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Analogue Blood is a band from Darlington in the form of Ian Hanratty (guitars, programming, synths) and Lee Teasdale (live drums). This is their second EP release in the world of industrial and they are once again joined by the very talented Alice Hour for vocals. This EP stands completely aside from all other reviews I have done this year in that this could be the birth of a new sub genre! In their own words: Algorithms can predict musical preference and scientists can measure the dopamine activity in the brain nuclei associated with a person's reward system defining their musical preference. Great and all but how about you just turn up the volume and listen for yourself to trendsetting capital punishment in the United Kingdom; ANALOGUE BLOOD’s new EP KILL THOSE BEATS. A collective work that began in 2019 and was delayed due to the COVID-19 pandemic was completed and mastered September 2020. The duo describes this independent release as “EBM dance beats with guitar driven rock riffs and ambient psychedelic passages within each song's structure”. ANALOGUE BLOOD has played the Whitby Goth weekend and the Goth City Festival in Leeds but are most excited about their upcoming hometown KILL THOSE BEATS EP release performance in Darlington. Their influences include The Prodigy, Frontline Assembly, Empirion, Chemical Brothers, Pendulum, Killing Joke and Ministry. Review 'Until the sun' opens up the E.P with a mix of meditative female vocalisation, transforming in to blissful Psy-Trance like vibes. There are cyberpunk atmospherics with cinematic themes and deep soul resonating guitar loops. This is the 4am driving anthem you've always been yearning for. It even makes me think a little of the Horizon: Zero Dawn soundtrack until it changes in to a more EDM style of vocals and rhythm. Quite a masterful mix of genres in to something fresh and utterly satisfying on a deep soul level. 'Frozen' by contrast, is unfortunately a mess. The vocal sections are off tempo to the backing samples. There seem to be too many layers and too much going on at once throughout. Yet in a way the experimental nature of the style itself is something to be admired in its own right. With 'EBS' we hear eerily familiar influences such as early Grendel, where as with 'Awakening' we have an almost industrial take on meditational music; Which is something that I believe should continue to be explored. I could fall asleep to this just as easily as I could dance to it! (And that's incredible IMO) 'Insomnia' furthers this trance like industrial exploration but in a more tribal fashion. The retro vibes mixed with modern style intense samples and the heavenly singing of Alice hour make this a blissful track. It's about time we heard a lot more feminine vocals in industrial offerings. This track is a real joy in that same sense of being able to dance to it like crazy, or to sit and chill out to. 'Kill those beats' is a strange punk metal direction of aggressive vocals followed up by rap; which is rich in fast lyrical talent but the direction of which then becomes too grime. Not two genres that you would think mix well at all. Rap is something many artists are experimenting with incorporating to industrial at the moment and to varying levels of success. This is a boundary pushing experiment of a song. Hate it or love it, you can't deny the skill at play here. 'Never fall down' brings the synthwave anthem to the party and 'Virus 2020' is soul lifting with its cyberpunk guitar riffs and heaven sent vocals. Yet another track that makes Analogue Blood stand out in a difficult electronic sea. Finally the Inertia remix of 'Never fall down' really smooths the edges of this album off in to a beautiful addition to any collection. Tracklist: Conclusion: Analogue Blood have touched upon a genre here I wasn't quite sure existed but have always hoped for. A mixture of trance EDM and industrial flow in and out at different parts of this EP creating a deep, intriguing listen that in equal parts relaxes as much as it enthuses to dance. At some points it questions your own comfort at the experimental nature. Here we have an offering of industrial trance, to pardon the pun that is somewhat unlike anything else I have heard this year. The 2nd E.P from the North East Electro duo Analogue Blood releases November 9th, 2020. Top tracks: Until the sun Awakening Virus 2020 Scores: Technicality: 7/10 Dance factor: 7/10 Energy: 8/10 Vocals: 8/10 Re-playability: 8.5/10 Overall score: 7.7 / 10 Annalogue Blood's Spotify 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 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 #ElektroVox #AnalogueBlood #KillThoseBeats #EP #Review #Indsutrial #Trance #IndustrialTrance

On October 1st Daniel Graves of Aesthetic Perfection releases a Halloween inspired single. Many of you may know that 'Pet Sematary' is a Ramones track which was used as part of the Steven King film's soundtrack. The original has over 35 million listens on Spotify! Yet I'm not afraid to say that Daniel has absolutely done this track justice and even outclassed the original in every way. At the moment pre-saving any artists' upcoming releases is incredibly important at the moment for labels to understand realistic fan levels. Please go pre-save the single here: https://distrokid.com/.../aestheticperfection/pet-sematary Daniel has also released some incredible covers in his 'Cellar sessions' on YouTube recently. Billie Eilish - When the Party's over: Lanna Del Ray - Gods and Monsters: Orville Peck - Dead of night: Review Occasionally a cover comes along that you just can't get out of your head. Much Like 3TEETH's 'Pumped up kicks'... That heavy dose of nostalgia from the original is brought to the forefront of the addictive novelty in the new and altered version that hits you in just that right place, really giving meaning to the term 'food for the soul'. There is so much energy in Daniel's version and his voice inflections are so spot on in enthusiasm (which was almost missing in the original) that even though I have only had the private link for a couple of days, I have found myself singing this over and over again out loud whilst going about my usual activities. I really do think this cover encapsulates all of the best bits of Aesthetic Perfection in it's industrial pop energy but also in its sheer charisma, and majestic vocal talent that sounds like golden honey. As this is only a single, I won't give it my usual list of numbered scores but I will give this a solid.. 9/10 (And that's only because I wish it was longer!) https://distrokid.com/.../aestheticperfection/pet-sematary Click for the event page. Our twitch live stream event to aid the Slimelight rescue fund! 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 #AestheticPerfection #DanielGraves #PetSematary #Ramones #industrialpop #cover #elektrovox

Two things in this life are certain; those being death and that anything creative Keith Kamholz puts his hand to is going to be filled with not only talent, but impressive skill refined through constant commitment. What better endorsment for Mechanical Vein than working on this EP alongside not one, not two, but THREE industrial Gods? Those being Zardonic, Caustic, and the mighty Faderhead! In his own words: 'Emotion Blur: Selections' is the long-awaited debut EP from Mechanical Vein. A truly unique take on bass music, this EP's core is Drum & Bass, with a furious blend of midtempo/industrial/hip-hop/metal influences. With visceral lyrical themes ranging from political unrest to deep human connection, this EP is equally suited to both the heart and the dance floor. This release is mastered by Zardonic, bringing his unique flair and experience with hybrid genre work. It is a selection of tracks from the upcoming LP, 'Emotion Blur', and a taste of things to come. Zardonic has also remixed the track "New Blood", with the remix single releasing October 2nd! In the early days of Mechanical Vein, Keith promised that the debut EP would aim to raise money for the Lustgarten Foundation for pancreatic cancer research. As such, any proceeds from this EP's Bandcamp sales(minus mastering costs) will be 100% donated to the foundation, in memory of his late father Douglas. Review 'New blood' starts off with a sample from the one and only 'Blade' and soon kicks you in the teeth with the drum and bass drop kick. It's almost as if a new sub genre is emerging here as a lot of things are missing but a lot of things are impressively different. You might say this is a form of industrial 'trap' step with it's jerky dance feel. It's certainly a breath of fresh air for the alternative electronic scene. Faderhead lends his vocals to 'Feel your noise' which adds a heavy-weight punch to this release mixing that vocal satisfaction into the magical complexity of the music samples that Keith pours his heart in to. "We aim to misbehave." 'TAKN' is the track featuring Caustic bringing a fierce metal edge to the EP further layering the talent and selection for different tastes whilst still maintaining the purity of Mechanical Vein's sound. Then we have 'Ghost Town.' This is Pendulum on a goth trip. The beat is fierce and steady making for an elegant dance addition that will appeal to a much wider and traditional electronic audience. Zardonic's remix of 'New Blood' follows on from that drop kick to the face and then curb stomps the remainder of your teeth out in an aural assault that is beyond words. It's a devastatingly energetic twist which will see people dancing till their feet bleeeeed. Tracklist New Blood Feel Your Noise (ft. Faderhead) TAKN (ft. Caustic) Ghost Town New Blood (Instrumental Feel Your Noise (Instrumental) TAKN (Instrumental) Ghost Town (Instrumental) Conclusion For a not-as-well known (yet!) band on the scene even though Keith is part of the UK giants that are Biomechanimal, this is a very impressive offering that is going to get them the notice they deserve. To have so much talent from across the industrial and EBM world found on one little EP is nothing short of miraculous and fair play to Keith for his hard work and networking abilities. Although Keith's rap esque vocals are not something I am usually a fan of, I find that they have blended in much better and enjoyably in this fantastic EP as opposed to previous releases such as waves. I also very much enjoy that there are instrumental versions added in too, something quite rare to see. I'm extremely impressed and can't wait to see what magnificent creatures Mechanical Vein are gonna pull out of their hat in future! Scores Technicality: 8/10 Dance factor: 8/10 Energy: 8/10 Vocals: 7/10 Re-playability: 9/10 Overall score: 8 / 10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider 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 #Biomechanimal #MechanicalVein #Zardonic #HybridBlak #Industrial #IndustrialMetal #Caustic #Faderhead #EBM #Goth #EmotionBlur #EKeithKamholz #EP #News #ElektroVox #Review

The 25th of September will see the release of the Leg Puppy Vs Dicepeople 04 EP containing four remixes of Leg Puppy songs by Dicepeople, featuring Josefin Öhrn and The Liberation plus Voi Vang. The EP will be available on all digital stores and streaming services. Here we bring you two of the music videos out of the four companion videos to the EP's release. Black tears is a wonderfully deep track melding the best parts of old school electronic Eurythmics with the vocal serenity likes of Witch of the Vale. Half of the track is build up but the second half with vocals is pure soul soothing perfection. "Black, white and chrome.." Paranoid is a joy ride of old school EBM influences and an ideal track for Halloween.. Spotify pre-save link: https://distrokid.com/hyperfollow/legpuppy/leg-puppy-vs-dicepeople-04 Leg Puppy have been compared to the early days of The KLF. The multimedia electro psych outfit are one of the most exciting bands around. Dicepeople is a dark electro band from London consisting of Zmora (vocals) and Matt Brock (music). Originally founded by Brock and going strong since 2013, Dicepeople have an extensive, well-received back catalogue and are known for their intense, immersive live performances. 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 #ElektroVox #Dicepeople #LegPuppy #EP #EBM #Electronic #Upcomingrelease #news

What a time for Mourn to grace my inbox. In a time where a lot in my life is in a state of upheaval, flux, and mourning for the year we didn't get, for a relationship now held by a thread, and for those we have lost. Mourn is certainly an album I have struggled to face reviewing for fear of it's effects upon my own emotions and when you hear it, you will know exactly what I mean. In their own words.. Seattle based Tom Shear founded Assemblage 23 in 1988 as a solo project, eventually signing his first record deal a full decade later and thus beginning the process of establishing himself as one of the most successful American electro-industrial artists of the modern era. Combining genre-expanding electronics with intensely personal subject matter, ‘Mourn’ is his glorious ninth album and a standout release in A23’s storied catalogue. Beyond the trappings of modern EBM and industrial styles, ‘Mourn’ seamlessly blends danceable electronics with intimate and soul-searching lyrics and is a breathtaking record from one of the best acts in the genre. Mourn trailer: In that description we have even more to connect meaning to 'mourn. This album wishes to escape the modern trappings of EBM and yet in so doing creates a melancholic nostalgia for the golden era of the genre even as it struggles to distance itself from said modern trappings. 'Mourn' combines the best of both worlds in the sense of classic genre touches that are now inevitably bound with the modern dance signatures to appeal to the market we find ourselves in. I suppose the release date of the 11th of September certainly holds a lot of meaning to people as well.. The album opens up with 'Epiphany' where the satisfaction and expectation of Gothic talent is immediate. There are clearer layers and less harsh samples than in previous offerings and it is indeed, pleasant listening. It has clear and concise elements and brings memories of all the times you've had a great night at a goth club or festival and makes you long for them again in quite a beautifully devastating fashion. 'Factory' has some good beats but the vocals are a little muffled and the rhyming stings a little too obviously which is then balanced out by the relaxed and almost synthwave like 'Bloom'. With 'Anxiety' we are presented with the perfect music for a haunted house in space or an episode of Twilight Zone. It has some wonderful hints of God Module and really brings out the Assemblage 23 feel. Anxiety: There is an old school Depeche mode sound which is very recognisable in 'Confession' that would make anyone have to do a double take to make sure they are indeed listening to Assemblage 23. It is very clever with its clear influences whilst standing out from the norm. 'Welcome, Apocalypse' has to be my favourite on the album. It is very much a commentary on the state of the world now and how surprising this slow apocalypse has been, especially with the way people have behaved as opposed to something more immediate and recognisable as an apocalypse per say. Welcome Apocalypse: 'Tragedy' brings those previously metioned danceable electronics with a real pick up in energy that is then wonderfully complimented by 'This house is empty' further increasing on that dance factor and ending the album on a hopeful high and I love it. Tragedy: This house is empty: Tracklist Epiphany Factory Bloom Anxiety Confession Dissonance Welcome, Apocalypse Could've Tragedy This House Is Empty Conclusion Overall it is a highly relatable album in terms of lyrics and energy, almost to an uncomfortable degree being that we have all suffered this year. For some this may be the soul soothing and vindicating sorrow filled electronica their heart desires; For others it could be a further pull on strained emotions that is just too difficult to listen to right now. Either way this is a very compelling album and a very different and interesting offering than what has so far been released in 2020. Tom has done a fine job with this album but it seems to be missing the energy and fire that 'Endure' had. That's not a bad thing, if anything this is an ideal second side to the coin of 'Endure'. I look forward to hearing the extra songs on the special edition to see if any further energy is injected in to the final edition. Scores Technicality: 7/10 Dance factor: 6/10 Energy: 6/10 Vocals: 6/10 Re-playability: 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 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 #ElektroVox #Assemblage23 #Mourn #TomShear #Endure #WelcomeApocalypse #EBM #Industrial

Vicious Precious has been busy releasing the third and raunchiest music video so far for the album 'Soul for Sale' in the form of 'Tones & Whiskey', the 'Tones standing for Deftones of course. Elektro Vox was lucky enough to be part of this video and interview Vicious straight after. Give them a watch and see below for the other music video releases. Interview: I know you hate the angle on this interview Vish, Im so sorry! (Our camera man was passing out from a long day so it was filmed from the floor!) Puppet: Soul for sale: Also check out the great T-shirt design by another one of the Elektro Vox team, Rhea aka.. @_sketchy.spacegoth_ HERE This and other cool Pretty addicted merchandise can be found on: https://prettyaddictedofficialstore.bigcartel.com/ 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 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! #PrettyAddicted #Soulforsale #Tonesandwhiskey #puppet #single #industrialpunk #punkmetal #ravepunk

