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

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

Although Beat:Cancer is over for the foreseeable future, the fight is not. Together with Cosmic: Hard dance and other events, Elektro Vox seeks to carry on supporting the great cause; and in doing so, continuing to bring you some fantastic industrial bands. Elektro Vox Music Festival (or EVM Fest for short) will see in the first year anniversary of Elektro Vox bringing you interviews, reviews, and news! Chamaeleon will be performing for us in their UK debut! As well as other fantastic bands who are all bringing you their music for two reasons.. 1. For the love of the industrial scene and the fans. 2. Because every single one of us will be affected by cancer in our life time, be it ourselves, a family member, or a loved one / friend. it affects us all and the terrible tragedy and loss that it brings. For many of you who may have seen some of these bands before, don't just think this is another show. The Beat:Cancer cause has always brought out the best performances from artists both from the UK and worldwide; Notto mention there will be plenty of surprises in store, including Karkasaurs catering to far more mashed up industrial than you will have experienced from them before. Please join us, spread the word, share our event, invite your friends lists, buy advance tickets etc and Support the bands in their charitable cause. Help us make this a success so that Elektro Vox can bring you more EVM Festivals with many more bands and keep the Beat:Cancer spirit and industrial rave alive. Thank you! Scroll down to the end for stage times! Below is all the info about the bands, multiple YouTube videos, as well as bandcamp plugins to listen to. Click for event page Beat:Cancer website is where you can get tickets: http://beatcancer.info/elektrovox/ Add EVM Festr to your Songkick calendar: HERE Auger Having been one of the hardest working bands around in recent times, the band goes from strength to strength pulling in more and more fans wherever they go. Their sound is unique, their personality is charming, and the set will no doubt be fire. Auger are Kyle Wilson (24)(vocals, programming and live keyboards) and Kieran Thornton (24) (Guitars and backing vocals).AUGER burst onto a unsuspecting scene in mid 2017 with their double sided debut single "My Guardian / New Life" (Rebco Records) quickly followed by their debut album "The Awakening" (Rebco). Both releases enjoyed critical acclaim and substantial air play on both scene radio shows worldwide and at club nights. For those very early plays the band will always be extremely grateful. They perfected their stage craft with a series of high profile support slots around the UK with the likes of Cruxshadows, Gothminister, Ost + Front, Solar Fake, Massive Ego, Sulpher and Young Gods, culminating in being chosen as UK tour support for Lord Of The Lost. As a result of all this activity they were picked up by Dark Tunes Music Group (Germany)for a three album deal. This saw their debut album' The Awakening' being remixed, re mastered and re released worldwide in mid 2018. It spent 8 weeks in the German Alternative Chart (DAC) reaching No 3.It was now time for the band to step out on the wider European stage which has seen them play in Belgium (Wave Festival), The Netherlands (with both Mesh & She Past Away), Finland (Lumous Festival), Estonia (Darkland Fire Festival), Malta (Dark Malta Festival with Lord Of The Lost), Austria (Schattenwelt Festival), and many show's in Germany (including tour supports with Stoneman & Clan of Xymox) A new single and video was released in the run up to their second album called 'Find My Own Way Out'. This spent 8 weeks in the DAC reaching the hallowed No1 spot. Their second album was released mid 2019 entitled 'From Now On I', complete with a animated video for 'When We Are Apart'. The album reached No5 in the DAC, meaning both albums to date had now gone top five. A new album is currently being produced (as yet untitled) for release in mid 2020.AUGER stand ready to unleash a new torrent of electro industrial beats to herald a new chapter in their journey. We trust you will join us. Its going to be a hell of a ride. The band are looking forward to playing Elektro Vox Festival and raising money for a great cause that is very close to our hearts. AUGER describe their unique sound as 'dynamic darkwave', being a hyper melodic amalgam of dark rock, industrial, goth, electro and metal.The band enjoy a very close relationship with their fan's who are known as AUGER 'Miner's'. Fun fact: Kyle co produced and engineered the 'Church Of The Malfunctioned' album for Massive Ego (Out Of Line Records) www.auger.band www.twitter.com/augerofficial https://www.instagram.com/auger.band/ https://darkmerch.com (search AUGER) Excerpt of out interview (HERE) with Auger: Q. The music video ‘When we are apart’ is doing well and I often see my friends share it to their Facebook. Can you tell us a bit more about what we see in the video? A. As I mentioned before it tells the story of my grandmother's battle with cancer. The video, however, we left to the artist to interpret