Q. Who has been your favourite industrial artist to share a stage with and who would you still want to play alongside? TP: Back in 2008 SITD and Aesthetic Perfection provided support for our US Minus All Tour. That was a lot of fun. Daniel and I have been friends for a long time so I’m always open to playing with them. SYSTEM SYN is another band that I love sharing the stage with. Q. What life lessons has being in industrial taught you over the years, and what would you change about the scene if you could? TP: Being in this band and in this scene definitely taught me how to deal with different types of people. I’ve made a lot of really good friends through it and I have to say that industrial bands are spoiled by the support the scene gives us. I was pleasantly shocked at the fan support after being gone for 10 years. It’s a great feeling. Like any underground scene there is definitely some elitism out there which always sucks so if I could change something, I guess it would be that. Q. What (provisional) plans do you have for 2021 if things improve? TP: We will be touring as soon as possible. We will hit North America as always but I also want to get back to the other side of the Atlantic. Q. Anything you’d like to say to your fans? TP: Thank you so much for your amazing support. You guys make all of this so much more fun. Thank you for your time Ted! Review There's nothing quite like a jaw dropping electro EBM beat to say 'Damn right we're back!' 'Split' has all the power and dance happy goodness that Imperative Reaction left us with before but with a brand new flavour. It's a real nod to their past work and fans that has a somewhat Nine Inch Nails feel to it vocally. 'Here is somewhere else' is quite similar in this following but it has more of an Aesthetic Perfection industrial pop coating and it makes for a delightful surprise. It showcases the feel good energy of I.R whilst dealing out new inspirations of tastes for a varied and discerning market. VNV and Depeche Mode come to mind with the track 'Glass'. There is emotion twisting between schools of music both old and new. This feels as modern as it comes but also feels like it could be played in the 80's and no one would be any the wiser. It seems somewhat timeless and unlimited in scope to say the least. I know I've compared the previous songs to other bands which I don't like to do too much as I don't want to water down the weight of my words in regards to the talent and skill of the artist. However I have to say that 'Alter Ego' is as if all the best parts of AFI and Apoptygma Berzerk created a child. I am in love with the Davey Havok like vocals, and swept away by the Apop style melody. It's a dance anthem pure and simple and it's very different in that it doesn't pin itself to one style, anyone could dance happily to this; From the heaviest rivet-head, to the most gate keeping of elder Goths, and even to the every day person who hasn't heard industrial before. Lyrically it really brings in to focus the idea of the mirrored self to tie in with the album art and reflects upon who we see, and even don't see when we oureslves look in to a mirror. Now we stand eye to eye and I see it.. This version of me was always a lie. I don't believe in you, I wasted all my faith just to watch you throw it away. -'Alter Ego' lyrics. There is definitely more anger and 'stomp' factor in the track 'The Scales' and 'Stranger' with the artist weighing up his life as well as the lives of others which leads perfectly in to 'Like Swine' which is a scathing attack on the laid back and careless society we find ourselves in. Like Swine Lyric Video 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! 'Ignite' certainly brings the tempo and enjoyment factor up a couple of notches from the last couple of tracks. This time it feels like a Faderhead and 3TEETH mash-up. Telling the story of two sides at war, the drum and electronic samples set an imaginative recreation of futuristic battlefield sounds with laser fire and heavy calibre ammo belts being expended. What would a modern day industrial album be without mid tempo cyberpunk keys opening up at least one track? Like I said before, a product of our time. 'Intertwined' hits you with that exact cyberpunk aspect but it also brings a heavy mix of synthwave and dare I say Human League like nostalgia to the same package. It really is quite beautiful yet hard to describe. Listen for yourself, you'll see what I mean. 'Disavow' has some VERY impressive electronic bass samples that have to be played loud to fully appreciate. It hits a very satisfying deep corner of your core being and if you haven't fallen in love with this album yet, surely this will be the song to hook you and change your mind. It awakens all those wonderful memories of everything that has been well loved across all genres of alternative music over the years from Emo, to EBM, to rock, to industrial pop, and more. In a word.. Magical. The album wraps up with a rather emotional number in the form of 'Half of one' It feels like a celebration of all things alternative and gives the listener a chance to really self reflect and process the themes in this album. It's an ideal cool down of contentment as opposed to an encore 'bang'. Welcome back Imperative