Bellhead are a Post-Punk duo made up of two Chicago scene veterans who have left their mark across the tattered live music scene. Consisting of High Bass/ and Lead Vocalist Ivan Russia, formerly of the infamous Ahab Rex, Mr. Russia, and Sheriff Scabs; partnered with Low Bass/Vocalist Karen Righeimer- who has been featured as a current or former member of bands such as Fashion Bomb, Team Cybergeist, W.O.R.M, Now I'm Nothing, mindfluxfuneral, Bethany Thomas, and Pigface. Sometime in the spring of 2018 during a hard night of consuming adult libations, these two bass slingers decided that a new double-bass project was needed in this world, and ultimately, Bellhead was born. Their music together as Bellhead can be characterized by two part harmonies along with hard edged bass lines that are littered with drum machine sounds akin to the pummeling of Godlfesh or the sophistication of NIN’S Chris Vrenna. The duos songs may have a simplicity to them but that only hides the dark lyrical content (love, lust, murder, crime, drugs), massive driving beats, and the filthy bass sounds that they can squeeze out of their nebulous and shadow rigs. Their live show consists of a complete audio and visual attack on one’s senses by using elements of noir film, strobe lights and walls of fog to truly capture the serial killer feel that one feels while being trapped in a large metropolis like Chicago where crime and corruption are the norm. Bellhead has already set in motion to have a successful 2020. They are featured on the Electronic Saviours Volume 7 compilation, DSBP Records Vol 7 compilation, and have provided direct live support for The Birthday Massacre, Julien-K, and Sister Kill Cycle. Review This EP opens up in a promising fashion with a guitar riff that rips in to you but sadly stops almost as soon as it's started. It's a tease, a building of tension as the guitar drops in again and again until the chorus - releasing some of that tension only to stop and repeat the process again. There is a quite famous and somewhat ridiculous Japanese band by the name of Guitar wolf that springs to mind with the punk feel of the melody in this opening track 'Snuff film 1974'. At the same time there is also a simplicity to the layering of instruments that makes it easy to listen to regardless of the aggression evident in the lyrics and the power riffs. You might say it's somewhere between 90's punk and minimalist grunge. The title track 'Unicorn Bones' has Pigface and Sister machine gun written all over it and it was a real pleasure to find out Karen is indeed a former member of Pigface. There is even a touch of the band Helmet who people may be most familiar with from their track in the film 'The Crow.' There was a time when industrial was heavily influenced by punk before evolving in to EBM and in this track we hear those best parts of that early evolution brought in to the current year in a rather impressive fashion. There are some very stylish drum beats and clap along parts that Im sure go down very well in a live setting. 'Always' has the same vocal feel of the band King 810 in its intensity and deep, meaningful story telling. It is an ideal mid point track to cleanse the palette of the first two aggressive songs. There is something quite simple yet infinitely satisfying about the approach this song takes. It even reminds me of early Dance Gavin Dance as well in many ways but in a much more respectable Gothic manner. 'Knife' is a Halloween anthem with spooky sedative feels. This is where the serial killer aspect of their lyrics is most prevalent. There is a sense of repetition and the track doesn't really go anywhere but that's okay because it doesn't need too. It is deceptively evil in it's easy listening. Finally we have 'Sidewinder' which builds up slowly but continuously. The lyrics are clearly aimed at someone they view to be a snake and when the drums kicks in we are treated to a considerable energy boost that brings about their clear love for old school Goth influences such as The sisters of mercy. It finishes the EP off in a burst of aggressive energy that leaves you wholly satisfied. Tracklist: Conclusion: Bellhead are an unexpected find who have impressed me almost instantly with a twist on traditional genres that I have not quite heard before and the passion Ivan and Karen have is very clear throughout. It seems to me as if they are still trying to discover their ideal sound but it is rather enjoyable as an audience member to experience that journey alongside them when listening to their songs. 'Unicorn Bones' is a real treat for the senses, an unexpected candy bar a friend has handed you when you're hungry for something but you don't know what, it hits the right spots and is rather tasteful. Scores: Technicality: 5/10 Dance factor: 6/10 Energy: 7/10 Vocals: 7/10 Re-playability: 8/10 Overall score: 6.6/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider 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 #Bellhead #UnicornBones #postpunk #Industrial #grunge #CaitlinCorlyx #Gothic #review #release #indie #releases #Pigface #EP #Chicago

Last year we were treated to God Module's new album 'The unsound' which Elektro Vox was lucky enough to review first which can be found HERE. We were also had an album give away after our video interview at Slimelight Elektrowerkz with the band available HERE. 'The Unsound' was a very well received album that reinforced that difinitive God Module core sound that everyone has come to love over the years. It encorporated different slithers of sound from their back catalogue in to a delightful modern offering. With 'The unsound remixes' to be released on the 7th of August it feels as though the alternative community have really come together to pay loving tribute to one of the main idols of industrial. One minute tracks like Iris' remix of 'Hindsight' embrace your ears like a comfortable and warm bath, to the next where you are foot stomping along to the likes of ESA and Ruined Conflict's ideal renditions. This album has everything that is lovable about God Module but in a way that is infinitely more approachable as the album stretches and grows in so many different sub genres whilst remaining quintessentially God Module at its core of course. I found it impossible to do a full review as I would have to speak about seventeen bands at length, let alone God Module themselves for such an article. However I will say that it has been a real treat to listen to. If God Module were a dragon, these remixes would be the shining diamonds and rubys amongst the treasures of which they horde; for all to be at awe with upon listening. Having said that I will give this album: Overall score: 8/10 It is full of wonderful, if not contrasting arrays of musical stylings to choose from and it truly feels like God Module have been honoured in the way they deserve because come on admit it.. We all really love the God Mod! (And what would the scene be without them?) 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 #GodModule #Industrial #EBM #Goth #Helllektro #Aggrotech #TerrorEBM #Slimelight #Elektrowerkz #TheUnsound #TheUnsoundRemixes #ESA #RuinedConflict #Iris #JasynBangert #AndrewPearson #Review #Release

Artwork editing - Olivia De Lame Symbols of currency carved in to teeth, set amongst a wired shut and shattered jaw. The perfect metaphor for this EP. There are some artists out there who you can never quantify. The first time I saw ESA play live I was unaware of Jamie Blacker's Industrial power noise - Deus Ex Machina - that takes it's form in ESA. I stood at the front of the Elektrowerkz stage eagerly waiting for Memmaker to play. Before that I was to be absolutely destroyed by Jamie's set, giving real vindication to the name of Electronic Substance Abuse because although I was sober at the time, (I had to drive home) I felt one of the most psychoactive intense moments I've been lucky enough to experience; The very reason for why people say music is what makes life worth living. This was something different though, this wasn't great songs, and feel good rhythms, it was pure, unadulterated shock and chaos which antithetically can only come from the order of absolute order and skilfull perfection. What do I mean by this? What I experienced was a constant wall of power noise, of primal, soul crushing loops and beats. An overwhelming cacophony of aural assault that took control of me and made me rave until my legs were almost shattering and I had NO CONTROL over that. This chaos of music had possessed me; However music can't just be thrown together to achieve these results. It takes the disciplined skill to put every single beat in it's correct place. Every single sound has to be uniformly ordered in it's chaos to bring about the sounds that have made Jamie the KING of electronic music. All hail to the king. That covers the chaos theory, now for the shock.. If the shock of losing control of my body and mind to that set wasn't enough, the violent and macabre images being played on the stage were equally shocking; so much so that a girl next to me went from dancing away happily to staring mouth agape and quite uncomfortable at the visuals. Here there was a turning point. For me this seemed like a form of catharsis; of coming to terms with the darker side of life and instead how to stand against it and how to improve in all aspects of life. Sadly for the girl next to me it seemed the opposite was true, she wanted to hide from these realities and withdraw from not only what was uncomfortable to her, but also from herself. At least this is how it seemed as she backed out of the crowd. ESA is the true primal music of the soul, not some £2.99 Chakra meditation CD in a bargain bin that people think is soul music. That shock has never stopped, it has only taken different forms. With each release I have had to drag my jaw off of the floor time and again. From the overwhelming power of 'That Beast' to one of the most incredible album releases this year in the form of 'Burial 10', I continue to be shocked. Now with the release of this EP, there is still no limit to the impressive talent once again thrown in our faces. Having featured in the track 'You are safe here' on 'Burial 10', Caitlin Corlyx once again joins ESA for 'Eat their young'. I have to say this is an absolute dream duo. Having seen them perform together at Static Darkness festival and now in this music video, I am still trying to crowbar my damn jaw off of the metaphorical floor at how well they compliment each others musical strengths. I was lucky enough to hear the work in progress of this EP and give my opinion on which video should be done first and I am so glad it was indeed 'Eat their young.' As I mentioned with turning points before, this release is also a turning point for Jamie. Would ESA be able to continue? Would anything be achievable again? Smashing himself out of that mindset, he filmed the video in Leeds city centre at 4am, Planted his flag at Castle Hill - Huddersfield, and had Caitlin join him in a studio with only 2 days notice (How wonderful of her!) and that is how we now have the majesty of this release. He reached that turning point and proved once again that he can keep going in the right direction and will be keeping that throne warm for a long time to come yet. 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! Review 'Eat their young' is the personification of all the anger and resentment we feel at the world right now. With a hint of the Joker's approach to when people.. "Get what they f**ing deserve!" Caitlin plays the protagonist, the capitalist who is corrupt, wasteful, uncaring and ugly yet beautiful in her sins. Jamie plays the angry worker, the one society has stamped on, the one who will put an end to the corrupt rich. In both aspects here.. Apex predators eat their young, be it their own (Caitlin) or the young of their rivals (Jamie). Either way this track is furious. The bass never quite drops in the rave way you would hope for but that only adds layers to the frustration and anger pent up inside the message of this track. You won't get the release you want but you will damn well enjoy the fire and the flames the beat stokes within you. 'The scorn' however delivers the drop you need. It demands to be played louder and louder each time. Almost like a sentient track seeking to possess you as I previous mentioned ESA tracks seem want to do. The speech sample sits so well within the theme of the EP that it sets the track up before it's even got going. It is a real espresso shot of a track. 'It takes over' has to be my favourite on this EP. Not only does it have that signature ESA set of beats and loops but Jamie once again adds his vocals to a track, something I am so glad to see him doing more often with ESA in recent times as it adds that extra layer of class to the music. It brings you the dance, the aggression, the mindfulness, and then it hits you with a relaxing synthwave feel - Something very unexpected. Once the synths have relaxed you, you are free to float away with some incredibly impressive female opera that has been chopped up and backed with an ideal drum loop. I've not really the words to describe it but it is yet another way in which the music of ESA can take you on a psychoactive trip even whilst sober. Moaan Exis' remix of 'Eat their young' rounds of this album like a neatly wrapped gift. It capitalises on Caitlin's parts of the song and presents a nice amalgamation of industrial influences in to one whilst still maintaining that undeniable ESA feel. Tracklist: Eat Their Young (feat Caitlin Corlyx) The Scorn It Takes Over Eat Their Young (Moaan Exis Remix) Conclusion: Electronic substance abuse continues to push the boundaries of musical talent and the set level of the bar at the top. Although ESA is beginning to sound less niche and more accessible to wider audiences, this is by no means a bad thing. This is simply adding more land and followers to the 'kingdom' that Jamie has created, with Caitlin (and Corlyx) being a proud ally of that kingdom. Heres to hoping that ESA continue to impress us all and keep our jaws smashing through the floor for many years to come. Scores: Technicality: 9.5/10 Dance factor: 8.5/10 Energy: 9/10 Vocals: 9/10 Re-playability: 9/10 Overall score: 9 / 10 See also: ESA- Burial 10 album review and interview - Here Corlyx - Together apart album review - Here ESA video interview - Here Music streams with ESA + Corlyx - Here ESA + Corlyx on the alternative directory - 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 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 #ESA #ElectronicSubstanceAbuse #Poiwernoise #Industrial #syntheticMusic #CaitlinCorlyx #Goth #review #interview #album #releases #Eattheiryoung #Corlyx #EP #TheScorn

Apop have always been a huge favourite of the industrial and Goth electronic music scene and they once again return with an EP indicating that direction the band intends to head towards. The opening track 'Soma Coma' is one that I have had stuck in my head a lot and been humming to myself daily with its upbeat easy listening and catchy lyrical hooks. There are hints of Human League and contrasting lyrics to the melody in the same way 'pumped up kicks' lays itself out. However the rest of the EP is very different to what you would normally expect from 'Apoptygma Berzerk'. There is a spooky atmospheric track in the form of Jennifer Corvino and a 4am nightclub foot stomper in the way of the 'A battle for the crown' remix.' The track 'Nearest' that has been played live for the past three years is finally available on this EP as well. The rest of the EP heads in experimental and easy listening directions that may not be to everyone's tastes but are none the less worth checking out. Available on their band camp: 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. 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 #ApoptygmaBerzerk #NeinDanke #EP #Release #SynthPop #FuturePop

There are a few crowd favourites when it comes to Biomechanimal's live shows and amongst those is Enter the animal. It's a song many of us have heard and shouted 'HEY!' along to for years now but we have yet to be blessed with a way outside of live shows to hear it again. Now after five years hard work and two out of this world remixes, we can soon finally enjoy this Mecha-Godzilla of a track at our leisure. Hit the pic to pre-order 'After 5 years of shows, adventures, rewrites, rerecords, hard drive failures, and other bodily fluids, we are happy to finally unveil our next single, the long awaited ‘Enter the Animal’. An absolute staple of our live show, a crowd favourite, and much loved by the band itself, this is our party song. Featuring remixes from our good friends Sirus and C-Lekktor, artwork by Midiankai ARTS, mixing and mastering by X-FUSION MUSIC PRODUCTION, and released by HYBRID BLAK, this single is the culmination of 5 years of hard work and experience. Released Friday 14th August on Spotify, Apple Music, Bandcamp, YouTube, Soundcloud, and all other streaming services. From left to right: Keith - Electro-Axe, Kekko - Drums, Lex - Bass, Matt - Frontman (Front) Review: If you have not had the fortuity to stand at the front of a Bio concert and fist pump along to the HEY chorus then are you even in the scene? haha! Seriously though it is something everyone who has a love for industrial metal should experience at least once. It makes you grit your teeth, breathe harder and deeper. It makes your blood flood with endorphins and unleash as you rip out the scream 'HEY!' along with the rest of the crowd, like a futuristic war-cry. It is a boot breaking stomp fest. The C-Lekktor remix opens with the Princess Mononoke sample 'Disgusting little creatures' and instantly takes you on a Studio-X style rave with it's techno inspired sound and yet that undeniable aggrotech edge which is punctuated in fist pumping awe by the way they have made Matt's vocals so clear and matched to their version of the beat. This is pure energy, pure indulgence, pure righteous fury. It is FIRE and I am shocked by how much speed C-Lekktor have injected here. The Sirus remix soon hits you with the tag line "Biomechanimal - Enter the animal" setting you up for instant awesome overdrive as they have in contrast slowed down Matt's vocals turning the track in to a much heavier yet more approachable foot stomper in an almost dub step way. Scores: Technicality: 9.5/10 Dance factor: 9.5/10 Energy: 9.5/10 Vocals/Samples: 9/10 Re-playability: 9.5/10 Overall score: 9.4 / 10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider making a small donation - The price of a single drink :) - to keep us running, or sub to our YouTube. 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 #Biomechanimal #EnterTheAnimal #C-Lekktor #Sirus #Studio-X #Industrial #IndustrialMetal #syntheticmusic #EBM #Goth #Single #News