the song as well as parts of the story into a short scene. I think that's the beauty of the song, every one has their own interpretation of it. Kieran even had his own idea of what the song was about before I told him, I think that's quite special. Biomechanimal 'BIOMECHANIMAL /// LONDØN INDUSTRIAL KIDS /// Not taking your sh*t since 2013.. probably.' Elektro Vox Music Festival (In aid of Beat:Cancer) is honoured to have Biomechanimal on our line-up. Bio have been pushing themselves harder and harder over the last few years and have embedded themselves firmly in the UK industrial scene's metaphorical walk of fame. Once again supporting Aesthetic Perfection soon; a new single close to release, as well as a new album on the horizon, Elektro Vox has said it before and will damn well say it again.. This is the band going places and will follow in the footsteps of the greats. 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 Matthew 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 including the new collaboration single with Mechanical vain titled 'Waves.' 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. (E.V: I always ask them to play Granfalloon!) Chamaeleon Chamaeleon will be performing their first ever UK show! Chamaeleon were formed by Alex and Nico in 2009. The band is of Russian/Greek origins now based in the UK and Cyprus. In 2013 the band released their first album "Sick | perVerTed" with Artificial Sun Records. In 2015 the band signed with Insane Records and released an EP called "Suppression" (See their raunchy video in the comments below, you'll recognise the tune straight away!) and their 2nd album "Evil Is Good" followed the same year. In 2019 the band released and EP called "Fear" and is currently working on their 3rd album. The band has been included in dozens of compilations with exclusive tracks, covers, remixes or being remixed by other bands. Most notable compilations were 'Endzeit Bunkertracks act VII' and 'Endzeit Bunkertracks act VIII' as well as on various compilations of the "Terror Night" series. You can often find them on DJ Wintermute Electro-Ebm's amazing Youtube mixes. Karkasarus Karkasaurus will be keeping you entertained between bands and will finish up EVM Fest with a 30 minute pulse pounding live DJ set straight after the headliners have played as the perfect way to pulverise you in to dance submission ready for Slimelight! "Clever boys..." DJ Kark and DJ Peewee, residents of Beat:Cancer and the alt. & LGTBTQ+ friendly Cosmic Hard Dance, joined forces to form this tyrannosaurus wreck of an act. For their dino-mite sets expect terrible costumes, too much energy to safely handle and plenty of high octane tunes; ranging from Industrial Techno, Hardstyle, Hardcore and Frenchcore. The Jurassic Duo bring to the decks liberal lashings of off the wall covers, remixes and bootlegs along with live mashups, idiotic sampling and exclusives! They hold a host of Industrial and Hard Dance residencies alongside guest sets at Ministry of Sound, XOYO, Infest, Slimelight, and Resistanz. Between them they have played on lineups with some of the best including Headhunterz, Keltek (ex Pskyo Punkz), Darren Styles, Kutski, Hixxy, Scott Brown, Zardonic, Lab4, Dougal, Frisky, Andy Farley, Mark Breeze, Ravine, Cally, Mark EG, Organ Donors, Sicknarf, Rob Da Rhythm and many more. MATT HART Matt Hart is one of the most active and talented members of the gothic community involved in multiple musical projects. Matt has supported some of the greats such as God Module, Grendel, and 3TEETH (DJ set). He was also a main stage act at Static Darkness Festival. Having solidified his sound and style with the recent release of TERRA 3808, (Detailed review HERE) Matt continues to become an ever growing power house in the world of industrial music. The extremley talented Jerome Badoux lends his guitar skills to the live shows adding an extra layer of impressive immersion to the hellscape future Matt's music narrates. Matt Hart conceived the idea to write electronic/industrial music under his own name about 15 years ago and has been writing music on the side ever since. However, holding down a day job, spending some time playing guitar and bass with London industrialists, CONCRETE LUNG, and DJing at seminal London alternative club, SLIMELIGHT, held him back from focusing on his own creation. In 2017 things changed and he decided to release a back catalogue of thirteen tracks called the ‘Anthology of Corrosion’ in January. With renewed vigour for creation he then put out a two track single ‘Judge & Punish’ in March. Later in 2017 he released his first ‘proper’ EP, ‘Chaos Rising’ and was reviewed by a few scene magazines…. "It’s not perfect – at points it is in awe of the influences rather than being inspired by them – but this is a solid start, and I can only hope Matt will follow this up with more material in the future.” - amodelofcontrol. More material followed in january 2018 with ’Transition01' and ‘Chaos Rising 2’ on the 14th March. On August 9th he released ‘Mercury Flow’ and b-side, ‘Better World (remastered)’. Chaos Rising 3 was released on 30th November 2018. 