Reaction, you have been sorely missed! Tracklist Split When Here Is Somewhere Else Glass Alter Ego The Scales Stranger Like Swine Ignite Intertwined Disavow Half Of One All songs written, produced, mixed and mastered by Ted Phelps at The Composite Conclusion I've seen a few people refer to this release as 'lacklustre' and I can see why if they only skimmed through the album looking for those old familiar rave beats Imperative Reaction was made famous for. I've also heard many artists call themselves 'more mature now' in regards to leaving dance floor filling industrial behind and to be honest, I couldn't roll my eyes any harder if I tried each time I hear it. Yet this album, this wonderful album genuinely feels like the real maturity or evolution from the previous years that the other artist claim to. It doesn't just throw those foundations away in some form of snobbery and the band certainly doesn't spout that maturity angle. It simply weaves a new modernised pattern to keep the music relevant to today yet faithful to the past. If you listen to this album with an open mind and let it wash over you a few times, what you will discover is a hidden garden for your mind, a place to dance, to reflect, and make accounts for the story of the album and the story of you, the listener. Imperative Reaction have crafted a truly fine collection with an intricate tapestry of musical and emotional complexity. It is a truly beautiful return in style. Scores Technicality: 8/10 Dance factor: 8/10 Energy: 8/10 Vocals: 8/10 Re-playability: 9/10 Overall score: 8.2 / 10 See Also Imperative Reaction Website: HERE Imperative Reaction Facebook: HERE Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. 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

Ludovico Technique last blessed us with a full album back in 2012 which drifted in and out of several styles of industrial, many of the tracks aggrotech and most akin to Psyclon Nine. In November last year they returned with the first single of the next album and in a very different style. The first of many singles that will eventually lead to the next album. In this article, we review the second such single recently released. LUDOVICO TECHNIQUE have just released their newest single entitled 'Up to the Flames', accompanied by a lyric video that offers stunning visuals that are intensified by the song's poignant lyrics. This goth tinged metal opus is a reflection of our times, where a world set aflame proves inescapable. This is the second single released from their forthcoming full-length album "Haunted People." Bringing his dark mystique to goth industrial metal, Ben V-, along with his band Ludovico Technique, showcase a thoughtful depth and complexity unmatched by many bands. With haunting music accompanied by beautiful, cinematic visuals; Ludovico Technique is the very embodiment of the Gothic aesthetic in its purest form. In the beginning, the band drew inspiration from goth industrial bands such as Skinny Puppy and Marilyn Manson, yet now, the future for Ludovico Technique moves towards a world more akin to fans of Type O Negative, Rob Zombie, and Slipknot, bringing a taste of the underground to the forefront of what goth industrial metal can achieve. Cover of the Novemeber 2020 single 'Live as Myself' Review The change in style Ludovico Technique have taken is instantly obvious because you'd have no idea that it was the same band. The piano most vintage teases a haunted atmosphere before kicking in the drums before the thought has even finished registering. Corrupting Gothic honey is the only way to describe the deep, sensual vocal tone used to draw you in to this song. There is that nod to the era of the Sisters of Mercy and the dance floor classics of the elder Goths. The vampiric feeling of an empathic predator preying upon your innermost thoughts and using them to ensnare you further adds to the moth to the flame imagery of the single. When everything around you.. Is cast further aside. When feelings that surround you.. Are where you try to hide. Don't close your eyes.. I've come. The chorus has that more recognisable lighter tinge to his voice that almost brings about familiarity of early 2000's emo music. Which surprisingly, adds quite well to the overall effect even if a tad nasally for my liking. These become the predominant vocals over the earlier beautiful deep style that put me in the mind of Type O negative. It seems a little messy in the change between the two styles of singing but as I said, it seems to work so well for the overall track, I can't exactly describe that as a negative in any way. Sort of how a moth flutters skittishly in distress over reaching the flame and the danger it perceives in doing so.. Conclusion This is a very different form of musical art from Ludovico Technique and one that will be loved by fans, just as much as it may be shunned by others. Perhaps the change is an attempt to open in to a wider audience or perhaps it is to reflect the growth the band has felt over the last decade. Either way there is a lot of promise here if the band can nail down an overall signature sound for the rest of the album. An exciting time for Ludovico Technique, exploring a new direction that takes inspiration from some of the best predecessors in Goth, metal, and Industrial music. This is going to be an album bursting with potential and dark Gothic desire. SCORES Technicality: 6/10 Soul factor: 7/10 Energy : 6/10 Vocals : 7.5/ 10 Re-playability: 7.5/10 Overall score: 6.8 / 10 See Also Bandcamp: HERE Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. 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