No matter what vocal range a song calls for, Caitlin seems to hit the mark every time, be it soft and melodic, sung to deeper classic Goth bass lines, or furiously throwing her vocal cords around such as in 'You are safe here' with ESA. She hits it EVERY. SINGLE. TIME. This is also a band that never gives up. Caitlin has made music her life and that dedication shows. No matter the size of the crowd or who is listening, Corlyx play for themselves and that is often where we find the most passionate artists destined for higher heights. Now Corlyx are dropping an album in a different direction to before, proving that they deserve a seat at the Gothic table and no one will keep them from doing so. With 'Together apart' they are here to stay so shut up or find another table! We spoke to Caitlin about the album and put together a review having been lucky enough to hear it before it's September 15th launch on their new label Negative Gain. Interview: Q. You mentioned to me before wanting to try something different from your previous albums, how would you describe to people the change in direction this album brings and what this album is all about? A. Theres always been a noticeable shift between all the work we have put out over the last 4 years, however this record was the biggest change, entirely stepping away from an Industrial/dark electro back catalogue to now something in the Post Punk/Darkwave world. I had toyed around with the idea in the past, but this record was primarily written and produced during Lockdown so for us, writing a goth record finally felt right. I grew up with a Goth Mom and she always had some amazing 80’s playing when I was very young, to say I’m influenced by it would be an understatement. Q. With the new video for ‘Porcelain skin’ you have some great vintage footage in regards to mental health which is something you have mentioned elsewhere that it is very personal to you. What is the real message behind the song and video that you want people to think about? A. I wrote Porcelain Skin during Lockdown but it was also directly after a trip I took to Florida to see my mother after not seeing her for 6 years, she has really debilitating mental illness that keeps getting worse, seeing her living in the state she was in was one of the hardest things to finally come to terms with, she thinks the sun is poison now so she hides from it to the extent that her skin seemed so fragile and pale and the site of her really shook me. I’ve never publicly talked about this but I felt it was time, in a way sometimes the reality of people who are sick can have this dark beauty. I wanted to talk about that, the track was for me to get that out, if people connect to it in anyway I’m happy for that, but it was very personal I’d say. Q. Which songs are you most proud of in this album and which single/s can we expect further down the line? A. I’m obsessed with 4 tracks on this record and I keep going back and fourth with favourites, 'We See Red' will be out next with a music video then 'White Wolf', I’m not sure we will shoot a video for 'Find The Killer' but that’s a damn good track, and then there’s 'When The Witch Comes Out' which is so haunting, I’m just like so into this record I’m still not tired of it. Brandon Ashley did such an amazing job mixing and mastering it as well, I’m very lucky to have his dedication. Q. There are some incredible bass lines sprinkled throughout this album, and I believe there’s news of a new bassist? Were the song built around the bass lines this time or was the bass added in after the tracks were formed? A. To me that’s what post punk is all about, just these dancy dark bass riffs. I really wanted that to be the focus and I wrote all of the other arrangements/vocal melodies from the bass line - and yes there will be a new addition to the live lineup, we will announce who and when soon. Q. What difficulties with lockdown have you had in putting this album together and did the extra time make things easier in some ways? A. Lockdown was really shocking for us all collectively, I felt the suffering and fear of so many people, I wrote 'Black Wind' which specifically addressed how we were feeling, like sitting there watching the news in shock that this was real life. Overall for me as a person I do really well with trauma having grown up in it, that’s why I became such a valued surgical nurse in my field, I just have always been good under pressure. I try to be optimistic and a realist at the same time. I ended up being a resource for a lot of my close friends that weren’t doing so well mentally with the reality of Covid, and they were very thankful for that. Creatively, we wrote the best record of our careers, made a lockdown video, got signed to Negative Gain, and got kittens, so all in all, aside from tight finances and having to cancel shows, we did really well. Q. You have once again done an incredible feature with Electronic Substance Abuse’s new song ‘Eat their young’ and the video will be released on the 30th, how did that song come together for you both and can you tell us about your experience filming the scenes for it? A. The first collaboration went so well, and he reached out again, asked me to be the antagonist in the track, it was another powerful production. lyrically I thought that was very interesting, then after I wrote my parts the visual concepts were flooding in and we agreed we had to make a video for it. Jamie shot for like 5 days, I was there for two, we had a blast going around fucking shit up and the Director Myles Faernley was so great to work with I hired him to do the two Corlyx Music Videos, so you’ll see a bit of the connection there. Q. Is there an overall conceptual idea to ‘Together apart’ and how do different tracks bring those elements together? A. Not really, for the first time this isn’t such a personal album. I wanted it to be spooky and danceable, there’s like 2 personal tracks but the rest are just a peek into how I see things. The title was inspired by the lockdown of course, Together Apart, I don’t want people to always think about that when they listen, but the reality of how it was made is a part of the work. Q. There is a lot of 90’s influence that I pick up listening to this album from Garbage, to No Doubt, to even a touch of Madonna and something akin to a dark sibling of the band Curve; Which alongside classic bass and keyboard tunes makes for some very nostalgic, yet instant goth classics such as your track ‘Find the killer’. Was mixing post punk and traditional dark wave together planned or just the way the album came together? Because it is a wonderful combination. A. It was the first time I planned to 'do a genre' I usually just make music and then after I sort of label what I think it sounds like, fans pick up on so many different influences. I like that it is always different for everyone, it just solidifies Corlyx as it’s own thing, I really am not trying to be the next XYZ or whatever... I love a lot of different styles of music, but yes this time we sat down and I told Brandon, I want to make a proper Goth Album, musically you can hear that, and my vocals will always have 90’s vibe to them, all my female influences are primarily there, except Siousxie and Kate Bush of course, I'm also a huge Harriot Wheeler (The Sundays) fan and my voice sometimes sounds like hers when I’m going very soft, I feel like I learned how to sing from her. Q. What life lessons has Corlyx taught you so far? A. Corlyx has taught me to never give up on your dreams, as cheesy as that sounds... We worked so hard, and no I’ll never be a millionaire but it’s really not about that, I love seeing my baby grow. Q. Anything you’d like to say to your fans? A. Thanks for sticking with me through all the changes, ups and downs, 2021 worldwide tour is happening, our CD will not only be available online but in actual record stores. In America it will even be in Target and Wallmarts! Thank you Caitlin! 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. Thank you! Review: How else to start a Goth album than with a wolf's howl and the bass riffs that make you instantly start throwing cobweb hands around a dance floor? In the opening track 'White Wolf' we have our ears hooked, reeling us in to become caught up in a very promising beginning. Caitlin's vocals are smooth and enticing yet fierce, the bass and drums set off that primal instinct of wanting to 'hunt' around a dance floor and make yourself known. For a very classic Goth sound, it sure does empower and energise you but it stops abruptly and all too short sadly leaving you hungry for more. We are then yanked in to a very different direction with 'We see red.' There is a nice slap to the bass guitar and a familiar touch of Tory Amos comes across in the vocals which are harmonised to perfection with Brandon adding his voice to the Gothic Hymn. Which then leads us to 'Find the Killer'.. This has all the hallmark sounds of a night out. You've just checked your coat in and got a drink; As you move away from the bar you begin to hear this absolute beauty of a song calling to you like a siren, demanding you get on the dance floor and have your first sway of the evening. Even though this is a brand new song, it sets off HUGE nostalgia and memories of that first sip and need to dance at Slimelights London. So in short.. This song sounds like home. The guitar picks at the strings of your soul, not just your heart. Caitlin's singing is like a medicinal honey easing away all of your pent up stress with that slight twang of anger that then helps vent at the same time. This is an instant Darkwave hit in that it has everything that makes Goth music great. Even the lyrics are a fantastical journey of innocence encountering danger. The attention to genre detail in this piece of work is nothing short of perfection and I really do not say that lightly. The first single from the album 'Porcelain skin' is a little at odds tempo wise, almost like two competing tracks playing over one another. It's a busy song. Like a darkwave soundscape but with a Smashing Pumpkins vocal progression. However it does bring up lovely images of driving in a convertible along the Californian coast. Goth's on tour you might say. This is definitely where the post punk element shows through and the serious nature of the track makes it a real aural attack on the senses which helps to get the mental health story of the song across. There are a couple of songs that don't hit the mark for me but that's down to my personal taste. Each song in this album has been well thought out and produced with real care. From the deliciously upbeat 'Stitches from California' to the easy listening of 'Black Wind.' I've heard some reviewers have not been keen on the ending track 'Cold' however I think it is an ideal cool down to such an impressive album.. Caitlin whispers a Lullaby with a sense of seduction and sensuality. The frequency level of the music takes you on a tranquil trip through space which makes it a wonderful piece of music for chilling out to. Tracklist: White Wolf We See Red Find The Killer Porcelain Skin When The Witch Comes Out Jump In Stitches From California Black Wind Your Love Is A Curse Cold Conclusion: This deserves a place amongst Darkwave greats. Corlyx have put together a damn fine album that will have you swaying on a tranquil Goth dance floor one minute with your drink, to spilling it constantly as you wave your arms around and begin to move in the next. There is a selection any Gothic DJ could pick and choose from comfortably here and know that they wouldn't have gone amiss in doing so. I very much love the direction they have chosen to take with this album and I hope they continue to showcase just what else they can create in future. All in all a truly exciting band who have great things destined hopefully! Top tracks: Find the killer White Wolf Cold Scores: Technicality: 8.5/10 Dance factor: 9/10 Energy: 8/10 Vocals: 9/10 Re-playability: 8.5/10 Overall score: 8.6 / 10 Check out Corlyx's Alternative directory listing 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 making a small donation - The price of a single drink :) - to keep us running, or sub to our YouTube. 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 #Corlyx #TogetherApart #DarkWave #PostPunk #syntheticMusic #CaitlinCorlyx #Goth #review #interview #album #releases #ESA #PorcelainSkin

Here we have a handful of albums and singles released recently, all of which deserving of being in your music library. Also including a re-record from In Flames who although metal in genre are an ever loved favourite of mine. Singles Faderhead (Featuring Solar Fake) Aesthetic Perfection and Chemical Sweet Kid Witch of the Vale Scenius In Flames Studio X and Simon Carter DK-Zero 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. Thank you! Albums Apoptygma Berzerk Mortiis Menschdefekt Full Elektro Vox review and interview HERE 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 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. Thank you! #Scenius #Menschdefekt #WithcoftheVale #Faderhead #SolarFake #InFlames #Mortiis #ApoptygmaBerzerk #DK-Zero #StudioX #AestheticPerfection #ChemicalKid #Metal #Industrial #IndustrialMetal #syntheticmusic #EBM #Goth #Single #News #album #releases

Menschdefekt (roughly translated as Broken man or sick man) is one of three bands that got me in to industrial /EBM in the first place. When the Human Parasite was released in 2010 I was blown away by the dance rhythms, the film samples, the harsh distortion vocals, and the completely different sound to anything I had heard before then (Having been in to Metal for the most part back then) Plague (video below) remains my favourite industrial track to this day. So when I heard they were releasing a new album for the first time in six years, I had to get my hands on it as soon as possible! I have not been disappointed, it is a nostalgia trip for me in a way, but it is also an album full of future club hits (I hope). 'Empty World' returns to their 2010 roots in their sound and song formula and I really do hope this album sees success far and wide. We spoke to Nik about the new release. Interview Q. For those who don’t know, who are the members of Menschdefekt and what is the theme your band’s music and message? A. Menschdefekt are Fredrik Croona (Cynical Existence) on vocals, Tandrin (Mechanical Moth, Novastorm) on guitar and me, Nik, who does all the music, programming and mixing. The music can‘t be put in to one 'drawer'. I‘m influenced by various genres such as Electro, Industrial, Trance or even metal which is why I always wanted to have a guitarist in the band. The lyrics by Fredrik are all about the fall of humanity/society and the depravity of humans. We were always socially critical and unpleasant. We do our own thing. Fortunately, with Infacted Recordings, we have a label that allows us complete freedom in what we do. Q. It has been six years since the release of ‘Touch of Madness.’ What has the band been up to and what made you decide to come back with this new album? A. I focused on work and private life. Fredrik released lots of stuff with his own projects at the time and he still does. A friend of mine invited me to Tandrin's New Years Eve party two years ago. I didn‘t personally know him before. I knew that he played in some bands and that he was DJ‘ing, so we talked about music and I found out that he was familiar with Menschdefekt. He was one of the people who got me to continue this project. Q. This album seems very much focussed on the way the world is now with Covid-19 and right wing oppression. What is the inspiration and thought process behind this album; Was this the way the album was always planned or did the direction of it change a lot with the continuing madness we have seen in 2020? A. The biggest part of the album was finished before Covid-19 became a topic. Nothing is really planned in Menschdefekt. So… no, thats not the main point. It‘s more about trends in politics and society in general. Everything in the band is affected by personal feelings. The lyrics are not always meant literally. Soemtimes they are just metaphoric. Q. There are a lot of remixes for the single ‘Cursed.’ What made you choose this one for remixes, and who has been your favourite artists to work with in regards to remixes? A. 'Cursed' is a catchy track that might do well in the clubs so I thought it was a good idea to release it as a digital single in advance. It‘s always fun to see how other bands implement your songs. My personal favourite are Ruined Conflict's because it sounds very different, and the remixes by Frame Of Mind, Nine Seconds and Reichsfeind. Next we are planning another digital single with two remixes and a very special version of the song in question. Q. Now that the band is back and Tandrin has added his guitar skills, will we see live shows in future when clubs re-open? A. I don‘t think so. Fredrik feels at home on stage and I think Tandrin would love to play live, too but I don‘t feel comfortable in the spotlight. In the past Daniel (ES23) sometimes played live synths for Menschdefekt but it‘s not the same, you know… Q. As in previous album you have got some great samples in this latest album; From Vincent price, to Pulp fiction, 28 days later, Charlie Chaplin’s 'The great dictator' speech and more. Tell us what made you choose these ones and how they add to the overall concept. A. Sometimes I have a topic in mind or I‘m in a certain mood and sometimes the speech samples are chosen randomly more or less but anyway they always inspire Fredrik in his lyrics. Q. What industrial / EBM bands do you listen to the most and who were your inspirations for starting Menschdefekt? A. I personally prefer stuff from the mid 90s to the early 2000s. Old :Wumpscut: and Suicide Commando, Die Krupps and Nitzer Ebb but also Covenant, VNV Nation, Colony 5, Neurotic Fish and stuff like that; But I listen to all kinds of music. I love punk and metal as well. I don‘t need no pigeonholes! Q. You have a slightly different approach to industrial music that I love. This is best shown in the track ‘Deliverance’ and ‘Plague (The Human Parasite)’ from your first album. The mix of industrial synths, aggrotech vocals, and powerful quote samples that are commonplace in a lot of bands, mix with the energy and passion of Electronic dance music that makes your blend of music unique. Is you intention to put out incredible dance tracks, powerful messages, or to mix all the best part of electronic music together simply because that is what Menschdefekt do best? A. As mentioned before: We don‘t need no pigeonholes. We do whatever we feel like to do. We don‘t think about if people like or hate our stuff. We don‘t think about club compatibility. But if people like our stuff and if a song makes it to the dance floor thats great! Q. Is this album a one off, or are Menschdefekt back for good now? A. Menschdefekt are back. I don‘t know how long it will take to release another album. We‘re all pretty busy with work, private life and other projects so it could maybe take a while. But I‘m far from retirement! ;-) Q. Which songs are you most proud of on this album and which one means the most to you all? A. I don‘t know if I would say I‘m proud of them but I personally like 'Empty World', 'Cursed', 'Deliverance' and 'Anarchy' the most. The whole album means a lot to us because we put a lot of time, effort and passion in to it. Q. Anything you’d like to say to your fans? A. Thank you for your support! Please follow us on Facebook, check out 'Empty World' and buy it if you like! Thank you Nik! 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. Thank you! Review The self titled 'Empty World' opens the album up. Menschdefekt have been known to use easily recognisable samples from films and what better way to open an album than with some Morgan Freeman quoting Ernest Hemmingway. An urgent sense of foreboding steeps the beginning of this album. It is atmospheric in a sense of something vast and powerful rising up from the glacial covered depths. It is the ideal place setting for the theme of the album as the vocals sing out for the world we find ourselves in now. The high end synths and emotional vocal distortions Menschdefekt are also known for play out beautifully in this 'abandon all hope' sense of doom in 'Cursed.' The addition of more guitar riffs to Menschdefekt's music adds a nice edge that pushes the music harder and faster than before. Even two songs in you can tell this album has a lot of that EBM 'body music' feel as the urge to dance already presents itself. Yet this contrast of positive dance urges set against dystopian songs is balanced out easily with underlying synthpop and the odd retrowave guitar twang. In 'Freedom In Chains' we hear parts of Charlie Chaplain's 'The great dictator' speech which is certainly relevant to the modern world. This is often used in industrial songs, most famously by Detroit Diesel, but for a change from other bands, the speech is in German. The heavier guitar riffs and lyrical content most poignantly reflect on the invisible chains of modern society and the slavery we all find ourselves in to money and the whims of government. 'Guilty' is full bodied in all aspects, the vocals, the samples, and the energy borders on the EDM genre in it's dance intensity. It even dips in to the realms of God Module slightly with some of the vocals. Audio samples of Vincent Price in 'The last man on Earth' (A film about a disease spreading Vampirism) frames the current pandemic climate admirably. This song is the first one that really starts to add in some trance elements to the album and make themselves stand out from other industrial bands. 'Vengeance' is another heavy track that adds more to the metal side with some ideal Pulp Fiction moments leading to 'Deliverance.' This tracks has more Vincent Price, this time from 'House on haunted hill.' The trance feeling and rave energy are strong throughout. There's a sense of euphoria in the music, that soul satisfying rhythm and tempo that can get you carried away in dancing to it. Vincent dropping.. "Don't let the ghosts and ghouls disturb you my dear." occasionally reverberates in spine chilling bliss. The talent in putting such heavy guitar riffs so subtly and constantly underneath the trance like synths is a real testament to Nik's skills in mixing. 'Anarchy' has the very memorable V, from 'V for Vendetta' opening the track to some instant nostalgic love. Fredrik's vocal signature distortion still manages to annunciate all the lyrics clearly. This track is yet another prime example on this album of the messages held within and indeed... "Anarchy is coming soon, the revolution has begun." 'Sick' further adds to the samples, this time from '28 days later.' Just like in 'Deliverance', guitars alongside key synths makes for an impressive dance mix not seen too often; Incorporating the best bits of metal with the best parts of industrial. Finally we are warmed down by the track 'Isolation' and after such a stomp heavy album, a warm down is indeed necessary! Tracklist: Empty world Cursed Freedom In Chains Guilty Vengeance Deliverance Anarchy Sick Isolation Conclusion: With most of the songs around the 120-130 bpm mark, there is no denying that this is an energetic and fleshed out album. Menschdefekt have returned with some truly memorable tracks, using some of the most iconic media sources in film culture. There are several tracks that would do perfectly on any dance floor or DJ mix regardless of what style their set is aiming for. Some of the samples get a little drowned out when not listening with headphones but in such complex and layered music it is understandable. Although it does not quite deliver as many truly memorable tracks as the first album 'The human parasite' did, it is wonderful to have the band return and with such pleasant offerings! Truly a great album. Top tracks: Deliverance Guilty Sick Scores: Technicality: 9.5/10 Dance factor: 9/10 Energy: 9/10 Vocals/Samples: 9/10 Re-playability: 8.5/10 Overall score: 9 / 10 If you haven't heard their first album, please go give it a listen. I promise you won't be dissapointed! 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. 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 #Menschdefekt #EmptyWorld #Industrial #IndustrialMetal #syntheticmusic #EBM #Goth #review #interview #album #releases