2018 was also the year to bring the chaos to the stage with live guitarist, Jerome Badoux of Drilling Spree. March 24th saw Matt support Mortalitech at Zigfred Von Underbelly and more recently he supported [:SITD:] at the Electrowerkz. He has since received lots of good words towards his live show and will continue to evolve the music for the stage. 2019 began with a bang supporting Sulpher and Sheep on Drugs at the Lexington, in April Matt supported Grendel and in July he supported God Module and ESA both at the Electrowerkz. The Chaos Rising trilogy was produced, mixed and mastered by Matt himself and the artwork has been created by Vlad McNeally of kallistidesign. Moving forward and starting with the new album TERRA 3808, Matt has employed the technical services of Adi Calef of DNA Studios London for all mixing and mastering. Matt’s music can be found at matthart.bandcamp.com and a Spotify playlist of tracks used in the last live show can be found here - https://spoti.fi/2O3toaq Other links: FaceBook: MATT HART Twitter: www.twitter.com/mattghart Instagram: @matthart3808 Still Forever A truly unique take on the spectrum of electronic goth and the hybrid sounds of modern darkwave. An atmopspheric and emotion plucking artistry of songs that would appeal to a broad spectrum from fans of Human league, to Placebo, to current artists in the scene such as Witch of the Vale and Dreams Divide. We are very proud to have such an intreguing artist and her amalgamations of style playing at EVM fest! Self taught producer and solo artist Still Forever, more usually known as Amy, debuted her performance of intimate, dark-wave electronica at Manchester’s Foundations Festival in 2018, and hasn’t stopped for long ever since with 2019 clocking up a healthy 15 shows across multiple cities, as well as an album and two single releases. The sound of Still Forever is a continuous evolution, but can be broadly described as elements of eighties post-punk, electro-indie, synthesised soundscape and modern gothic intertwined beneath atmospheric, bipolar vocals. 2020 promises even more with several performances confirmed early on, plus more shows around the UK yet to announce, a second album scheduled for release in February, and a few extra surprises planned for throughout the year. www.stillforever.co.uk www.facebook.com/StillForeverMusic www.instagram.com/stillf0rever twitter.com/stillf0rever Reviews and Remarks “The lovely and very hard working [Still Forever] smashed it this year with gigs galore and this awesome little album, she rocks Siouxsie vibes and is a talented synth player and programmer. My favourites are Bleak and In The Blood, catch her soon, her live performance is fantastic.” - Tiffanie Wells on 2019’s album Atemporal“ Exquisite soundscapes topped with dream-pop vocals.” - David, St Lucifer “In a genre where everyone sounds derivative to me, you’ve got something a little different.” - Ryan, Witch of the Vale “This set was truly a testament to how much she’s developed and grown as an artist in such a short space of time. [She] put on a fantastic performance, the moody dark-wave tones generating an incredibly rich, mesmerising atmosphere. Sonically, it was truly gripping, and she had a strong stage presence.” - Epitome of Epic (on March 2019s Reading performance) “It’s a bit like gothic trip hop”- Audience member at a Manchester show Stage times (Subject to change) 18:00 Doors 18:30-19:00 Still Forever - 30 mins 19:15-1945  Matt Hart - 30 mins 20:00-20:40 Chamealeon - 40 mins 20:55-21:35 Biomechanimal - 40 mins 21:35-21:50 Beat:Cancer raffle and announcements (Any contribution towards the raffle prizes is as ever, very much appreciated!) 21:50-22:30 Auger -40 mins 22:30-23:00 Karkasaurus -30 mins Free entry to Slimelight! Who are Beat:Cancer? Here are two excerpts from our in depth article on Beat:Cancer and an interview with it's founder Mark, who is also one half of Karkasaurus. Available HERE On the Beat:Cancer website you can grab a ticket to EVM fest, find out more about them, and also read a regularly updated blog written by Mark's father who is himself fighting Cancer at the moment. So again, support towards this cause is incredibly appreciated. Also in aid of Beat:Cancer on the 22nd of Feb: 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 #ElektroVoxMusicFestival #EVMFest #Beat:Cancer #Lineup #March #Industrialmusic #Elektrowerkz #EBM #Goth #Slimelight #London #Charity #Event #Auger #Biomechanimal #Chamaeleon #Karkasaurus #MattHart #StillForever #Aggrotech #Industrial #CyberGoth #