Front Line Assembly have long since been part of the strongest foundations of Industrial having been making music since the 80's; With this latest release FLA prove that they are just as strong as ever. I will admit that the old school generation of industrial is ironically still quite new to me. When I started Elektro Vox I was listening to industrial and aggrotech bands from the last 15 years that were more akin to dance floor raves than the slower, grittier talent that came before them; So FLA is not a band I am all too familiar with but none the less this album has made a fan out of me, that much is certain. I think that's an important aspect for bands, the ability to draw in new fans from different generations and backgrounds, and not just survive through a very select few original listeners. The Canadian industrial outfit Front Line Assembly have been fearlessly pushing the boundaries of that musical description for more than three decades, exploring all manner of styles and influences since forming as a purely electronic based concern in the mid-80s. Helmed by founder Bill Leeb with long-time cohort Rhys Fulber, the legendary Vancouver based act have just released the brand new album entitled ‘Mechanical Soul’ on 15th January 2021. A masterful work from one of the greats of the genre, it can be seen as the zenith of the duo’s artistic endeavours together. The album also includes guest appearances from Jean-Luc De Meyer of Front 242 (on ‘Barbarians’) and Dino Cazares of Fear Factory (on ‘Stifle’). Produced by Bill Leeb and Rhys Fulber Mastered by Greg Reely Album design and illustration by Dave McKean Metropolis records Review 'Purge' has that electronic edge that follows the modern popularity of cyberpunk. There is no escaping it from the popularity of the style, to modern games, films, and the crumbling world around us, cyber punk IS NOW. It keeps the tempo down enough to keep the original FLA feel to it however and it really feels like a narrator's introduction in terms of lyrics and ambient mood setting of a world at war. 'Glass and Leather' picks the energy up a few notches, like the first rush of intoxication whilst you're on a stomping club dance floor lost amongst the rhythm and the darkness; The fact the song's first lyric is.. "I'm driving naked, I'm driving naked, I'm driving naked in my car" Certainly adds to that visualisation. The beat and sounds used are so perfectly punctuated by the sighs and gasps placed amongst the verses. If I had a playlist for the bedroom, this would be on it, that's for sure! In 'Unknown' we hear some very strange mechanical and otherworldly sounds, when watching the fan music video, it's easy to realise why. The world is at war, and there is a resistance doing what they can. This has all the hallmarks of some damn good old school EBM, the gritty vocals, the bass heavy beats, a distorted chorus, dance worth synths, and a scary dystopia. There is nothing not to like about this track.. Even with the amusing "Huuaah" Exasperation at one point haha! 'Unknown' Mindphaser fan music video 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! We are taken on a stellar like voyage with the slower, peaceful 'New World', which is a real contrast to 'Rubber tube gag' because as the title would imply, it sets the mood for a darkened fetish club with some very heavy emotion hidden amongst the lyrics. When it comes to the heavy riffs of 'Stifle' it's good to know I was on track when I mentioned Cyberpunk before because I stumbled upon this answer in an interview with soundscape magazine at the same time as getting the above music video.. The song Stifle was originally part of the sessions I did for the Cyberpunk 2077 video game. I contributed tracks for the soundtrack and this was one that did not get used. I played it for Bill and he liked it. [Bill] wrote the lyrics and the song took on new life. He suggested we get some guitar stabs on it so I called Dino from Fear Factory who did his thing and it all fell into place. - Rhys Fulber Which brings us to 'Alone', a track that creates a cave dive into the depth of human emotion and mental health. It envisions a hopeless despair with a beat tempo that magnifies that feeling. By itself the track didn't stand out to me but after watching this brilliantly made fan music video that follows a soldier's exploration of a destroyed city, it adds many more layers of meaning and enjoyment for me. 'Alone' Mindphaser fan video 'Barbarians' feels like a further delve in to rich tales told by a sci-fi version of a bard; and 'Komm, Stirbt Mit Mir' resurrects that oh so familiar and classic 90's industrial dance floor vibe that is still as vibrant and enjoyable as it ever was. 