Here we have a handful of albums and singles released recently, all of which deserving of being in your industrial music library. Seraphim system - PHO3N1X Full Elektro Vox review HERE "This is a POWERHOUSE of audio combat thumping, spine ripping joy directly out of my soul. If you could extract DMT from someone via sound, these would be the weaponised beats used. It's the perfect blend of industrial and all the best parts of techno that leaves no room for underestimation, no time for rest, no hope for release from the powerful grip this firestorm of a DJ dance mix that is delivered with PHO3N1X, hot on the heels of the recent Obsidian Frontline album." CYFERDYNE - Breathe Deeper 'Take a deep breath ladies and gentlemen - for the long-awaited first new release announcement from DWA for this year is none other than the first new material from Lancaster's finest CYFERDYNE in 6 years, a first taste of the forthcoming long-awaited 3rd album and an uplifting slice of future pop to help carry you through these troubled times...' - Bandcamp page Pretty Addicted - Puppet The latest single from the upcoming album 'Soul for sale' Biomechanimal - Haksal Elektro Vox review HERE "Biomechanimal have until now been known for some hard hitting, heavy tracks that lean a lot more towards the metal side of industrial but with Dubstep hints to keep the dance energy flowing. Here the band present a mid-tempo modular synthetic offering that feels more at home in the shadowy places of synthetic music. Haksal still retains those Dubstep hooks whilst flirting EDM hints, pulling away from their traditional sound; even more so as this track has no vocals for a change." 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. Thank you! MonöChrome - BODY/MACHINE A new discovery for myself that I think deserves some coverage. 'Monöchrome is an E.B.M. band from Lima, Peru, composed by Nana Aray in the main voice and Khrome Hitam in voice, synthesizers and programming. Monöchrome was formed, at first, to experiment with new electronic sounds which results in the sound achieved to date. The songs play themes mainly about the human struggle in modern society, technology and industrial advancement.' - Bandcamp page Zwaremachine - Ripping at the fabric Zwaremachine featured on Elektro Vox live stream no.2 HERE 'Strict EBM basslines rip and soar through ‘Resist’ as industrial dance melodies suited for dark nights at your local club blister ‘New Design’. Further noisey rhythms permeate and puncture the title track whilst we’re swept away with morally upright beats suited for ‘International Hero’. ‘What We Are’ picks up the BPM for a final showdown that will leave an ever-lasting impression on eager rivetheads ready for some more destructible EBM and industrial tunes.' - Bandcamp page Die Krupps - Ring of steel A nice collection of remixes and classics in one place. 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 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. Thank you! #SeraphimSystem #Haksal #Biomechanimal #PrettyAddicted #Zwaremachine #DieKruppse #Monöchrome #Industrial #IndustrialMetal #syntheticmusic #EBM #Goth #Single #News #album #releases

First of all, I need to know if anyone would be willing to make Biomechanimal jackets as seen in the art work (based Original Japanese anime film Akira).. Because damn, that would be amazing! Biomechanimal have until now been known for some hard hitting, heavy tracks that lean a lot more towards the metal side of industrial but with Dubstep hints to keep the dance energy flowing. Here the band present a mid-tempo modular synthetic offering that feels more at home in the shadowy places of synthetic music. Haksal still retains those Dubstep hooks whilst flirting EDM hints, pulling away from their traditional sound; even more so as this track has no vocals for a change. 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 to keep us running, or sub to our YouTube. Thank you! As a track it's like a modular (pardon the pun) tactical bag. It has depth, power, style, but most importantly utility. As seen with the two remixes by E.S.A and Social Kid, Haksal can be chopped, changed, adjusted, added to, re-worked and made to fit almost any adaptation of musical need. In this case, less is indeed more. Tracklist: Haksal (학살) 02:45 Haksal (학살) (ESA Remix) 05:30 Haksal (학살) (Social Kid Remix) 03:48 Conclusion: Haksal is a very different offering but not unexpected as Biomechanimal continue to push themselves technically. Where it excels is in the two remixes as it pulls the track in two very different directions. Electronic Substance abuse has added the aggressive, heavier industrial beats they are known for to make any rivet or noise head happy. Social Kid however has taken it to the other extreme found in Haksal going further in to the land of Dubstep and popularised styles. All in all, an impressive glimpse of things to come possibly but I am glad that 'Enter the animal' which is their other new track in the pipeline sticks more faithfully to the heavy spine ripping Biomechanimal we know and love. Scores: Technicality: 7.5 Dance factor: 6 Energy: 6.5 Satisfaction: 7 Re-playability: 7 Overall score: 6.8/ 10 BIOMECHANIMAL /// LONDØN INDUSTRIAL KIDS /// Not taking your sh*t since 2013 probably. Started in 2013, and self-releasing the self-titled debut album in 2015, Bio has been a staple of the underground London alternative and industrial scene for about 5 years. If you have seen Grendel, Aesthetic Perfection, The Birthday Massacre, Covenant, Faderhead, or any of the industrial big hitters in London, Biomechanimal was probably on the bill at some point in time. With an aggressive, physical live show, they have often been touted as ‘one to watch’ of the UK dark electronic scene. After teasing new material for some time, the Biomechanimal of 2020 is the strongest the band has ever been. With frontman and producer Matt Simpson leading the charge, supported by Keith Kamholz (Mechanical Vein) of electro-axe fame, and Lex Liebert on live guitars, the band has numerous releases planned to drop this year, starting with a single at the end of February. Drawing from a diverse pool of genres, Biomechanimal’s eclectic sound is dangerously catchy, and by Granfalloon, you will be raising your fist with them too. https://biomechanimal.bandcamp.com https://www.facebook.com/BiomechanimalMain https://www.instagram.com/biomechanimal 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 #Biomechanimal #Haksal #Industrial #IndustrialMetal #syntheticmusic #EBM #Goth #Single #News

This is a POWERHOUSE of audio combat thumping, spine ripping joy directly out of my soul. If you could extract DMT from someone via sound, these would be the weaponised beats used. It's the perfect blend of industrial and all the best parts of techno that leaves no room for underestimation, no time for rest, no hope for release from the powerful grip this firestorm of a DJ dance mix that is delivered with PHO3N1X, hot on the heels of the recent Obsidian Frontline album. (Best viewed on PC or Tablet, mobiles do not show layout correctly) That's just PHO3NIX alone, the fact it has all of the MUTANT MTHFKR tracks on the second CD has me genuinely jumping for joy. BL4KJ4K (John Stancil) of Seraphim System is someone I always rave about in terms of how impressed I am that he puts out so much material like a relentless machine. The Terminator has nothing on the relentless capability of this man when it comes to his musical talent. MUTANT MTHFKR has been delivered in three instalments and only in a digital format until now. No matter how experimental Ser-Sys got with his other albums, the MUTANT releases were for those fans who wanted good, stomp heavy, dance floor industrial and they have been great releases. This special edition 2CD special of which there are only one hundred physical copies (all individually numbered) contains all of the MUTANT works; and that makes me a very happy rivet head. So as much as he and my friends are probably sick of hearing about my love for Seraphim System having written many an Elektro Vox article on him and his self stylised 'Swagrrotech', I STILL feel like this is a name that should be on every DJ's mix and yet somehow almost never materialises during their sets. This has to change. I feel with PHO3N1X, that time is NOW. 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 to keep us running, or sub to our YouTube. Thank you! A recurring theme with Seraphim system is the dog and gun logo. Whenever you see that on a release, you know you're in for some good industrial. Whenever he pulls towards more metal or something experimental he seems to do away with the dog logo to let you know it's not necessarily industrial as you'd expect. Basically whenever I see the logo, I get excited. PHO3N1X: The first three tracks are akin to a roller coaster ride. PHO3N1X starts you off with some instant tension with a smooth build up taking your place in the seat of the ride, clenching your jaw with anticipation as you strap yourself in. B14KM3741 feels like being pulled up the chain, clanking it's way to the pinnacle. It then teeters you on the precipice of the drop. The beat gets your heart pumping, still the anticipation builds, the atmosphere peaks and then it speeds up, the momentum pounds faster and then the subtle drop that finally sets in the adrenaline leaving you at a semi climactic edge as it eases off... Like a deceptive pre drop before finally, finally the coaster spirals downwards in the form of RUNY05H17. Sped on in a carriage made of pure bass it keeps you guessing with dips and twists in speed creating a grand opening to this album. In H34D5H07 we have a darker, more brutal soundscape that touches on a sense of urban decay. Like a drug trip gone bad, time convolutes and the beat is heavy in your chest. Leading to P01YM0RPH, which is where the real energy and dance factor come in. It is undeniably industrial but with hints of trance, EDM, and techno delivering a rather spiritual feel; Only for it to grab you half way and rev up those ideal dance factors. In short it is a rave anthem, pure and simple. 0NUR6 with a subtle build up, the sudden drop and increase in beats takes you by surprise in to the territory of yet another rave anthem. Yet this is more akin to boss fight music in a game as it seems to get faster with each section and therefore more tense yet satisfying. H0574G3 sounds like two machine armies going to war. A usual staple of Seraphim System is to throw in inspirations from other styles of music and the more urban side of music underlies the base of the track. FU114U70 has a quick build up to a pulse pounding beat for carpet bombing a dance floor with. If this doest get people moving, nothing will and yet half way through the entire sound changes to a more stompy, slower tempo romp. Again with the classic mixing of genres BL4KJ4K is known for we are treated to one hell of a heavy opening in G23C with hip-hop influence running throughout. There are some heavy drums that absolutely devastate when played at high volume and the second half of the tracks is some of the best stuff I've heard in a long time. It is intense. This has the same vocal sample as the MUTANT MTHRFKR track 'Militant' and they compliment each other very well. Ending the album we have H1J4K which is the perfect track to round off with. Once again we are treated to a mixture of industrial beats and trance synths that is like honey for the soul leading in to another war on the dance floor scene. As a cybergoth, I'd say this is an ideal tune to industrial dance to with the way it ebbs and flows in tempo to allow for intense movement and cool down sections. MUTANT MTHRFKR: I could review each track across the MUTANT series but I would only be repeating myself with how much I genuinely love these pure industrial pieces of ear candy. The first set of four track in the first EP is by far my favourite. This CD really is the ultimate personification of what Seraphim System is capable and I find it a real TRAVESTY that A lot of these Industrial diamonds are not played far and wide by every DJ. Yea tou may occasionally hear the Grendel remix of Riot in Progress, or the Chain Reactor remix of Firebomb but these tracks contained in the MUTANT series need no remix. They are all absolute fire and for risk of sounding unprofessional... They all fucking slap! So please review them yourself by listening to those Bandcamp’s plug-ins. If you have ever trusted anything I say then please trust this.. You will LOVE THEM. It's not surprising these golden nuggets have been lost amongst his extensive amount of releases until now however. Beautifully printed art with a cardboard sleeve, great quotes in the booklet, a middle arm for the CDs, and a numbered section in the back. This album is literal fire. For less than £10 on Bandcamp ($12) this double album is an absolute steal: Link Seraphim System merch: Link Tracklist: PHO3N1X: MUTANT MTHRFKR: PH03N1X In Blood B14KM3741 Abandon RUNY05H17 Last Effort H34D5H07 Suffer P01YM0RPH No Escape 0NUR6 Monsters H0574G3 GODOFDEATH FU114U70 Burn It Down G23C Militant H1J4K Lightbringer Third Revelation Gods And Demons Revenge Conclusion: I very much feel that the point in this album as the title would suggest is a rise from ashes. You see he has been known to say that he didn't find success in industrial music and the like. The quotes contained within the CD booklet pertaining to never giving up and one of them being Albert Einstein.. "You never fail until you stop trying." The very fact that the other side of the booklet contains the three MUTANT MTHRFKR designs tells me that BL4KJ4K has been through a real identity crisis with his music, having tried hip-hop most recently under the name NCRMNCR. This has the feel of a man who has put everything in to creating one last industrial album that will either make or brake him. Whether I am right or wrong here, the emotion simply from how well the CD case etc is made to the raw talent burning throughout this album shows the pride an artist has put in to their masterpiece, the one that they will be remembered for. John Stancil is one of the few industrial artists out there who can mix, master, and do the vocals for all of his songs whilst in his room or at work. This album is the same self doubting energy Van Gogh wrestled with played evident in this twenty first century piece of art. Although there is a few changes mid-track that I may not personally agree with, or feel could have been amazing but fell just short of the absolute smashing drop here and there I was expecting; The fact Seraphim System can still put out track after track without recycling the same sounds and keep each piece original is nothing short of impressive. As for the MUTANT MTHRFKR side of this offering, it truly re-lives the glory days of Seraphim System that I and others fell in love with from the likes of Automaton assisted annihilation, Deadly force, and friendly fire. It is by far my favourite industrial CD now and I am so glad that the MUTANT collection is in one place. These tracks compliments and strengthen PHO3N1X in to a truly marvellous double offering that may not have been as strong separately. Seraphim System has put out a few masterpieces before but this, this double feature will be the one everyone knows about. Top tracks: PHO3N1X: MUTANT MTHRFKR: H1J4K Abandon P01YM0RPH Last effort G23C Suffer No escape God of death Scores: Technicality: 9.5 Dance factor: 10 Energy: 10 Vocals/Samples: 6.5 Re-playability: 10 Overall score: 9.4 / 10 Other articles on Seraphim System: Click the list image below to be taken to them. 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 to keep us running or just sub to our YouTube. 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 #SeraphimSystem #PHO3N1X #review #Swaggrotech #industrial #EBM #aggrotech #MUTANTMTHRFKR #Goth #ElektroVox #BL4KJ4K #JohnStancil