I've been unsure of how to review this newest Electronic Substance Abuse album without simply gushing about it. Since it's release last week, I must have listened to it a good two dozen times, that's before I've sat down to write this and listen to it a dozen more for the review. I feel I've come to know Jamie Blacker fairly well as he's asked me to not just throw my usual praise at an album but to be truthful and critical of it; Something I've so far struggled to do conscience wise as I usually become good friends with the artists I write about. Yet his words on a facebook update on release date resonated deeply with me.. "Anyone who receives praise for their work and 100% believes the genuinity of that praise, probably should hang up the headphones." So I will give this review my best attention yet because although I love this album, I wan't to get across a whole lot more than simple praise. Let's start this one a little different by playing the Bandcamp plug in below. Have a listen whilst you read the interview but then play each track as you read about them in the review; Especially track 5,'I Remember.' Interview: Q. From the moment I opened up the Burial 10 CD case with it’s symbolic artwork, to the opening lyrics.. “What do you see when you look at me?” ..Through to the lyrical themes of the tracks throughout, I realised very clearly that this is an album that is very personal and filled with an array of emotion from you. So I will lay this question out in three parts. What is the story of the ‘Burial 10’ album and how does it relate to.. 1. The artwork of the album as well as the line ‘I believe that the truest parts of people can be buried and for so many different reasons.’ that is printed on the ‘Burial 10’ clothing merchandise? 2. The ‘Burial 10’ music video? 3. The lyrical content that seems to follow a concept? A: Think I can answer this question in one response. This is definitely a very personal album. As I’ve gone along releases, I’ve allowed myself to connect more personally with subject matter, rather than creating some sort of disconnected fantasy theme that feels right for the ‘music’. The main focus of the album is based around self sabotage. Something that I’m aware of as a personal behaviour pattern. I’m sure that the majority of people have experienced this also. The artwork imagery concentrates on nooses and burial. These are pretty primal visual metaphors for destroying yourself. That’s why I decided to be the one holding the spade in some of that imagery. The tracks themselves do touch on other subjects connected to this such as depression and also the ‘burial’ of those demons. I wouldn’t say it’s an album with a ‘happy ending’ but it certainly isn’t all negative. The opening lyric you quoted is from ‘Relapse’ which is about exactly what you’d expect. A relapse of behaviour. It directly links to others expectations of you and the pressure of that. The ‘Relapse’ is the giving up of trying to bury those behaviours and giving in. ‘Head is heaviest that wears the crown’ is also about that (or at least my section of the lyrics is). It’s about having to behave a certain way due to pressure and expectation. Something I have felt, not only from others but my own personal pressure to prove something and be the absolute best at what I do. The quote that you mentioned is something that fits in line with the last 4 albums that have been released. I always connect a quote to the subject matter. The message in this one felt ‘right’ for this album. Q. There is a lot of singing on this album from yourself which in previous albums has been a real rarity. What brought about this shift in musical style, and how did you come about having Jo Hysteria, Caitlin Corlyx, and Lecture feature on the album? A: I think honestly it came through working with iVardensphere so much. ESA has developed from being a purely rythmical noise project to something with a lot more variation in styles and hopefully..a very unique sounding project. I think working with other producers such as Scott Fox has worked as a catalyst to that. The tracks I wrote for iVardensphere were all vocal heavy and that approach of writing probably cemented itself for whenever I went into the studio for ESA. Vocals also provide an opportunity to add more character and uniqueness to the track, whether that be me providing the vocals or the guests that appear. All of which did a great job! A great vocal line or a well matched sample provides a ‘hook’ for a track. The magic ‘hook’ is what makes a good track into a great track. I also love collaborating. That’s when writing becomes interesting. A merging of styles to create this weird hybrid. I’m fortunate to know talented vocalists that can help me achieve that. Q. ‘Heavy is the head that wears the crown’ is very experimental in it’s element of rap, something which more industrial artists seem to be dipping their toes in to at the moment. Could you please explain the inspiration of this track and what it brings to ‘Burial 10’ as a whole? A: I’m a huge fan of experimental rap projects such as ‘Clipping’ and ‘Death Grips’. I think rap itself is highly underrated by a lot of people in its intelligence and skill. I wanted to write a thick, bass heavy track that would lend itself to a rap style, then went on the hunt for a rapper that could set it off. ‘Lecture’ did that perfectly and in my opinion really fits the track. A lot of people are saying this is their favourite track on the album however I’m sure there are a lot of people that equally think it’s a sell-out and are bemused as to why it’s even on the record. That’s fine. I expect to lose a small portion of fans on this record due to probably what could be perceived as a slightly more commercial sound; I also expect to gain a bigger number. For me, I have to push myself and try new styles. Otherwise writing becomes stale and after 10 