'Time Lapse' puts me in the mind of everything we have lost over the past couple of years and yet everything that still could be lost, it is a nostalgic and yet defiant piece of music that cools the main album down and gives the listener time to reflect on all they just heard. Finally 'Hatevol (Black Asteroid Mix)' pounds out a solid encore at first but then goes silent for around 30 seconds followed by an injection of nostalgia to send you on your way. Tracklist + Featured instrument per track 1.Purge Elektron Analog Rytm mk2 2.Glass and Leather Studio Electronics Omega 3.Unknown Roland Alpha Juno 2 4.New World Mutable Instruments Shruthi 5.Rubber Tube Gag Waldorf Pulse+ 6.Stifle Noise Engineering Basimilus Iteritas, Ormsby DC7 7.Alone Moog Model 15 reissue 8.Barbarians Mutable Instruments Clouds 9.Komm, Stirbt Mit Mir Waldorf Q+ 10.Time Lapse Doepfer A100 11.Hatevol (Black Asteroid Mix) Conclusion This album has many complex layers to it, from the instruments to the lyrics, the emotions, the originality, but also the crucial signature sound that has made Front Line Assembly enjoy such widespread fandom. When a band has been going this long and can still put out new and genuinely interesting music, you know there is a lot of genius going on behind the scenes. FLA have once again proven themselves to be a lighthouse shining the way in to the future for bands both old and new. Scores Technicality: 8.5/10 Dance factor: 7.5/10 Energy: 8/10 Vocals: 7/10 Re-playability: 8/10 Overall score: 7.8 / 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. 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

With this album Elektro Vox brings you the second in a series of several 'Guest' review articles trying their hand at their first reviews for our site to help us with the large volume of requests we have had this month! This incredibly in depth review of '‘Whorl Clock - A Time Travel Themed Compilation Album' is written by Redthir Jerdisheim. Released Monday January 11th 2021'Whorl Clock' is the debut release from charity electronic label Three Eyed Cat Records. All the songs on it are time travel inspired with all musicians providing an original song. The album has all sorts- songs about the future, past, present, clocks, dinosaurs, robots, time machines, the big bang and much more- and it's wonderful to see what different artists do with the same simple brief. If you love your music with blips, chips, synths, beats and bass then you will be sure to discover something you love on this album! Featuring synthwave, chiptune, breakcore, ambient and other electronic music from all over the world- UK, Siberia, Arizona, Hungary, Sweden and more. All money made on Bandcamp will be donated to Doctors Without Borders- an international, medical humanitarian organisation working in more than 65 countries around the world. Their medical teams work to save people’s lives in conflict zones, natural disasters and epidemics. Find out more at https://msf.org.uk/ Review Fancy travelling to a time without coronavirus? From the wires of powering machinery to the exotic landscapes of times past and present, this cute, time-travel themed compilation showcases it all. Beautifully eclectic, awesomely eccentric, and electrically futuristic. This compilation nails its invocation of a surreal sci-fi world. (Short, factual paragraph): This is a charity compilation where all sales will go to Doctors Without Borders; who provide medical attention in over 65 countries around the world: for those people stuck in warzones, natural disasters and epidemics. For that in and of itself, it's well-worth chipping in a small fund (there's no minimum!) to help the cause. Shoutout to Sam Bradbury for his cartoon-y and very detailed artwork. The colourful selection of wires and the somewhat psychedelic vortex serve as a nice backdrop for this compilation, especially to the glitchier, mechanical-sounding tracks on here. Anyhow, onto the review: I personally found this to be a charming, playful compilation. Having known none of the twelve artists contributing their works before, it was awesome to venture into a complete unknown… Which, come to think about it, is exactly what time travel, the theme of the compilation, is. The theme is complemented perfectly by the compilation's sheer unpredictability: after one track finishes, you have no idea what sort of wacky soundscape is gonna come next. Yet in spite of that, the tracks all fit together seamlessly… Or do they? It's arguably the tracks being slightly unfitting that gives this compilation its charm. I like to think of this as an unintentional concept album that continuously derails itself: at least, that's my perception of it, and I'm sticking with it. There's no better example of this unpredictability than Track 4: 'One Night on the Earth'. After three instrumental tracks: the last of which is the glitchy, bleepy-bloopy, science-infused 'Reverse Engineer'; suddenly the listener is thrust into a nostalgic throwback to bright, catchy 80's synthpop. This upbeat, vocal, melodic song comes out of nowhere and completely throws off the listener. In order to really understand how this whole compilation fits together (or doesn't fit, depending on your perception!), a track-by-track analysis (with a shoutout to each artist!) is perhaps the best means. Chorus1986 sets the scene with Track 1, the retro-sounding, ambient 'School Night Dreams', which begins with a rhythmic ticking clock which gradually fades as the song evolves into a simple melody immersed in trance-esque sweeping strings. Gradually, the melody builds up, with a nice arp punctuating the crescendo at the end. Pretty good? Yeah. In truth though, this track does nothing to prepare you for the weird and wonderful delights in this Pandora's Box. Track 2 is 'The 61st Second', by S A Z E R. As a synthwave lover, it should be no surprise that I thoroughly enjoy this track. This is a bite of dark synthwave, that sounds straight out of any of today's retro wave labels. This track nicely bridges the retro feel of 'School Night Dreams' and the dark and distorted... 