Aaron was kind enough to tell us about his music, all the way from Australia. Many of you may be familiar with the Sirus remix of 'All exits are open' which was the opening track for Beat:Cancer Volume 3. Interview: Q. This single ‘Dust’ has a lot of energy and it’s (substance) remix even more so. Also featuring on this single release is ‘Believe’ which is very much in contrast in its slower tempo. So tell us about these tracks, the meaning, inspirations, and lyrical meaning within them; and how they fit together being fairly opposite in style? A. Although they differ in style and momentum, the three tracks tie together lyrically and are part of a series.‘Dust’touches on loss and latching onto a higher entity for comfort, ‘Believe’ is about being enticed by faith and a higher power and the impact it has on its host and finally ‘Dust (Substance)’ opens up the doorway to divine intervention through substance abuse. Q. Tell us about Sleepless Droids and it’s members. Where did it all start for the band, who makes up the band, and what inspired you to start making industrial music? A. Sleepless Droids started in late 2011 when my band (Empty) at the time had gone on an indefinite hiatus, I decided to record a handful of songs that didn’t quite fit the mood of past projects so it only felt natural to continue on under a fresh name. Sleepless Droids in the studio is just myself and our live shows comprise of a three piece band whose members vary from show to show. I’ve always been interested in abrasive music that had a strong message and the idea of creating it has always appealed to me. Upon hearing Nine Inch Nails, Fear Factory and Front Line Assembly throughout the 90s there was no doubt in my mind that I needed to be a part of it. Q. Is this single release a prequel to a second album? If so will it be very different from your 2012 ‘Decision’ album or continue with the familiar sound of Sleepless Droids so far? A. Dust is somewhat of a precursor to a larger project which is currently in the works and will explore various new concepts whilst still delving into familiar ‘Decision’ esque territory. The concept behind Sleepless Droids is that our sound will evolve and we must never tie ourselves down to any particular genre or be cornered into this week’s trend. Q. Your song ‘All exits are open’ (Sirus remix) which a lot of people will know you for, was the opening track to the album Beat:Cancer 3. Tell us about that track and how it came to be on B:C3? A. I was contacted by Josh of Sirus who was interested in collaborating on a reworking of ‘All Exits Are Open’. It’s extremely flattering to have an artist as talented as Sirus reach out and completely turn your song on its head. The timing of the track happened to coincide with the Beat:Cancer 3 compilation so there was no better way to release it. Q. What are the plans for Sleepless Droids for the foreseeable future. Are there collaborations and future shows in the works? A. Live performances are unfortunately on hold during these unprecedented times so in between studio sessions for the new record we’ll be involved in various projects, including a collaboration with longtime friend and fellow producer Lucidstatic plus a few compilation appearances. Q. Anything you’d like to say to your fans? A. Thank you for the constant support, it truly means a lot. Be safe and look out for one another. Thank you Aaron. Review: Somewhat akin to a more peaceful Celldweller track whilst retaining the energy factor, Dust opens up this three track release with a lot of promise and potential from a corner of Industrial music that we don't often here. Imagine if Skillet were actually good and also decided to do EBM. Dust has a really chilled out vibe which picks at a few internal strings as you listen to it that can't quite place a deep stomach twinge of nostalgia factor or cyberpunk joy, or even of genuine excitement to see what Sleepless droids bring with future full releases. This brew of different feelings as you listen is a real treat for the senses. The second offering of 'Believe' is an atmosphere heavy journey suited to thriller TV shows which although doesn't exactly break any boundaries or stand out by itself, as a companion to the more energetic content of this release it is a good choice for the mid point so that it doesn't detract from 'Dust' itself. It is in fact a really good palette cleanser as it were. You've tasted 'Dust' and up next is the remix so here's a chill and slow song to reset your sense for the remix. 'Dust' (Substance) gives many a hint towards Psy-trance and feels otherworldy in this EBM mash up as it combines elements very rarely mixed together in the alternative electronic scene and I really feel Sleepless Droids would do very well if a future album follows this powerful musical structure. The lyrical content takes a pop at the way people view reality adding a deeper sense of importance to the already wonderful dance beats. At around 3.20 there is a beautiful drop that would be worthy of an Infected Mushroom concert. Where this track really excels is with headphones because the music becomes incredibly immersive. Tracklist Dust 04:08 Believe 03:12 Dust (Substance) 05:49 Conclusion: 'Dust' (Substance) is a damn good contender for DJ's to add to their dance floor mixes to keep the crowd going between the floor fillers everyone loves. Therefore this track even in it's opening 30 seconds, already feels well at home in any electronic playlist. Which also means that overall, the original 'Dust' and the unexpected journey that 'Believe' brings to the table make for a great appetiser for anything released in future. I for one, am excited to see what's next. Scores: Technicality: 7 Dance factor: 7 Energy: 7 singing: 6 Re-playability: 7 Overall score: 6.8 / 10 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 Like Elektro Vox's content? Please help keep us running as it is a very costly and time consuming process. Everything will help E.V to continue to afford to keep the site running and the news, interviews, and reviews flowing! Thank you! #SleeplessDroids #Dust #review #synthpop #industrial #EBM #Synth #Interview #Goth #ElektroVox

The wonderful Jazmin Bean joined us for a much more personal and honest interview than any before. Thank you Jazmin for this in depth interview and choosing our grass roots journalism to get your message out! Teaser trailer: Full interview: 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 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 #JazminBean #WorlwideTorture #Saccharine #BirthdayBitch #PrincessCastles #Lolita #PastelGoth #Interview #Goth #ElektroVox

This episode's charitable cause is towards top surgery for my good friend Tate: Go Fund Me Second twitch 'radio' (https://www.twitch.tv/elektrovox) episode Wednesday 20th May 2020 featuring news, new releases, unreleased track, and tracks I feel you all deserve to know about from bands including.. DK Zero, Die Krupps, Eden Synthetic Corps, Apoptygma Berzerk, Soft Kill, Neptune, Electronic Substance Abuse, Corlyx, Zwaremachine, Third Realm, Menschdefekt, CHROM, and Georgi Kay Transgender help links: Gender identity clinic Pointofpride.org (you can request a binder if you can’t afford one, or donate a binder to help someone) Mermaidsuk.org.uk (specialises in helping trans youth, and their families) Transunite.co.uk (can help you find your local trans support group) Elektro Vox claims no rights to the music in this video. The show is for the intention of promoting the musicians and increasing their fan base and therefore music sales. All artists have been approached for permission or given permission in the music's use. Each episode is also to promote a charitable or good cause. #Livestream #elektrovox #evmradio #radio #industrial #Tate #TransgenderHelp

First twitch 'radio' (https://www.twitch.tv/elektrovox) episode Wednesday 6th May 2020 featuring news, new releases, unreleased track, and tracks I feel you all deserve to know about from bands including.. Hatari, 3TEETH + MATT HART, Auger, MENSCHDEFEKT, MASSIVE EGO, Blutengel+Hocico, Seraphim System, ESA: Electronic Substance Abuse, Chamaeleon, Pretty Addicted, Jan Doyle Band, Biomechanimal, and more! Thank you to those who tuned in! Had a few microphone problems but that's standard with industrial shows right? (the sound is now fixed but I felt it more authentic to keep it uncut) Elektro Vox claims no rights to the music in this video. The show is for the intention of promoting the musicians and increasing their fan base and therefore music sales. All artists have been approached for permission or given permission in the music's use. Each episode is also to promote a charitable or good cause. This episode's charitable cause is Beat:Cancer. https://www.paypal.com/gb/fundraiser/charity/2358045 #Livestream #elektrovox #evmradio #radio #industrial #BeatCancer

Almost none of us are strangers to the weird and wonderful musical stylings of Brian Graupner from The Gothsicles. The first and 'last' band to play Resistanz. After Brian's incredible performance during 'Karkasaurus invites' we are even more desperate for the Resistanz reunion to happen. He has said that Gasoline Invertebrate is the 'other side of the coin' of EBM and this being the third release under that name, I dare say he has made this dark side of the coin just as polished and worthy. Interview: Q. Now that you’re making the darker side of EBM, who are your inspirations and dare I say, industrial heroes as I can detect a God Module familiarity no doubt? A. You’re totally on the mark with God Module. I mean, who doesn’t love God Module? In addition to some blisteringly hot tracks, Jasyn and Andrew have always been incredibly supportive of my whole thing, plus Andrew also boasts an impressive collection of Aquaman figures. Influences on this album range from a lot of goofball eurohouse like Scooter, E-Type and Space Master to some bonkers circuit-bent noise stuff. Seeing Suicide Commando at Dark Area Festival in Kassel, Germany in 2001 melted my brain. Q. You crowd funded this album in a very short time is that right? Is a more aggrotech approach something fans of yours have been asking for or was Gasoline Invertebrate an impulsive decision which people decided they loved instantly? A. This was the fifth Kickstarter in a row I’ve had get funded in under three hours and beams of pure gratitude are shooting out of my eyes like some sort of Thanksgiving Cyclops. Absolutely no one was asking me to put down the Nintendo and suddenly start sounding like Sleetgrout did a step aerobics mixtape from the 90s, but the reception in the last few days has been astounding. Q. Which two tracks are you most proud of and can you tell us the meaning and thought process behind them? A. “Headschatten” comes the closest to the original mission statement of bridging eurohouse, aggrotech (or whatever) and noise, so I’ll put that at number one. Maybe “Boston” for number two. That track was developed iteratively at my friend (and live performance partner) Deftly’s house for these open mic-ish “noise salons” he hosts (or used to before coronavirus). The track was originally named after his street address, but I figured I should shorten that to just “Boston” prior to its official release. Check the music video for “Boston” on YouTube! Q. During ‘Karkasaurus invites’ you and Leighton hinted there was going to be a killer reunion song during The Gothsicles set, will that song change slightly for 2021 now and will we be treated to any Gasoline Invertebrate live in future? A. Duuuuude, I went into overdrive at the beginning of the 2020 getting new, exclusive festival songs ready for all these big gigs we got and then they all got cancelled. So yeah, there’s definitely a new Resistanz track done and specific lengths of time are lyrically referenced therein, but I think it will be funnier if I leave it as is with all the old math. Would loooove to do more Gasoline live! Working on the streaming show for Gas and making it a whole different thing from The Gothsicles. Q. Who has been your favourite industrial artist to share a stage with and who would you want to play alongside in future? A. Like, ever of all time? Man, I’m still a complete industrial fanboy at heart, so this is tricky. The Gothsicles have been around for 20 years and have been lucky to enough to play several gigs, tours and festivals with supersized allstar line-ups, so after a while, you really do pretty much play with an unbelievable amount of iconic people. Being asked for Contra advice from Portion Control or just quietly green room chilling with Suicide Commando a few times has been awesome. I get pretty massively pumped whenever I see we’re going to be on the same bill as Iszoloscope. Same for Assemblage 23 ‘cause then we can trade bad movie recommendations. Being hug-attacked by Leæther Strip is the best. Big Time Kill are champions. Caustic is family. Angelspit for life. Dream stage partners for The Gothsicles...probably MC Lars, The Dead Milkmen or Pankow. For Gasoline Invertebrate, maybe Birmingham 6. Q. Damage over time seems to very much carry on the aquatic and computer game theme from The Gothsicles, is that an intentional link between the two? That’s just kinda my thing. Q. What are you listening to most right now? A. The vinyl OST for the video game Life Force showed up the other day, so I’ve been listening to that a lot. Let’s see here, if I organize my Downloads folder by Last Modified, the most recent entries are the “Paper Empires” single from Unitcode:Machine, NightStop’s “Pursuer”, “drink.” from the illustrious Mari Kattman, and “Energy” from Snowbeasts. That’s a little bit of a lie because I took out all the entries from Tigersquawk Records, which is a record label that I run, because I did not want to seem biased. Please forget that I mentioned Tigersquawk Records. Absolutely no one should go to tigersquawkrecords.bandcamp.com and check out all the amazing releases therein. Q. Anything you’d like to say to your fans? A. See you at Resistanz 2021! Thank you Brian! Review: The opening track is a real head-rush of styles. At first it starts as an EDM euro dance track similar to The Prodigy song 'No good (start the dance)' and then bam!.. Aggrotech vocals layered on top of this dance party.. That may be the reason the track is called 'Headschatten'. The vocal aggrotech style throughout the album is very reminiscent of God Module, Suicide Commando, and several other classic artists. The third track Boston throws beats at you in a similar way to Electronic Substance Abuse with a yet tongue in cheek approach. There is a real array of differences between each track as Brian clearly challenges himself to see what he is capable of producing. 'Magic, Do as you will' pulls it back a level in to the territory of old school EBM and 'Dead end Cul-de-sac' blends retrowave, arcade, and harsh modern synthetic vocals in to a bizarre yet beautiful offering. Conclusion: I absolutely love this album and although there are a few things that aren't quite to my taste such as 'Scarlet slip', I can still appreciate the multiple directions this album attempts to pull off and it does so very well. If Brian pulls away a little further from the safety of The Gothsicles' tell tale sounds in (hopefully) the next instalment of this project, we could be seeing a serious future Industrial act that would be played in many an 'industrial room' or club that calls for the heavier, grittier side of EBM. This is definitely 'One to watch' and I feel that Brian should be damn proud of himself for what he has created in Gasoline Invertebrate. Top 3 tracks: Feast Headschatten Rejected organ transplant Scores: Technicality: 7 Dance factor: 9 Energy: 8 Vocals: 7 Re-playability: 8 Overall score: 7.8 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 #GasolineInvertebrate #DamageOverTime #TheGothsicles #BrianGraupner #Industrial #EuroDance #game #Interview #Goth #ElektroVox #EVMFest #Review

In the this third album we find a veritable artistic résumé that sparks multitudes of musical tastes, emotions, and nostalgia throughout. Kyle J Wilson has an immensely deep and powerful voice one would not expect from his frame. When he speaks, he is a happy and lightly spoken gentleman. When he sings it is as if drawn up and rumbled out from a possession; yet not in the 'exorcist' sort of fashion, more that of a wise and ancient spirit using his body as a mouthpiece. That is genuinely the only way I can put across this voice too heavy for honey and too light for Evil. In many ways Auger could be described as 'Gateway-Goth' in reference to how alcohol can be a gateway to harder stuff, this is indeed the magical music path Auger could take anyone on. Too often we have heard people push all alternative music under an umbrella of 'It's too heavy' and 'I cant understand what they're saying.' This album destroys all of those petty comments. Here there is amalgamation of Goth, rock, metal, and several sub genres in between thanks to the instrumental talent of Kieran Thornton with guitar riffs that blend genres with ease. Set in a post apocalyptic world in which Auger seeks to rebuild through their Insurgency, the title track of the album is by far the most energetic and dance floor suitable track we have heard from the band thus far. Although Auger are very much their own self contained style of sound, there are aspects about them that tweak that nostalgia factor I mention. Whether it be 'Insurgence' giving you a modern day energetic Depeche Mode or 'Hit the lights' giving you 90's Nu-metal vibes whilst still layering modern Synthpop on top. 'Who can help me now' reminds you of the golden days of The Editors mixed with Muse, or even the odd twinge of Woodkid’s vocal twang that occasionally appears throughout. Either way, this album as I said could be described as gateway Goth; appealing to not only long term or 'traditional' Goth and alternative listeners but to those who are more inclined towards pop but want to dip their toes in the shallow end of the alternative 'pool.' It is wonderful to hear such differences between each track whilst still maintaining their signature sound and the wonderful addition of the odd bit of German here and there. It offers something for everyone and the concept of the world the album seeks to build adds beautiful layers of relatability and connection with the songs as you listen, trying to decipher where the story is going with each track. 'Tell me I'm wrong' features Imogen Evans (only thirteen years old!) and further adds to the feast of taste selections in the album as she lends a very beautiful Hayley Williams-esque voice to the song followed by an interlude titled 'Moments too soon' which has to be one of the most emotional and heart wrenching tracks of the year so far. I was in a very happy mind set having received some good news to suddenly be brought down to harrowing emotion in the space of a minute listening to this track. It is a testament to the talent Auger offer and the power they wield. Tracklist Welcome 01:16 INSURGENCE 04:23 Nothing Left 04:06 I AM NOTHING 03:59 November Engel 03:36 Hit The Lights 03:59 Letters To You (interlude) 01:19 My Death 04:22 I Found Room (waltz) 04:16 Who Can Help Me Now? 03:50 You Are By Nature 04:00 Tell Me I'm Wrong (ft. Imogen Evans) 03:37 Moments Too Soon (interlude) 01:53 We Are Auger! 04:12 Conclusion: It seems that Auger have finally hit the magical album that will bring them in to the spotlight they deserve. Having a lot of success so far in the German alternative scene, I hope that translates more so in the U.K. I will confess their two previous albums haven't been a regular listen for me even though there were some incredible tracks such as 'Burn' and 'My Guardian'; yet now I believe this album or at least a fair few songs in it will now be in my regular listening rotation. Just as superheroes walk amongst the public in regular clothes, Auger appear to me much the same, hiding supreme musical powers in their day to day life until they grab a mic, a guitar, and let loose, stunning us all. Auger were meant to co-headline Elektro Vox music festival in March (see below) but sadly we still need to reschedule it when everything is calmer. This album fits our world perfectly right now and I hope Auger will find many more 'Miners' for their insurgency when they do finally grace our stage. Top 3 tracks: Tell me I'm wrong INSURGENCE Who can help me now? Scores: Technicality: 8 Dance factor: 6 Energy: 7 singing: 9.5 Re-playability: 8 Overall score: 7.7 / 10 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 #Auger #Insurgence #Synthpop #Darkwave #Industrial #Synthwave #Metal #Miners #Goth #ElektroVox #EVMFest #Review