albums, putting out 4/4 distorted beats is going to become completely irrelevant. I might develop this style further, I might move into something else. I’m not sure yet. Q. Which song are you most proud of on this album and why? A: Difficult! I’m really proud of all the tracks and for different reasons. If you asked me which track I personally connect to the most….it would be ‘Blessed with Bruises’, mainly due to the outro. I love synth layer work and I always allow myself to play with that at least once on each album’. It’s such a relief to kill the beats and just concentrate on creating a huge swarm of synths sometimes. With regard to ‘structure’. I’d say that ‘Wither’ is the most complete ESA track I’ve written. It goes through a number of sections and goes through a bit of a journey without losing intensity at any point. So….you get two ‘proud boasts’ 😉 Thanks for the interview Canis Here's an interview we did with Jamie back in July 2019 Review: This album finally strikes at a place that until now I feel had been missing with ESA, at least for me personally. You see I have always raved super hard at live ESA shows and I am always ecstatic to see Jamie's music on a line-up that I plan on attending. That's because his music is exactly as it says, Power noise. This creates an undeniable torrent of energy and dance inducing mania that pulls at the most primal essence of your being. So needless to say, live shows = Fantastic. Listening to ESA at home or elsewhere however has never had the same feel for me, sure I have had tracks like 'Cutslut', 'Cursing', 'I want it now', 'That Beast', and 'Like meat' on my driving playlist and they always get cranked up; However I have never been able to listen to an ESA album all the way through more than once because I didn't feel like my attention span was ever in the right mindset outside of a nightclub. This album changes all of that and has made me eat those very sentiments. Each song creates a sense of connection to the listener and leaves them wanting more.. As I mentioned at the start, I have listened to this album time and time again since it's release as it is now a much more approachable set of music and relatable in it's lyrical stylings and delivery. Indeed as Jamie mentioned in the interview, his work with iVardensphere has influenced this new direction considerably and the overlapping of the two is prevalent throughout. In our best of 2019 article HERE, The Jamie Blacker fronted iVardensphere performance at Beat:Cancer was my choice for second best live show of the year, beating the likes of Rammstein. That's just how good the rave energy and the primal cacophony of these two separate styles have evolved to create a perfect mix of charismatic showmanship and entertainment. The show that won second place ^ (WARNING: extreme flashes) Jamie in our hilarious toilet interview with his fellow iVardensphere band mates. 1. Relapse Opening up like WW2 anti aircraft with it's skull-crushing drum loop this track straight away tells you what this album is and what it is not. It is not just another album of noise with a bit of singing, this is an album almost entirely full of singing that compliments the signature ESA noise perfectly. The additional spoken samples gives it a real sense of mystery and an edge of depth. It's a steady warm up that tricks you in to thinking you have the pace figured out in it's familiar ESA stylings. With Jamie repeating.. "I'll do it again." in his harsh and almost sadistic gravel voice I get the sense of importance, especially with the next line "Come with me, Come with me!" and you realise you don't have it figured out as it pulls you head first into the next track's faster current. "I'll do it again!" 2. One cut too many The first half of this tracks has some very odd distorted voice samples which I don't think quite work other than a bit of 'filler' and after an explosive opening, it feels odd to slow the track down again for most of it's duration. However the pace is solid throughout and when played loud it's sets the track up perfectly to explode with energy again around the 5:40 mark. It even has a slight feeling of Iszoloscope to it who is also part of iVardensphere. Hearing multiple influences and evolutions in each of this tracks really lends itself to the array of talent that Jamie is trying to blanket across this album and it really does work well. 3. Cloak and dagger (Featuring Jo Hysteria) The transition in to this track is almost seeming-less and once again Jo Hysteria lends an impressive contribution to another ESA song. With the blending of styles, this track has a hint of dub step and 90's punk rave to it creating a quite dark and even dance macabre like feel to it which I suppose works very well with the title of the song. It's always great to hear German lyrics sung on an industrial track, makes it feel that bit more authentic. 