'Reverse Engineer', which I can only assume is a field recording. A field recording of the time machine of the great scientist Elkingtit. (Or maybe Elkingtit is the lab assistant. Or a bad guy who wants to steal time travel for his own selfish means. You can decide on that one!). This otherworldly, interdimensional track is a chiptune-y festival of glitches, bleep-bloops and Ozric Tentacles-esque modulation experiments. I could imagine this is the sound of a time machine in motion, especially with the track's paradigm shifts. What time you'll end up in after listening to this, is anyone's guess. I ended up back in my own space and time, although my pen has mysteriously disappeared. ...Except I didn't end up in my own time. As the crystal-clear voice of Alexandra Esakova informed me, aliens have arrived to enjoy "One Night on the Earth". I love Spaceman 1981's power ballad to bits. It's awesomely different from the rest of the album and I guarantee that this euphoric, fun song will have you grinning from ear-to-ear. Three eyed cat records The euphoria of this track vanishes as suddenly as it appears. Before you know it, the euphoria vanishes and a tribal beat plays. This is Track 5, Humm Bugg's primitive-futuristic 'Primordial Ooze' which, with its rhythmic, percussive soundscape invokes a tribal ritual on some exotic planet. For the duration of this track, I find myself wanting to be a tribal shaman. Let's recap. In the last three tracks, we've experienced a time machine in motion, followed by two lovestruck aliens partying on Earth, to the ritual of an Eldritch Abomination. As I'm sure you've worked out by now, this is a compilation that keeps you guessing what's to come next. Good luck to anyone who guesses any genre that Track 6, 'The Future a Petra Dish' resembles. The work of Petra Dish and The Nicotine Tingles, this song is… what IS it supposed to be, exactly? It's a minimalistic-experimental track with an erotic-sounding android intermittently talking over the subtly-changing glitchy instrumental field, which has a drum fill midway-through that never comes back again? Is this what floating aimlessly through space and time feels like? I have never in my life heard any song like this one. This song is an experience that all people should hear at least once. As the last of this bizarre soundscape fades out, we return to retrowave in the form of Track 7, 'Timefall' by Endless Wires. This isn't anything too wild, but it's a very well-composed track. The composition is somewhat simple with few structural changes, but Endless Wires does an excellent job of evolving the increasingly rich, detailed soundscape. By the end, there's multiple melodies neatly mixed together, which is neat. Next is Murgatroyd's 'Derailment'. As the title suggests, this is a track that becomes increasingly more chaotic. Similarly to the previous track, it begins quite minimally, only to add more and more detail to the sound as it progresses (or derails!). However, here we see a much more chaotic arrangement with bitcrushed percussion and a slightly discordant mix. This one sees an intro of bleep-bloops and chiptunes slowly make way for a melody. This composition becomes increasingly chaotic and discordant with repeated rising and falling notes in a chromatic scale. Onto Track 9, and we find ourselves with Riddlis' offering of atmospheric trance, with the grand strings of 'Strawberry Galaxy'. The brightest track on the compilation, this makes for a delightfully melodic, luscious composition. If you close your eyes while you listen to this, you WILL feel like you are floating in a galaxy. I guarantee it. Quite simply, this track is glorious. It's back to chaos and distortion with Bitrotator's 'Quite Simple', which is a hybrid of genres that excites my love of unpredictability in music. After a deep, ambient intro, a heavy guitar begins to form… until it builds into an industrial metal of sorts, somewhat like Celldweller. Then we get samples from NES Tetris amidst this metal, which fast turns into a beautiful mud bath of distortion. In short, kinda like chiptune metal: which is practically custom-made for someone like me who grew up on retro gaming and metal. Now I have an overwhelming urge to blaze through time at 88m/ph... We continue through hyperdrive, with the bright, melodic chiptune-fest that is Track 11, '4D Nausea'. Putting aside that Creepy Pizza is an awesome artist name, this track is short but sweet. The last minute, transitioned into by the sweep of a speeding time machine, is the highlight: it will make you grin and wildly flail your arms about. You can absolutely imagine the people