John Stancil of Seraphim System has featured a lot on Elektro Vox and for good reason, he churns out music of all shapes and sizes at an industrial pace...Yea bad pun, point's still valid however. Seraphim System was the very first content to grace the Elektro Vox site where I spoke about his music, performance at Resistanz festival 2016, and interviewed him in detail here, below is the beginning excerpt: He kicked of Resistanz 2016 with an outstanding Terminator 2 remix. You can also find a review of the album Xibalba here. There is also an interview and review for the recently released powernoise album Obsidian Frontline here, again there is the beginning excerpt below: In quick succesion and hot off the heals of Obsidian Frontline comes the album Relay Toxicity and a third edition of the EP set MUTANT MTHRFKR. The former being an incredibly brutal metal cacophony of aggresive vocals and throat wrenching lyrics performed in only the very artful way that John can pull off, where as the later Is a real satisfying industrial dance floor filling set of tracks. Both of these albums are availbe for just $1 on Bandcamp at the moment, such is the meaning and emotion behind his work that getting his music heard is more important to him than the income it brings. It seems that no matter what style of music this man plays his hands at, he approaches it as a prodigy in his ability to smash boundaries and amalgamate styles flawlessly. Interview: Q. As is ever the case with your album releases, there’s a real undercurrent of a story, or a message you seem to be putting across. In Relay Toxicity it seems to be a lot of anger directed towards superficial attitudes in people, is that right? A. I feel poisoned by the individuals who the album is based upon. Not particularly people in general but certain individuals who have created an anger within me. The transference of their bullshit into my life. I try to forget their impact on me but it’s like a sore on the inside of my cheek that I can’t quit running my tongue over. I want them to know what they’ve created and helped shape. I want them to know they are part of the reason I drink and live to forget. Q. Which songs are the most important and meaningful to you on the album? A. Orchid, the first track; Also Gypsy Energy Moon Magic WiFi. They’re both aimed at people who have inspired a lot of anger over my time of knowing them. They’re people who control and manipulate and the world needs less people like them. My feelings towards them is so unbelievably vitriolic that I have to stop what I’m doing and refocus my thought pattern onto something else once I start thinking about them and shit they’ve done. It’ll usually just makes me mad when I get into a thought pattern concerning them and I hate that they can live in my head in such a way. Even talking about it right now has me gritting my teeth. Q. In yet another different direction for you, there’s a couple of more ‘emo’ style songs with ‘Midnight cigarette’ and ‘Style and Grace,’ were these tracks you wanted to be in the album from the start or were they later additions? - As it’s quite rare to see a more vulnerable side to your music. A. Coming from my humble beginnings as an emo teenager with hair swept over one eye and wearing eyeliner and jeans three sizes too small, it made a reappearance on this album. I just want to do some different shit. I like trying out new stuff. Midnight Cigarette is actually a song I wrote when I was 16 years old and in an emo / screamo band called “A Failed Proposal.” Blah. Cringey and full of angst, I know. I wanted these songs on this album. Style and Grace is the only track not filled with any malice or hurt and is my thank you to an individual who helps calm me down when the anger sets in. See what I did there? Q. MUTANT MTHRFKR III is your latest offering so soon after Relay Toxicity and is much more of the rave industrial you started out with, therefore I absolutely love it. What made you want to release MUTANT MTHRFKR in separate pieces, and will it continue with a part 4? A. I’m not blind to the fact that some core fans and people who follow my music don’t like the metal I make. I get that. The Mutant series is my tribute to the people who still want to hear me make club bangers like I initially started out doing. I make the Mutant EPs specifically for those people who don’t like the fact that I’m making more metal now. Period. The Mutant series is for them. I still appreciate them as fans and want them to still enjoy what I’m doing, so I make music they want to hear or at least what I think they want to hear from me. I’m still going to make them sporadically for people to download and enjoy who don’t want to hear me scream and shout. Q. You’ve also been working on some hip hop recently under the name NCROMNCR and I believe you tried your hand at synthwave, how did those come about and how have you found making such different styles of music? A. You’ll be the first to read it here- I’m actually focusing all of my energy on NCROMNCR right now. I’ve got a 14 track album I’m currently writing lyrics for and producing that sounds like 90’s hip hop. That New York “boom bap” style sound. SERSYS might have to be put on the back burner for a bit as I flesh out more of this music. My rap / hip hop friends all agree that there’s something to this NCROMNCR pet project and I intend to put it out and see what happens with it. I haven’t had this much fun writing music since I first started Seraphim System back up in 2013. 2020 onwards might see more NCROMNCR than Seraphim System, but I’ll try my damndest to still keep making industrial tunes. (Check out the NCROMNCR soundcloud page below with more to be added soon but having listened to one of the tracks not available to the public yet, dare I say it, I found hip hop enjoyable again for the first time since Immortal Technique.) Q. You’ve also remixed a lot of unexpected tracks such as Billie Eilish – Bad Guy, as well as tracks by The Weeknd, and Rihanna. Is this an experimental way to learn new ways of making music or is it just more of a hobby to bring some darkness to the mainstream? A. I’d say most of what I do is a question of “Can I do this?” and the answer is in the form of these remixes. It also breaks up the monotony of making aggressive industrial metal. It’s a fun way to still create something enjoyable and challenge myself. These are actually songs I listen to and enjoy. I listen to a lot of pop music, hip hop, and country music when I’m playing video games or working out. I can only take so much metal and industrial before I’m like “okay let’s just shift gears for a second and listen to something else”. I can’t do metal all day. Relay Toxicity continues the very dark and vicious dark metal direction that Seraphim System has taken in the past with albums like Lucifernum and Xibalba but once again has that distinctly different edge to it as each album does causing itself to stand apart from the rest. He contiunes to formulate and experiment with new styles and pushes his creaative talent in ever expanding directions. This is definitley an album for those who enjoy the thrashing and screaming carthasis that only heavy metal can bring; and with the calming notes from the two more emotional songs mentioned in the interview, the album is a vindication for anger and the need to bleed it off through music, not just for John, but for the listener as well. As mentioned before, the shorter MUTANT MTHRFKR offerings are faithful to the industrial club dance floor sound Seraphim System started off as with such incredible albums as 'Deadly Force, Automaton assisted annihilation, and friendly fire.' They're worth having a look for in the bandcamp catalogue where there are no less than 24 releases! Which can be a lot for someone new to the artist so my suggestion would be to check out the digital album 'Force Fed Annihilation' which contains many of his best hits and a lot of remixes containing the 'Swaggrotech' sound that puts himself and Ruinizer in a very distinct category with a large portion of their musical catalogue. If you only try one song however, try 'Rio5 in Progress', especially the Grendel remix (track 2 below) and if industrial club tunes are the vibe you love the most. Seraphim System is a one of the truly deserving artists in the world of industrial and is a real star waiting to be recognised as any great artist should. I certianly hope to see him be able to play in the U.K again soon. Booking :: johnwstancil@gmail.com bandcamp.com/seraphimsystem https://soundcloud.com/seraphim-system twitter.com/seraphimsystem facebook.com/seraphim-system youtube.com/seraphimsys Elektro vox presents a celebration of it's first successful year of industrial journalism with E.V.M Fest in aid of the Beat:Cancer charity, now that Beat:Cancer festival has played it's last. Join us in our first music event as a perfect warm up before Resistanz festival. Event page: https://www.facebook.com/events/424028331822849/ Tickets: http://beatcancer.info/elektrovox/ Also in aid of Beat:Cancer: (Now with more Bitman!) 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 #ElektroVox #Swaggrotech #DigitalWorldAudio #DWA #SeraphimSystem #Xibalba #ObsidianFrontline #RelayToxicity #MUTANT MTHFKR #Ruinizer #SummerOfSwaggrotech #Goth #Industrial #EBM #IndustrialMetal #Metal #Resistanz

In this spotlight feature where we bring you bands deserving of far more love and listeners, we have the overwhelmingly talented Dk-Zero! Formed up of D-punk who is a talented musician from Seattle, he forms one half of the vocals, the other half of the vocals are by Kato. Many of you may know her as Kato punk, originally born in Wales and moving over to America in 2007 she has become one of the most famous alternative models out there. She also started the original and oldest running steam clothing online store known as Steampunk Couture. Finally there Is Skye on the guitar making for a very unique Industrial band. DK-Zero played the main stage of WGT this year in their first ever European show, no small feat! Interview: Q. Thank you for joining us! Kato I have been a fan of yours for a fair few years so it is wonderful to speak to you in regards to industrial music now. D-punk I must admit, I partially based my dreaded hair on yours. For those who don’t know Dk- Zero who are you, and what is the sound, theme, andstory that make up you music? Thank you so much! We are excited to be here talking with you; and of course we love talking about our music whenever we get the chance. I am going to give you a little bit of a backstory so you understand the roots of DK-Zero and how we came to be. Kato and I met in early 2015. Both of us were going through horrible breakups with some really toxic people. I had been a professional bassist for nearly 20 years at the time. Kato was in the midst of doing nearly everything else in the world. She was running her clothing business, running all her modeling websites, talent scouting every day and ultimately landed a staring role in the television show Steampunk’d. So it was a crazy time for us. In the middle of all this we had a crazy night of drinking... Kato started singing and a friend of ours said “you guys should start a band together”. At first we sort of laughed it off, but a few days went by and we looked at each other and were like “maybe we should do this”. So Kato and I started listening to all sorts of Nu Metal and Industrial Rock and realized this is what we needed to do. We needed to write music that had that energy we loved in some of our favorite bands from that time period. So I scoured the internet in 2015 trying to find any band who were writing music like that... and I couldn’t find any new up and coming bands that had the sound I was hearing in my head. I knew we were onto something. The concept for DK-Zero was there... We wanted to blend Industrial Rock and Nu Metal from the late 90’s and early 2000’s with Cyber, Breakbeats, EDM and Hip Hop elements. We wanted it to be aggressive and energetic and also retain some traditional song structure. I wanted people to be able to feel that anger and that aggression, but also be able to understand the lyrics and scream along with us. Q. You recently played the main stage at Wave Gotik Treffen how was that experience for you and were you well received in Germany? Playing the MainStage at Wave Gotik Treffen... what can I say. It was probably one of the most incredible live show experiences we’ve had so far. It is a huge venue and the sound was perfect. It was absolutely amazing. In a lot of ways I wish every show could be like that. We were really fortunate as well to have Chris L. from the band Agonoize and Funker Vogt play keyboards for us on that show. There are a few clips on our YouTube channel of him on stage with us if you want to check those out. He’s been a good friend of ours for years now and he acted as a translator on and off stage, which made our whole experience at WGT so much fun. We got to joke around a lot with the sounds guys and the stage crew, which made it feel a lot more like family. Q. Your first album ‘From Nothing’ really was a breath of fresh air with your unique take on industrial, was the album hard to put together and is there anything you would do differently? Oh wow, thank you so much... we are so glad you feel that way about the album. I think we had a pretty unique and specific vision for what we wanted to accomplish with “From Nothing”, and we took our time putting it all together; roughly two years. Honestly, we couldn’t be more proud of how everything turned out and the response we’ve gotten. We wrote about 20 songs/arrangements for the album, did full pre-production and tracking for16 of those, took13 of those songs all the way to final mix and master and only released 10 for the album. So it was a crazy process. We started writing in January of 2016 and had the album fully mixed and mastered by January of 2018. So that was two years of being really focused on one vision, and in the end, I think we got the best out of ourselves. Obviously, it’s easy to look back at something you’ve already released and pick apart the flaws and wonder, “what could that song sound like now if I just had a little more time with it”. I am definitely guilty of feeling that way sometimes. For us though, “From Nothing” is exactly what it needed to be. It is one conceptual piece of emotional expression that represents exactly where we were in that moment at that time. Everything we sing about on that album is shit we’ve either personally gone through or experienced... so it’s really fucking honest. I guess to answer your question, if I had to do it all over again, I don’t think I would change anything or do anything differently. Q. Your next album is due out in September and being campaigned for via Patreon. The single ‘Boom Boom’ has already been released from it; What can we expect from the new album, what ways will it differ from the previous one, and is there a concept to it? Yes! We are about to release our new album and we are so fucking stoked. Sonically, there will be some familiar territory like you heard on “From Nothing”. Overall though, this new album is a totally different beast. After our Fall 2018 tour, we had a lot of ideas about where our music should go. We payed a lot of attention to what people were responding to every night from the stage and what we thought we were missing in our live shows. The original goal was to write a handful of songs and try to push the boundaries of our tempos and our lyrics into something even more Cyber-Industrial. To quote our Facebook Bio... “What we ended up with are 9 tracks absolutely packed with high energy beats, crazy sci-fi sexual lyrics and fits of rage polished into a beautifully twisted package of neon infused Industrial ear candy!” The new single for the upcoming second album Q. Kato, having been originally from Wales, will we ever see Dk-Zero play in the UK, possibly in the famous UK home of Gothic music that is slimelights Elektrowerkz? The Slimelight!!! I love that place. I definitely see us doing a UK specific tour in the near future. We have actually been talking about that a lot this year, so I think by next Spring/Summer you can expect us there. (E.V: I for one, really hope so!!!) Q. So far you have two music videos for ‘iFeel’ and heavily apocalyptic ‘Turn up the hate’ what are the stories behind those two songs and videos? It’s crazy how things work out, because those two songs were actually the last songs we wrote for the album... and I would say they are probably two different versions of the same emotion. To give you some backstory... We hired a friend to help us with our final mixes for the album, and in the process he stayed at our house for a couple of weeks. We ended up finishing the bulk of the album in about 8 days and he turned to me and said “you got anything else we could mess around with”. So I pulled up the original arrangements for both of these songs and without any hesitation, he was like “dude... give me a day or so, go write some lyrics and let’s regroup.” Literally three days later we had these two songs done. As far as the video concepts go, we really wanted “iFeel” to have a clean, intentional, Cyber-y look to it. We felt like that concept fit well with the lyrics, the sound, and of course Kato’s style. “Turn Up The Hate” on the other hand... that was meant to be as outwardly violent and apocalyptic as possible. Again, we felt like this would be the best way to visually represent the lyrics; and it also gave the audience two very extreme versions of what the band could do musically and visually. One track focusing solely on Kato and looking as clean as it does and the other focusing more on me and looking as stylized as we could make it. Q. What got you both in to industrial music and what are some of your most influential industrial bands? Kato is definitely more the Nu Metal kid, some of her favorite bands are Static X, System of a Down, Korn, PM5K and pretty much anything Mike Patton has ever done. I am probably a little more influenced by classic Industrial Rock like NIN, Marilyn Manson, Ministry, Skinny Puppy, KMFDM. Lately we’ve been getting into bands like Circle of Dust and Celldweller. I love the last Prodigy album that came out “No Tourist”. Mindless Self Indulgence has been heavy on my playlist lately. I also really like Rabbit Junk, I think they just played Infest. 3Teeth is kicking ass, they just dropped a new album and I think it hit #1 on the Metal charts last week. There are so many good bands out there! Q. Who would you like to share the stage with in future? Honestly, I think my dream would be to go on tour as direct support for NIN... If we got that call... I’d probably shit myself. I don’t think I’d sleep for a week. Q. Finally is there anything you’d like to say to your fans? Thank you! We just want to say thank you so much for all your support. Thank you for listening to our music. Thank you for sharing our music. Thank you for following our journey. Thank you for being awesome! .... Album Review: 'From Nothing' For those of you who have read the interview, as D-Punk said this album is a niche sound not found elsewhere in industrial at the moment; much in the same way that Priest has no other band sounding similar to them. Also just as he said, the album gives a powerful early 2000's Nu-Metal vibe but still very much drags it in to the industrial modern world with the aggression and cyber future sound blending perfectly. Kato is very much the cool as hell cyber goth half and D-Punk is very much the post apocalypse rivet head. This duality between them plays evident across the entire album leaving it very hard to describe or compare to anyone else within the genre. The wonderful thing about their music is that they are already Jacks of all trades and seemingly mastered them. Some of the tracks are light and easy to listen to, others are heavy and violent, and in some places the tracks are gloriously sexual in the lyrics making for a real mash up of choice that anyone would be able to find at least something to satisfy their appetite from this musical buffet of an album. Please head over to Spotify and have a listen as it needs to be heard in order to get the points I'm making across. My personal favourites on the album are 'My Shame' as the slow growled lyrics remind me of older Slipknot pieces but the chorus is riff heavy and the vocals are clear in a very upbeat rave metal way. Second is 'Death bus' as the lyrics are sexual in the same atmospheric tone as Combichrist's 'Shut up and swallow' and it makes for a truly interesting ride. Overall this is a real gem of an album that should be on everyone's playlist mix and I hope this article makes a few more people fans of a type of band that is quite frankly, desperately needed to further bridge the divide of genres and bring more fans in to the industrial fold to prevent it from stagnating. I wish Kato and D-punk all the best with the next album and future shows! You can support the next album via their Patreon here Also check out their sci-fi as hell website: https://www.dkzero.com/ 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! #ElektroVox #DK-Zero #Kato #KatoPunk #FromNothing #Industrial #IndustrialMusic #EBM #Goth #CyberGoth #Apocalyptic