4. Wither Lyrically this is where the album opens up in it's message and inspirations. The almost star trek like red alert sample lends well to the synthetic urgency of track alongside the fantastic choice of drum loops that chop and change the intensity steadily throughout. This is an ideal mix of technical kill, lyrical relatability, and pure rave energy ESA is well known for. 5. I remember When I first heard this, It was on the CD driving my car.. This was the instant face I pulled.. It's almost like Jamie has taken everything I love about heavy techno artists like 'I hate models' and rave industrial bands like 'Memmaker' and mixed them in to that power noise soup of his with croutons of his dark metal vocal filth origins to create the most appetising ESA track ever created. There is a mechanical motor like sound sampled alongside some chanting of 'I remember' that at first I felt was a little annoying and out of place but the more I listen, the more I realise that the tracks on this album are trying to get inside your head to create an aural representation of what these internal issues and mental health struggles actually feel like. Sometimes they are annoying, inescapable, and tormenting, creating itches inside your skull; only to be released through catharsis of explosive manic force as in real life, at least in my interpretation. (I suppose this makes it of utmost relatability to myself.) So when the track exploded in to life again around the 5.14 mark, my jaw went from the above pic, to the one below for the remainder of the track.. (Still does sometimes!) 6. Burial 10 The album title and first music video from the album. It's a track that is entirely unique and unexpected. It has caused me to do something I've never done before.. Get ESA lyrics stuck in my head as I sing them to myself at work! This is by far the catchiest and most dance happy track on the album with its thrumming bass line and resonating synthetic waves. Everything works in harmony on this track to a level that is rarely possible in the world of industrial and the ritualistic cult chanting adds a huge chill factor to an already adrenaline educing tribal trance. 7. Heavy is the head that wears the crown This is indeed an odd choice for an ESA album but all artists experiment and try to evolve beyond theirs limits at some point. This album is already very different and new for ESA so this track sticks out like a sore thumb. Industrial bass lines do lend themself well to the tempo of rap lyricals and I can appreciate the complexity and change of pace it brings. Rap is often an emotional and deep hitting style and yet Lecture falls a little short in his delivery, sounding a tad monotonic but the tempo and styling are hard to pull off and he has indeed pulled them off well which is a real credit to an artist who can fit the two styles together. There is a child like set of insults played throughout which I feel detract from the song as they distract you from track overall. Jamie's message of where he is in the world of industrial and what a difficult place that is does come through clearly however and is an interesting take on musical styling that I am nonetheless glad he has dabbled in, possibly bringing new listeners to the scene in the near future. I know several other industrial artists attempting rap but they are doing that under different 'band' names. It was very bold of Jamie to add this to the album and whether I like the style or not, I respect that. 8. Her body prints secrets You ever heard that song 'They're coming to take me away'? Well the beat and tempo of this track would lend itself well to a mash up remix! This track though is a perfect gym inspiration song. With it's constant beat, the breathing sample, and its rising levels, this song lends itself perfectly to exercise. I found myself scrapping wallpaper very efficiently whilst this was playing in my living room! It's is a much simpler song than the album has presented so far but it is no less powerful. It's a real heart beat kick-starter. 9. You are safe here (Featuring Caitlin Corlyx of Corlyx) Ah man, this track blows me away almost as hard as 'I remember' does. When Jamie invited Caitlin to on stage with him at Static Darkness festival, we knew we were in for something special but were of course swept up in the live magic. Now that there is this finalised track with her vocals on, you realise how special this is. The music alone throws you on a roller-coaster of involuntary movement as it commands you to dance like a puppet master pulling at your strings; Throw Caitlins lyrical passion in to the mix and you have a recipe for pure Greek fire of the dance floor variety. It is pulse pounding, it is primal, it is everything an industrial track should be. The lyrics themselves lend to not only a story, but to the audience some of who may be nervous to be out. Nothing quite like the idea of dancing along with friends to this powerful piece and yelling "You are safe here" + "When you panic!" at each other! 10. Hold your tongue This is a return to the more familiar power noise side of ESA that we have seen in his previous album. It is almost like an 'active rest' for the album. In regards to the rest of the album it doesn't have anywhere as near as much energy as heard so far but is a welcome break to process the rest of what's been heard already. 