onboard the machine dancing with joy as they see an era unlike their own! Eleven down, one to go… the last track is 'Henry Hassel' by Matthew Collington. This one is almost electro-acoustic in its composition. It's very atmospheric, discordant and disorienting - more of a noise experiment than a song as such. However, some of the sounds used in creating a noisescape are utilised in the final two minutes, where the track unexpectedly turns into a burst of experimental techno. This is an unskippable finisher and is one of the standouts of this compilation. Tracklist: Chorus 1986- Schol NIght Dremas SAZER- The 61st Second Elkingtit- Reverse Engineer SpaceMan 1981- One Night on the Earth Humm Bugg- Primordial Ooze Petra Dish and the Nicotine Tingles- The Future a Petra Dish Endless Wires- Timefall Murgatroyd- Derailment Riddlis- Strawberry Galaxy Bitrotator- Quite Simple Creepy Pizza- 4D NAUSEA Moths!- Henry Hassel Conclusion: I am exceedingly thankful to have discovered this slick compilation. The playful energy on this is infectiously awesome, the compositions are mostly very original and there's not a single track on here that I'd consider filler. This is a thoroughly enjoyable, eclectic experience from start to finish. Hats off to Three Eyed Cat Records for getting these artists onboard, and a personal thanks from me for allowing me to experience time travel! Scores: Technicality: 9.5/10 Dance factor: 10/10 Energy: 9.5/10 Vocals: n/a - most tracks are instrumental Re-playability: 8/10 Rating: 9/10 Now, how do I get back to my own time?... Three eyed cat / Whorl Clock Bandcamp: HERE See also chorus1986.bandcamp.com sazer.bandcamp.com elkingtit.bandcamp.com spaceman1981.bandcamp.com hummbugg.bandcamp.com petradishandthenicotinetingles.bandcamp.com endlesswires.bandcamp.com murgatroyd.bandcamp.com riddlis.bandcamp.com bitrotator.bandcamp.com creepypizza.bandcamp.com mcollington.bandcamp.com 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

With this single Elektro Vox brings you the first of a series of several 'Guest' review articles trying their hand at their first reviews for our site to help us with the large volume of requests we have had this month! This review is written by 'Death Awaytz'. As a huge fan of IAMX it is interesting to see another person's perspective who was not familiar with Chris' work at all - Canis E.V Review Angers is an Acid (with IAMX) is the first song from the upcoming album Resonance from cEvin Key, out on February 19th and available on Spotify, Youtube, Itunes and Bandcamp. The start of the track is quite chaotic, a bit messy and sounds like a melancholic storm is about to break up above. This continuous storm beat carries on for the whole song, it's like a scourge that will develop as more instruments enter into the melody, creating a very nice mix of harmonies. The tempo is really slow and the vibes it gives to the whole song is quite melodramatic. From the very first verse the reverb given, is quite 'resonating' to play upon the title of the album. The various added chords; that, fade in and out, give the song a climax that explodes into the second verse and the piano gives a nice orchestral touch while the succession of the various instruments reaches out at the end of the song. The soul singing (Chris of IAMX - E.V) seems very much in pain throughout the whole track, like he is tormented by something irreparable and keeps wandering around for answers in an endless nightmare; Pursuing some sort of light in the anguish his soul seems to be trapped in. There's lot of work behind this single but you'll need the right time to listen to it and appreciate it in the way it deserves. It definitely is not the kind of music you'd play just anywhere, but I'd say you need to be open to the dark and gloomy vibes of this tune to feel most at home listening to it. Overall the song is well structured with many elements; It could definitely sound a bit out of place by itself and might seem a little hard to get in to on the first listen but it eventually gets very catchy by the time it's been played more than twice. For sure it's a track that will grow on you the more tries you allow it. Personally it's not an every day listen, hence why I'd most likely give it a overall score of 7.3; The song isn't quite my cup of tea but it is pretty interesting and I would recommend giving it a go whether you are a fan or not. After giving the track several listens these are my thoughts about it and below you can see how it scored in my opinion. SCORES Technicality: 7/10 Soul factor: 7.5/10 Energy : 7/10 Vocals : 7 / 10 Re-playability: 8/10 Overall score: 7.3 / 10 See Also Bandcamp: HERE cEvin kEy Patreon: HERE IAMX website: HERE Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