In our first spotlight where we will regularly bring bands in to focus deserving of more love and listeners, we present Xentrifuge! In their own words: From the NYC's Underground Music scene Xentrifuge is a brutal assault of Harsh Industrial/Dark Electro, constructed by the collectively innovative minds of Chris X and Lisa Hellen. Xentrifuge brings a groundbreaking blend of Industrial-based sound, fused with noise, and a touch of heavy guitar work to create a hauntingly melodic, yet raw and unforgiving product. Their high energy and ravenous presence on the stage infects the crowd with a relentless and unique live experience not to be missed. The 3rd album "Desensitized Parallels" is available now via Cleopatra Records, with a 4th underway. The band run the industrial music international Facebook group which is where I became familiar with their works. They will be playing Wave-Gotik Treffen this year and rightfully so having put out some great material in their previous albums and with their devilishly good sense of style. Not only that but they recently supported Combichrist during their tour solidifying their place as one of this year's bands to look out for and discover for yourself Desensitized Parallels is a must listen album on Spotify right now which will be well suited to for fans of bands such Psyclon 9, ESA, and the harsher noisier side of industrial and hellektro. It is wonderfully atmospheric putting me in the mind set of having a dark rave aboard the Nostromo (The ship in the origin Alien film) or the ship in 'Event Horizion' it is a wonderful addition to the terror catalogue of music should you be on the look out for more. I asked the band a few questions in the run up to WGT: Q. First of all, your music reminds me of Psyclon Nine in that wonderful harsh noise way and the visceral lyrics, would you say they influence Xentrifuge? A. Chris X: Yes Psyclon 9 is one of our all time favorites. We were label mates in the early 2000's- both on NoiTekk Records. We managed to keep a long distant relationship, so to speak. Nero mastered our first single from "Desensitized Parallels" and in fact, he then mastered our latest Xentrifuge release on Cleopatra Records. Nero does some great work and he understands the sound of Xentrifuge: noisy, gritty, distorted, etc. We have so many layers of vocals, sound, & music, yet he really knows where the focus should be in whole. Q. I was lucky enough to pick up on some of your tracks a year or so a go but for those that have not heard of Xentrifuge, how would you describe your sound and vocals? A. Chris X: Xentrifuge is an industrial project started in 2005. After our 2009 release of 'Converting Infinity', the band went under a major revamping and upgrade. Lisa Hellen joined me in 2012 and by 2014 she was taking the stage bringing an entrire new element and a new force of energy that Xentrifuge never had. Our sound and style still has some of the earlier feel to it, but has evolved drastically. In short, Xentrifuge has a heavy, electronic sound with brutal guitar work integrated throughout; and a bit of the goth vibe without over stirring the pot, lol. Q. Where did the inspiration and naming of Xentrifuge come from? Also is there a concept or theme to it all? A. Chris X: As our sound is electronic and mechanical, we wanted to have a name that fits with the music- a centrifuge is a machine used in many scientific facets both destructive and constructive. Our concept is simple- each song has personal meaning, but written in such a way that listeners can attach their own meaning, feelings, or perspectives. Q. As an American based band playing the ultimate destination for all things goth and industrial: Wave-Gotik-Treffen in Germany this year, how does that feel and what can the fans at WGT expect from your show? Have you both been to WGT before? A. Chris X: WGT was a long term goal we have been working towards for many years. This will be our first performance at WGT, but Xentrifuge's second venture to Germany. It's an absolute honor to be brought out to Leipzig for such a significant event known worldwide. Festival-goers can expect a very high energy performance without compromise- a barrage of heavy vocal work from us both, combined with an assault of electronic mayhem. We also bring a visual aspect to accompany the music- can't say much more, you've got to come and see for yourselves! We are performing Friday June 7th at Haus Leipzig. Q. Are there any plans in the work for another album soon? 2018’s release of ‘Desensitized Parallels’ was a breath of fresh air in to an often underappreciated sub genre with is dark and gritty atmosphere which I listen to fairly regularly now. If so, what direction will your new works be heading in? A. Chris X: Yes, we are in the process of writing the next album, aiming for an early 2020 release. It will maintain the signature Xentrifuge sound with some new additions. Listeners will enjoy more guitar presence throughout the entire album. There will also be a broader range of vocal styles by us both. As we are living in this digital age, we find it very important to keep evolving, as will be seen again on the next album and all future Xentrifuge works. Thank you for your time! We will be speaking to Xentrifuge again in future about WGT and their next album. Xentrifuge Contact/Booking/Social Media Direct Booking - Xentrifuge - XentrifugeBooking@gmail.com Booking in USA- Sepiatone Booking - Athan Maroulis - thebluedahlia@yahoo.com Booking Worldwide - Eventmanagement-ffm - Melanie Viedt - info@eventmanagement-ffm.de Direct Email: - XentrifugeBase@gmail.com Label: Cleopatra Records - www.cleopatrarecords.com Websites www.Xentrifuge.org www.Xentrifuge.bandcamp.com www.CleopatraRecords.com Social media http://www.youtube.com/XentrifugeOfficial http://www.facebook.com/Xentrifuge http://www.twitter.com/Xentrifuge http://www.instagram.com/Xentrifuge https://vk.com/xentrifugeofficial 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!

Hatari are an exceptionally unique band hailing from Iceland who shot to fame after their Eurovision 2019 performance and controversy which you can read about in our interview below. Describing themself as a multi media project, Hatari are a mash up of industrial, future punk, BDSM themes, Synth pop, and much more in what proves to be some of the best and most visceral electronic dance music around. We had arranged to video interview them in March before their London show but unfortunately those plans had to change. The band was kind enough to answer our interview questions below however. There is also a short album review in which Hatari have scored our highest score yet! Enjoy.. Interview: Q. You sadly had to cancel/postpone your ‘Europe will crumble’ tour due to Covid-19 but as a band that has always talked about the fall of capitalism and indeed asking your fans to often envision the end of the world, how do you feel about the current crisis and where does this effect Hatari in its message? Photo credit: Mummi Lu A. This is a horrible pandemic that affects us all. Envisioning the end of the world has indeed become easier. More importantly envisioning the end of capitalism feels like a possibility. This pandemic will probably affect how we see any art, including Hatari. Cancelling and postponing shows is unfortunate, but right now we are in good health and enjoying some well earned isolation. Q. With your recent video release of Engin Miskunn (No Mercy) the theme is that of a meteorite destroying life as we know it. It is an incredibly powerful song and one I have so much love for. In line with the last question, do you feel this was almost predicting the way things were going to be this year? Also tell me about this song and the inspirations behind it because to me, it seems like it sums up everything Hatari is about in both song and video. A. Thank you for your kind words. Yes, we predicted everything. We hate to say we told you so. But we told you so. Enginn miskunn or No Mercy is a hymn to the apocalypse and a ritual. We like to say that the apocalypse isn't an event that cuts time in two, rather it is a hue that is laid over our times, we are living the apocalypse. That is what inspires us to coat Klemens with slime and sacrifice him ceremoniously and all the rest. The original slime from the video is for sale, by the way. Contact capitalism@hatari.is for more information. Q. In that video and others you have some incredible dancing from both female dancers Sólbjört and Ástrós, and your dance gimp Andrean. Many of your fans will know the singers Matthías and Klemens, and the iconic spiked mask look of Einar but can you please tell us about yourselves, who you are, how you came to know each other, and how you all got in to this kind of music? A. We all know each other from different directions in the tight-knit music and arts scene here in Iceland, adding to the Hatari project layer by layer, not just the trio and the dancers but many others who have contributed as Hatari grows. At times it has felt like a real collective. Since the corporate takeover of Svikamylla ehf. or Relentless Scam Incorporated, however, those vibes are a thing of thepast. Today the relationship is a much more for-profit capitalist owner versus underpaid workforce kind of dynamic but in a fun and inclusive way. We love our jobs. Q. Hatari has not only been about destroying capitalism and creating silly characters off stage, yet deadly serious characters on stage; it has always been about bringing more understanding to the LQBT+ and BDSM community. How has that side of Hatari been successful and are you seeing positives come through from that part of your image? A. We have been honoured and happy to see the diversity and awesomeness of the many groups that rally behind our performance. The BDSM community here in Iceland have been our mentors and assisted us in many ways. We have also been working closely with Andrean, our dancer, who is an LGBTQ+ activist to the core in developing our ideas of performances to show support towards the suppressed LGBTQ+ communities and other marginalised groups. We have felt the support overwhelmingly on social media and in places we visit where the LGBTQ+ community is being actively oppressed. Q. Your album ‘Neyslutrans’ was released this year and it is A fantastic piece of artistry that I will add a short review of to the end of this article. Please tell us about the album, the reasons behind the name and the choice to add in unexpected things like a Gregorian chant style song and even some rap. A. 'Neyslutrans' or Consumtion Trance is a lament to Western civilization, if not the world, which is only fitting. This might well be one of the last albums released by humans. This was true even before the pandemic. The latter half of the album is orchestrated with this in mind. Some of our collaborators have tracks on the album such as queer Palestinian pop artist Bashar Murad, hyper-feminine Icelandic rap entrepeneurs Cyber, and Icelandic underground rap sensation Svarti Laxness, to name a few. Q. After your incredibly brave unfurling of the Palestinian banners on live TV at Eurovision 2019 in Israel, bringing light to the struggles of the Palestinian people, now the dust has had a decent time to settle, how did that affect your career as a band and what have been the positives and negatives to that incident? Slideshow Photo credit: Getty Images / Guy Prives / RUV A. It drew a lot of attention both to us and to Palestine and ruptured the glossy image that Eurovision would otherwise have been throughout the entire show. When planning international pop contests one should always refrain from hosting them in an apartheid state where an illegal occupation is currently taking place. Many people were reminded of this. If there are any negatives it might be that other artists could now think it's okay to play in Israel so long as they make some sort of statement. "If Hatari did it we can do it," or something like that. To anyone thinking along those lines we would say that the Eurovision situation was quite unique and contradictory and that we don't intend to book concerts in Israel until some drastic changes take place. Supporting the boycott movement is the most effective means of solidarity with the Palestinian people. Q. What made you choose Hatrið Mun Sigra (Hate will prevail) as your Eurovision song and what was the symbolism behind that track and performance? A. Hatrið mun sigra or Hate Will Prevail is a smash pop single and a dystopia where hate has become the governing force of the universe. We try to work with authoritarian themes and imagery to warn against the danger they pose as well as provide a radio friendly track to represent our nation in the Eurovision Song Contest. Like in most Hatari songs, the opposites and contradictions between Klemens and Matthías are apparent, the harsh and the soft, anger and despair, subbmission and dominance, feminine and masculine and so on. Q. What music have you all been listening to the most recently and what bands would you say inspired the sound of Hatari? Photocredit: Instagram/hatridmunsigra A. We have been listening to Daði Freyr, the latest album by Icelandic electro-pop-ballad-legends and techno-court-jesters Sykur, notorious international criminal Gugusar, and Peaches, as always. Opr by Gesaffelstein is playing when this is written. Q. Where can we get a mask like Einar’s? Photo credit: mbl.is Klemens, Einar, and Matthías A. At your local sex shop. Q. What life lessons have you guys learnt from Hatari? Photo credit: RUV A. The void will swallow all. Q. What is next in store for Hatari and where do you see the band going in future? Photo credit: Baldur Kristjánsson A. We hope to release a track soon. Q. Anything you’d like to say to your fans? Photo credit: unknown A. For maximum results, purchase exclusive merchandise today. https://merch.hatari.is/ Thank you for your time Hatari! Album Review: Make no mistake, this is an album full of hits. Opening up with three in a row in the form of Engin Miskunn, Spillingardans, and Klámstrákur. Matthías' aggrotech style growls worm their way in to your brain and stay there. So many times I've found myself just singing or yelling 'Engin Miskunn' or 'Klámstrákur' to myself has become a bit silly. These, alongside Hatrið Mun Sigra make for perfect tracks to drive or dance to with their ferocious intensity and catchy as hell dance beats. Hlauptu featuring Cyber brings a real trance euphoria to the mid section of the album which compliments Klefi / Samed featured with Bashar Murad, so very well. The album is then split in half by the beautiful Violin track of Spectavisti Me Mori, Op. 8 bringing a true feel of lament to the underlying message of the poor state of the world we are in. It seamlessly plays in to the next track, 14 Ár where synthetic music and aggressive vocals once again take centre stage in an audio orgasm of well mastered talent. We are then treated to a synthwave / violin / and aggrotech vocal mash up that somehow works wonderfully in the form of Ógleði. Track 11, Helvíti brings us something very common in the industrial world right now with the addition of a rap track quite in contrast to the next track being a choir sung hymn in Nunquam Iterum, Op. 12. This again, although seemingly out of place on such an electronic and gothic album, somehow blends easily in to the overall concept and it is genuinely moving in its emotional content. The final tracks round off the album with a nice trip hop vibe to it whilst still maintaining the synthetic dance feel. Tracklist Engin Miskunn 3:53 Spillingardans 3:43 Klámstrákur 3:36 Klefi / Samed 3:53 Þræll 3:02 Hlauptu 3:33 Hatrið Mun Sigra (Xtended) 3:07 Spectavisti Me Mori, Op. 8 2:51 14 Ár 3:05 Ógleði 5:15 Helvíti 3:47 Nunquam Iterum, Op. 12 4:05 Niðurlút 3:53 Conclusion: Hatari have made themselves stand out in a world that is already saturated with 'extreme' looks and sounds and yet has established themselves as not only talented performers and intelligent in the way they go about their image; but they are also extremely talented musicians who have created a truly masterful album that I don't think has anywhere near the amount of recognition it deserves. I hope Hatari are able to reschedule their tour after the current crisis and start to spread their artistry to further corners of the globe. Top 3 tracks: Engin Miskunn Klámstrákur 14 Ár Least favourite track: Helvíti Scores: Technicality: 9 Dance factor: 9 Energy: 10 singing: 9 Re-playability: 10 Overall score: 9.4 / 10 Click the image for the merchandise page 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 #Hatari #Neyslutrans #Synthpop #aggrotech #Industrial #Synthwave #rap #Darkwave #Goth #ElektroVox #classical #violin #eurovision #bdsm #LQBT+ #Interview