I've been a fan of Aesthetic perfection for quite a few years now, I can't remember exactly when but I think around the time of the release of 'A violent Emotion' in 2008. I had a mix CD a friend had given me with no idea who half the artists on it were but now I know that one of those songs was 'Coward' from the first A.P album 'Close to Human' and when I put two and two together (Eventually) it was the foundation being laid for my later love of all things industrial. It wasn't until a few years later when I discovered Combichrist that I really began to leave metal behind for this scene and A.P probably helped that transition a lot more than I realised looking back. It was a real honour for A.P to be my first real text and then first real video interview too, small world! Why do I mention all this? Well the scene we find ourselves in is a strange one. Half the fans of industrial wish for the golden days of the early 2000's to come back with the hellektro and aggrotech style vocals and fast BPM. Whilst the other half bemoan such days and well.. pretty much anything that gets released by anyone actually; Always claiming some undiscoverable (to the rest of us) maturity in their music that apparently makes them feel superior, but rather creates unnecessary gate keeping and frankly.. they're full of bullshit. Serious, what do those people even listen to happily anyway?? Recently Daniel has been poking fun at people on social media constantly telling him to make more music like 'A violent emotion', with this release soon after that he says.. "Me: Hrm, this new song resurrects the vocal style from A Violent Emotion, I wonder if it will appease old fans... Old fans: We still hate you." I can't see why because this release brings together that gorgeous blend of old school A.P with the incredible boundary defying skill put in to the 'Into the black album' and I for one love it and can't see the reason why people need to be so toxic. Not only is the title song a great release but this also comes with a remix by none other than the rising star of Moris Blak! Words from Daniel Graves: "I am beyond excited to announce my new single “S E X” which drops worldwide on January 8th, 2021. Featuring guitars by Sebastian Svalland (Pain, IN MOURNING & formerly Lindemann) this new song continues in the industrial metal tradition of tracks like Rhythm + Control while expanding on my ever broadening vocal and production horizons. This is the first installment of my 12 singles in 12 months project that is being fully funded by my Patreon supporters. Each single is unlocked every time our community gains 10 new members, and, hopefully, will result in a full-length album at the end of the year. Also included is a blistering club remix by MORIS BLAK! To join our community, help unlock future singles and ensure another Aesthetic Perfection LP, visit www.imperfect-society.net. Another great way to support independent artists is to presave and preorder releases before they drop." You can do that right here: https://distrokid.com/hyperfollow/aestheticperfection/s-e-x #IndustrialPop Review First of all this track is pay what you want on Bandcamp so go get it.. Seriously! The robotic vocalisations of Daniel's voice are such a signature and nostalgic opening to this track but is also very familiar in the likes of the recent 'No boys allowed' song. It opens with subtle yet powerful little guitar riffs that add a real sense of foreplay before dropping that S E X bomb main riff and heavier vocal style. It contains all the elements that makes industrial pop so catchy and enjoyable but then throws in the passion and ferocity we all love about metal, all be it a little too short for a full head bang session though. Daniel has achieved the best of both worlds in bringing together the old school vocals and beats with the more recent melodies and depth of his work and I think this is some great skill that shows so much potential for the rest of the eleven singles scheduled for release this year! This is one of those tracks that can't be fully appreciated without large club amps to belt it through your very core but I'm sure that day will come because there's no doubt that this or at least the Moris Blak version will be on many a club DJ's set-list when they re-open. As for the Moris Blak version, there is the undeniable cyberpunk mid tempo action steadily powering up the track to one hell of a break down of break beat and using those screams of Daniel to reach a brand new height of remix potential; It is masterfully done. It brings A.P in to a direction it's never been pulled in to before and it's quite a lot to swallow at first when at around 3:40 it almost sounds like Faderhead singing with the way it's been manipulated! After a few very loud play throughs I can tell you this much.. This is incredible! Scores Technicality: 8.5/10 Dance factor: 8/10 Energy: 8/10 Vocals: 8.5/10 Re-playability: 9/10 Overall score: 8.4 / 10 See also Released on Christmass day: 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