Elektro Vox reviews the recently released second album by the self styled cinema-dramatic synthpop band, Promenade Cinema. Emma and Dorian of Promenade Cinema would have been playing Resistanz 2020 soon had it not been for the Covid-19 Crisis. So for your viewing pleasure, here is a quick review of 'Exit Guides'. 1. The arch house The first single for the album released last year was well met with its deep and atmospheric feel complimenting the previous album. The strings played throughout are a real preview to the dramatic cinema-scape that the band attests to with their music. Mainly accompanied by drums and little synths in this track, there is a bit of reverb when listened to with headphones. Emma's voice however more than makes up for this small flaw and presents a well rounded opening track for this release. 2. Cold fashion A more upbeat track that breathes energy in to the listener with it's sense of urgency to tell the story behind the lyrics. This was the second single released before the album was launched. The layers of synths, drums, and vocals are well mixed that brings a crisp and unique feel to this song. 3. Nothing Nouveau Now here is a very clever song that has really impressed me. At just over 7 minutes long, it almost sounds like three tracks in one. At the 2 minute mark my jaw slipped open a fair way at the beautiful honey being poured in to my ears! The wonderful thing about Promenade Cinema is that their music very well could be synthwave by itself if the drums were heavier and the singing was cut back, and yet they create their own style with their pop mix and dramatic tension. This truly is a wonderfully done piece with lyrics further adding to their cinematic theme which becomes rather relatable the longer you listen to them. This song touches a level of satisfaction that you wernt quite sure you even had. 4. Passions in the back room A somewhat different offering to the previous three tracks with Dorian's vocals warming the audience up for some powerful pipes from Emma. There is a lot going on in this one and can seem a bit overwhelming in some places with its experimental mixing of styles. 5. Memoirs in glass Straight away I was grabbed by the gripping power of the piano keys and the much slower and touching emotional content they play out alongside the serene vocals. I truly wasn't expecting such a sorrowful piece from P.C and it hit me right in the chest. This is reminiscent of Evanescence in some aspects, and even Madonna in others. Strangely I felt uplifted by the end of the melody. Impressive, very impressive. 6. She's an art A nice upbeat piece to bring you out of the trance of the previous track. This is a real foot stomper and dare I say it, dancefloor filling classic should enough people here it. This would go down wonderfully in a darkwave set or indeed any gothic based set. The rhythm is multi functioning with it's deep drum synthwave base and yet the gothic atmosphere and lyrical power. It's another song from P.C that reminds me of Human League or Eurythmics. Part of the song is a spoken auction that although tells a story, sadly brings down the tempo somewhat and is very distracting. However it works overall to get the message across and rounds the experience off. 7. After the party, it's over Another powerful, slower, and emotive offering that brings back the melodic strings in a rather romantic and reminiscent fashion. There is a lot of talent that comes through in not only terms of vocals but in the layers of music. After all, if you can't do something slow where you can't hide mistakes, you can't do it at all really. It is a beautiful penultimate song for the album and a piece they should be proud of. 8. Fading in the arcade This feels darker, in an almost 'Stranger things' vibe and seems to incorporate the rest of the album in to one. This track even has the sense of a musical about it. I can picture it being sung on stage by a dramatic cast reminiscing about other characters. It is a wonderful and uplifting piece even though the lyrics are rather sad in terms of those who are no longer with us. Conclusion Promenade Cinema have done a great job in following up the success of their first album with this latest release. There are several very different offerings that will appeal to most alternative audiences. Although some parts suffer with reverb and others with a bit of a messy amount of layers, overall the album is a wonderfully enjoyable piece to sit down and listen to. I hope it is as well received as their previous album. Top 3 tracks: 'Nothing nouveau' 'Memoirs in glass' 'Fading in the arcade' Least favourite track: 'Passions in the back room' Scores: Technicality: 7 Dance factor: 6 Energy: 5 singing: 9 Re-playability: 7 Overall score: 6.8/10 Check out our interview with P.C at Beat:Cancer fest last year: Below is the Promenade Cinema's listing on our new Alternative Directory where you can list yourself with us to reach the alternative market with your band, E-store, events, festival, merchandise etc! Want to be on our new directory that aims to be the most thorough and cheap directory around? It’s free if you join up during the lockdown. Get in touch. Click the listing below to be taken there. 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 #PromenadeCinema #ElexitGuides #Synthpop #Review #Industrial #Synthwave #Cine-dramatic #Darkwave #Goth #ElektroVox #Resistanz

We spoke to Syd.31, about Covid-19. Although the interview is tongue in cheek, the subject is serious. Please scroll down to the bottom for links to websites able to help artists, people in debt, where to get advice, and many other seriously important help sites for you all. Please support each other and do what you can to keep artists going. DM - Dr Madge KM - Kara Wolf Q. As a lover of all things apocalyptic, are you loving it right now?? KW- No! I hate it. This is not the apocalypse I wanted. I wanted to be a warlord stealing guzzaline, but instead we get a plague like thing. On the plus side, I get to play video games constantly. DM - Ha, I’ve been asked this loads recently. Mad Max and Fallout has always been a form of escapism for me, but mixed with real world fascination. In the real apocalypse, I’d rather be drab and dull and not stand out, although aggressive peacocking is defo a defensive measure to scare people off. Q. People are asking when should we start dressing like Mad Max villains, what’s your take? Personally I say until the washing machine gives out which actually seems to be any day now. KW - People should always dress like Mad Max villains - it looks cooler. Also - turn your washing machine into a War Rig DM- Pffft. If you aren't doing it already, you're a poser. Only joking. Most of the aesthetic for our apocalypse will be more like The Road or Threads. Just anything to try and keep us warm and dry and not stand out too much. Also, something with lots of pockets too. In modern collapsing societies, in places we often call ‘Failed States’ there is an element of people dressing utterly over the top and ridiculous, bright pink wigs, with army boots and Kalashnkovs.  Its a way of saying ‘I fucking dare you to say something, becasue I’m crazy and dont give a fuck! Please, give me ANY excuse to just fucking kill you’. The battles in Liberia in the early 2000s was a good example of that. Look at the soldiers in pink wigs, or wedding dresses turning up to attack. Terrifying and Mad Max for real. Q. How is the lock down affecting you? KW - Not much has changed as I’m not out much unless its at gigs or day-to-day things. I was surviving before due to benefits and mental health. This is just another page in life that we are all going to have to deal with and get through. DM - Quite a mixed feeling to be honest. I’ve planned for this for years, so I'm confident in the steps I’ve taken, even if people took the piss at the time. It started for real in 2016 when populists took hold - I knew they would strip away all our ‘spare’ capacity to help and cope with system shocks and mixed in with a refusal to see whats actually happening. I’ve got quite a good stockpile for several months of food and goods I’ve built it up over the years. Its made me quite calm; But I’m feeling devastated about the impact its going to have on all our long term health, including mine. No one is going to come out of this without being affected; But now is the time for us to talk more about it, and its important to ask, so I really appreciate you doing that. Q. Any tips for mental health in these difficult times? KW - Try and stay around your close ones, if thats possible. Finish projects that you hadn't, take, up a new hobby and try and keep yourself exercised. Just try and see the positives - dont believe everything you see on facebook, in fact, try and take a break away from it - play lots of games instead. Lots of them. DM - This is all going to be the new normal and its unlikely things will ever be the same again. Talking to each other, play, chat, flirt, share shit memes and good songs. Just be there as best as you can for everyone. Q. What can artists do right now and what can fans do to support artists? KW - For artists, stream live acoustic stuff, although thats not possible for Syd31. People can buy merch or records, as a lot of people have lost income. DM - Pretty much what Kara said. I’m so fortunate that I still have a day job and income - music is a hobby for me. There are countless people who took a big chance to do music full time and through no fault of their own, its all come to a sudden stop. We can encourage people to buy merch, especially digital albums, so they can still keep physical stock for when we can all gig again. But musicians are going to have to do something radical - sign on, claim as much in bens and support as possible. Do that delivery driving job, look what jobs are there that can match your talents, even if its wharehouse work (there is a huge demand for this work right now)   Dont fuck about and think there is a rock and roll solution to this - there isnt. I’ve added some links to help at the bottom of this. Q. It’s like watching the fall of the Roman Empire all over again right? What do you think will be the next few dominoes that could fall so to speak? KW - On an extreme scale, the entirety of our society - its pretty fragile, as this virus has exposed it to be. No society can last forever in the same way, look at the Egyptians, the Mayans, their arrogance was their downfall. DM - Ah, history geek  alert. Yes there are a lot of comparisons to the Fall of the Western Roman Empire. It wasnt barbarian hordes that did it in for them. Most of the Barbarians were masses of people fleeing wars in Eastern Europe. They came to stay, to settle and to become Roman too Quite often this was agreed, often after some bloodshed. What really led to the Roman collapse, is that people stopped believing in being Roman, they lost faith in the institutions. The last Western Roman emperor was forced into early retirement as no one cared about him or a central government anymore.  Instead, we had local kings and lords and the feudal system developed. People lost faith in being Roman as the government wasnt able to protect, care for its citizens nor inspire anyone. The outcome is there in the archaeological records - buildings became smaller as the economy shrunk, culture and arts suffered from lack of funding and investments and the elites lived separate lives in their local tax exiles (regional grand estates and castles). Farms couldnt harvest as they couldnt get the labour and manpower, countless businesses went bust. And plagues happened - and no one trusted the government. Sound familiar? . Q. In your track Leviathan you quote Hobbes in saying “Man is wolf to another man” have you seen that nasty side already take hold in the streets and how should people prepare for the eventual rise of nasty warboys and raider scum do you think? KW - Well, Im a wolf to everyone else already! The nasty side I’m seeing is people’s arrogance - them going out, them buying all the stuff and not thinking of others. I’d initially say they are like monkeys, but I’d say more like cavemen, what with their primal behaviour. DM - People are scared and we are without any real effective leadership. This always results in people behaving in the worst way. Its instinct. Its what happens when society starts to collapse. This is the very early stages of the collapse and its easily reversed and stopped. We just need leadership. The Blitz Spirit is a lie and always has been. My dad told me how people really behaved in Hull with constant air raids. History records back that up too. Now we have things like my Mum’s elderly pal having his shopping robbed from him while still in the supermarket because “I’ve got kids and need it more than you do”. And no-one did fucking anything to help. Q. Top 5 tips for surviving the pre-wasteland? KW - Food, shelter, axe, fire and my War Motorbike. Those are my five tips. I could say more, but I think it would not go down well. DM- 01 - Dont keep calm and carry on. Carrying on as normal is what got us into this mess. Instead do something new - build networks, organise local help, stick up for each other and be VERY vocal. We can never go back to the old ways. 02 - Recognise that you are going to feel scared, helpless and very down. That's ok, don't blame yourself. Its a broken system that got us in this mess and not your fault.  03 -  A little love goes a long way. I woke up in a cold sweat in the middle of the night. A friend saw I was online and straight away asked if I was ok. I’ll never forget moments like that, it meant the world to me 04 Keep your mind active, and your spiritual side engaged. Whether you believe in a god(s) or not, it doesnt matter - let your spirit free in your art, words and all the deeds you do. Go and suck at some art - find your voice and keep getting better. 05) Get help and advice - there are tonnes of credible sources of information and help online. Currently the Citizens Advice Bureau and Musicians Union are my favourites as they offer lots of helpful links and information.  Please, if you do one thing today, click on the CAB link. See - https://www.citizensadvice.org.uk/health/coronavirus-what-it-means-for-you/ There are lots of other resources too and thanks to the Musicians Union for sharing them.  Here are a selection of my favourites Music Minds Matter is a free 24/7 helpine run by Help Musicians UK for everyone in the music industry. Call them on 0808 802 8008 or visit their website. https://www.musicmindsmatter.org.uk/ Music Support also runs a helpline for anyone in the music industry struggling with ill mental health and/or addiction. It operates 9:00 am - 9:00 pm on weekdays, and 10:00 am - 8:00 pm on weekends. Call them on 0800 030 6789 or find out more on their website https://www.musicsupport.org/ The British Association for Performing Arts Medicine (BAPAM) connects performing artists and musicians with free specialist health support. You can get in touch by phone, email or at one of their regular clinics in London, Birmingham, Glasgow, Leeds, Cardiff, Liverpool & Belfast. Check out their website for details. http://www.bapam.org.uk/contact.html You can also contact Mind for urgent help and support. Plus advice on how to support others. Visit their website. https://www.mind.org.uk/ Thanks for speaking to us. Keep safe And keep looking after each other Syd.31.. Elektro Vox: For help with debt please contact.. www.stepchange.org For information and advice regarding Covid-19 please go to.. www.Covid-at-home.info Kara of Syd.31 has new music out with her band Kara and the Wolves. Thank you for reading, I leave you with a touching piece of art.. Be safe <3 #Syd.31 #Covid-19 #Karaandthewolves

Elektro Vox present an exclusive preview of the new Jan Doyle Band EP - The body balanced. Released on the 14th of this month, we give you the only place to listen early! In my review of JDB's live performance at The Fiddlers Elbow last year (available here) I described Derek's 'Insurrectionary Neo Futurism' as.. "A band half way to old school goth Sister's of Mercy but got snagged on David Bowie, and slipped in a puddle of glam; in a sense... The Clash on acid." This performance also won my 4th top live show of 2019 alongsides the likes of Rammstein and iVardensphere; Yes really! That's how intense and incredible the live art Derek performs is. (List here) Jan Doyle Band: The Body Balanced is our most ambitious release to date. We have put a huge amount of time, effort (and money!) into getting this right. We like to think we take you on quite a journey with this... from Synth Goth to industrial punk, electro ballad, new wave and cyber dance pop we've got many bases covered. We feel more than any other band around today, we offer a great variety in our music. So many aritsts seem content to stick to 'a sound'. To us music is a vast area to explore with many different experiences to enjoy. Body Balanced - A song of unfulfilled desire and dissatisfaction at the sate of things. Sung as some unnamed, unidentified character who feels than no real person is meeting their impossible ideals of form and attitude, which are a dream-like perfection. The gender of this character having these thoughts is also open to interpretation. Confusion - Things aren't as they are supposed to be and it's confusing. What do we feel? What does anyone feel? We explore this in a perhaps seemingly confusing chaotic mess of industrial punk, heavily inspired by Deutsche Amerikanische Freundschaft Reflections - Almost a sequel or aftermath of Confusion. Here we explore our identity in the world. Are we what we appear to be? Do we live up to what we want to be? Are we fitting in with who we desire to be amongst. Such things frequently plague our lives. Who is that looking back when we look in the mirror.. Play Pretend - Life without art is a life not lived. We need art and creativity in order to survive. We need imagination. We need the moments where, just for a short while, we can be someone or somewhere else. We don't say ignore the wrongs of the world but sometimes enjoy time to take a break from that. Here we celebrate that and various artists who have inspired that in us, can you identify them? 4 are hinted at (in a rather plain sight way) Yes Sir, I Can Boogie - Derek has always loved this track and decided it could be rather good fun to do it live, not realising it would actually become an absolute stonking anthem of a set finished. With a gradually increasing tempo, the ridiculous ramps up in spectacular fashion to a huge crescendo, truly transforming this camp disco classic into our own thing. An absolute fan favourite live so we felt we had to finally release it. Credits: Releases March 14, 2020 All tracks written and performed by Derek Anthony Williams Except Body Balanced Lyrics by Duncan Vaughan Timiney Music: Derek Anthony Williams and Duncan Vaughan Killian Timiney Reflections: Music by Duncan Vaughan Killian Timiney & Derek Williams Yes Sir I Can Boogie written by Frank Dostal, Rolf Soja Guitar on all tracks: Kelly D Backing Vocals on Body Balanced and Boogie by Lady LD50 Backing Vocals on Play Pretend by Leah Jones of Punkdisco.co.uk Most tracks mixed and mastered by Steve Whitfield who has a wealth of experience as a sound engineer and producer, A very well known name and one of the most experienced producers in the country right now. He's worked in boutique studios all over Britain, France, Canada and the USA. He's worked with labels such as Polydor, Elektra, Geffen, Emi, Fierce Panda, Moon Ska and China Records. Steve's Clients Include - The Cure, Terrorvision, Shed Seven, The Mission, Black Wire, Fossil Collective, Yann Tiersen, Trashcan Sinatras, John Le Carre (speaking book), The Pale Saints, Kava Kava, Jonjo Feather, The Black Bloc, Extra Curricular, Immune, The Scaremongers/Simon Armitage, The Dead Pets, Vib Gyor, Buen Chico, Four Day Hombre, Milloy..... www.facebook.com/stevewhitfieldproducer1 Confusion mix & master by Tom Henthorn Record Producer, Recording Engineer and a Mix Engineer from Sheffield. I produced his first album when I was 19 and developed his sound engineering skills throughout his 20s in studios like Jump Recording Studio and the much reputed Yellow Arch Studios. In 2006, he opened up Ebb-Tone Recording Studio in Sheffield. The sound quality of the studio has improved massively because of the investment made possible by success and has lucky enough to record every kind of band in every kind of style, including now INSURRECTIONARY NEO FUTURISM www.tomhenthorn.co.uk Check out our new diretory for all your alt. culture needs! List your band, E-shop, services etc! (Click the image) 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 #JanDoyleBand #Exclusive #TheBodyBalanced #Insuretionaryneofuturism #Derek #Industrialmusic #EBM #Goth # #Industrial #CyberGoth #synthpop