This has been an album I have looked forward to since first hearing Witch of the Vale's track 'Fever' back in 2018. This was back when we had a nice collection of fresh and intriguing bands becoming widely known on the lips of the Gothic community in the UK seemingly overnight; Witch of the Vale, and SKYND being two prime examples. This debut album brings together 8 songs from previous EPs and a remix release, as well as adding five new tracks, and an incredible cover of Lana Del Rey's 'Gods and Monsters.' Most impressively for this album and the band themselves is being signed to Cleopatra records, a label which has some huge names on it with Witch of the Vale currently sat at the top of their Bandcamp page: cleorecs.com cleopatrarecords.bandcamp.com Erin and Ryan Hawthorne bring together two forms of theme in their music. The two sides being the beautiful tragedy of Gothic music and the ancient instinctual atmosphere of paganism in to a rather ethereal blending of spiritual with electronic. Perhaps this kind of soul touching and otherworldly music is only possible living in a remote and beautiful land, such is their location in the Outer Hebridean Isles of Scotland. Recently the band took part in Beat:Cancer at home, performing another magical cover, this time of Nine Inch Nails' 'Hurt' and were interviewed by one of the B:C DJs - Duracell Bunny. Hurt: Interview: Review 'Something Lost' is an ambient track that perfectly establishes the magical landscape, harmoniously mixing electronics with nature, and the soul. 'Fever' and 'Trust the pain' are two tracks that anyone familiar with Witch of the Vale will already know well and for good reason. The slow majestic beats, alongside the melodic grace of Erin's voice, makes it quite easy to close your eyes and drift away on a personal journey without realising where the time went. They are truly relaxing and feel like a bath for the soul that you can happily drown in. The same is true of 'The way this will end.' The string sections alongside the rest of the musical ensemble creates a deep, deep emotional well that is so incredibly easy to fall in to but so hard to get out of. It's Gothic perfection.. 'Undressed' is the first new song we come across in this album and follows the same formula of the previous two Vale classics I just spoke about. There is a real sense of impending dread but it is mesmerizing regardless of the atmospheric and lyrical content. Like a vampire hypnotising their next victim, you feel drawn in and smile at the enthralling tone of voice even though you know something isn't right. How on Earth Vale manages to blend the juxtaposition of making music that should be depressing or sinister in to something rather spiritually uplifting and positive, is beyond me. Perhaps it is an album to vindicate emotions, to sooth and balm with empathy through shared experience, or maybe I am looking too deep in to the music. Who knows? In fact most of the album continues this rather similar template but this is far from a bad thing. One would not expect to be disappointed if all they ever found in their gold mine was gold. After all, if something is working and working extremely well, then keep it going. 'The sky and the sea' deviates slightly in that it feels like a ghost story backed with an air of chillstep which is coincidentally rather fitting in name. This next to one of their older songs 'Your voice' definitely adds to that chillstep vibe with the relaxing beats, sweeping synths, and rain drop perfect piano. The title track 'Commemorate' is a little bit heavier. Musically it feels a lot more industrial on Ryan's part and somewhat Madonna esque on Erin's. There is even a faint underlying aggrotech growl to some the vocals echoing behind Erin's which is a much welcomed addition for those who love the harsher side of industrial and vocals like myself. It is very faint, but mixed in with pure skill. Commemorate music video: 'Gods and monsters' is one of my favourite songs. Not only did Lana Del Rey captivate me with it originally but so too did the American Horror Story version shortly after. Recently Daniel Graves of Aesthetic Perfection covered this majestically in his Cellar session so you think I would have had enough of this song, and how you would be wrong. It's so easy for people to use the word angelic to describe a voice but never has it been more appropriate or deserving to say that Erin's voice is beyond angelic, it is ethereal and completes something inside of those who hear her sing. She therefore covers this song in top form. 'The Ghosts Won't Know' is another classic of theirs that I am so happy is included on this album. 'Live Again' finishes off the album with a dash of classical strings, much to my pleasure. Tracklist Something Lost Fever Trust the Pain Undressed Death Dream Crash The Sky And The Sea Your Voice Commemorate Suffocation The Way This Will End Gods & Monsters The Ghosts Won't Know Live Again Conclusion In a world overrun by dystopia and cyberpunk themes, with Witch of the Vale we see the element that is lost in amongst the technocracy of entertainment.. Magic. There is a real sense of fantasy, of spirituality, and of hope in amongst the dark mystery and tragedy of Witch of the Vale's music. This album is beautiful in it's Gothic tragedy and cinematic scope. Erin is pitch perfect and plucks at the heart strings of every listener. Ryan masterfully wraps his instrumental sections around you like a warm blanket, or like a vine of thorns in equal measure making this a truly emotional complex album to process. Witch of the Vale are true pioneers of blending the line of reality and a real testament to the powerful talent that can be found in the most distant corners, deep in the forests, and away from the mainstream. Scores Technicality: 8/10 Soul factor: 9/10 Energy: 8.5/10 Vocals: 10/10 Re-playability: 10/10 Overall score: 9.1 / 10 See also witchofthevale.com www.facebook.com/witchofthevale 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