11. Blessed with Bruises The final track on what has been a sensational trip of an album. It plays out and feels like a heavy comedown. The tempo and energy is slow and deep. The samples are sinister and thought provoking. It does however pick up again in intensity half way thorough and rounds of nicely with prophetic organs the likes of which would go well in a show like 'Altered Carbon or 'Blade runner,' The ending samples in correlation with the entire concept of 'Burial 10' finally sinks in and the darkness creeps in with it.. Leaving you feeling unsettled, twisted, but wanting more.. Conclusion ESA has produced one of the finest albums of modern times. Jamie Blacker has found a truly genre evolving definition to his sound and breathes much needed life in to the world of industrial power noise. It falls short in some aspects of it's experimental nature but more than makes up for it overall. A true must have for your collection Top 3 tracks: 'I remember' 'You are safe here' 'Burial 10' Least favourite track: 'Heavy is the head that wears the crown' Scores: Technicality: 9 Dance factor: 9 Energy: 7 singing: 8 Re-playability: 9 Overall score: 8.5 More below.. T-shirt link: HERE Tank top link: HERE Bancamp album link: HERE Below is the ESA 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 until April with no obligation to stay on. Get in touch. Click the listing below to be taken there. 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 #ESA #ElectronicSubstanceAbuse #Burial10 #Review #Industrial #IndustrialMetal #Powernoise #EBM #Goth #JamieBlacker #Corlyx #JoHysteria #Lecture

It's not every day you get to see a modern legend supported by a more traditional legend, yet that is exactly what was gifted to the fans in the UK. Having reached out to the industrial crowd for someone to put me in touch with Alexis Mincolla of 3TEETH, I was very appreciative when the artist MATT HART did just that for me; and so an interview and press pass was agreed upon early. Along came the day of the show and I had yet to hear back on where and when this interview could take place but if I have realised anything with my Elektro Vox work, a lot of it is down to sheer luck and optimism; So it was that whilst trying to find the venue super early, my group and I bumped in to a somewhat hungover Lex and fellow band mates in the street. We ended up joining them on a search for coffee and as my partner put it.. "You can't make this shit up!" Not long after we are chilling in the rather wonderful dressing rooms of the Heaven nightclub, enjoying a bottle of Camden Hells, and the interview below was the end result. After a time we thanked the band and headed out for a while, eager to see the show! Keep scrolling for the review.. Review I'd been looking forward to seeing PIG because I must confess, the older generations of industrial music are something I'm still learning about, discovering properly, and getting in to slowly. PIG are one of those bands that has been a cornerstone of industrial for a long time and so I was very much open minded in the hopes of enjoying what they had to offer. I was not disappointed in any way. During their first song I was enjoying myself, by the second song 'Mobocracy' I was hooked, and by the time 'Find it, Fuck it, Forget it' was playing, PIG had certainly made me a fan. From the catchy lyrics, to the brutal solos, to the fact he was wearing a chastity belt and spinning his fluffy coat around his head, these factors alone made for an incredibly enjoyable experience. The visual art behind them was truly what you'd expect from a band who have seen and done it all. The macabre and politically heavy videos resonanted well with their history, modern times, and of course, their lyrics. Not once did I feel bored during their performance even though their particular style of music is not something I found myself dancing to much. However that just allowed for me to appreciate their performance more rather than just banging my head! 7/10 3TEETH slowly took to the stage one by one building up the anticipation of the crowd who had expected an explosive entry, just as the crowd was left on the verge of anti-climax, 'Affluenza' ripped out across the atmosphere like lightning finally tearing the heart out of the skies, relieving the pressure in an explosive fury. Half way through the track it became apparent that the sound of one of the guitars wasn't being picked up. After a few seconds of a roadie trying to fix it, Lex did something I have never witnessed before.. He called off the track and killed the music. That's not the amazing aspect though. Instead of going silent until the problem was fixed, he turned his incredible charisma switch on and joked with the audience.. "I'm not having that. Industrial music without the guitar, what do you call that...EBM?" The crowd howled at that unexpected humour out of nowhere. Very quickly the band were ready to play once more and so Lex called for the track to be spun up from the beginning. It was bold and it was glorious. This problem became a wonderful addition to the show as 'Affluenza' once again ripped out from stage, the audience was swept up in their tidal wave of exuberant energy and new life in a way that only 3TEETH can create. This was my third time seeing them and they have come a long way since the previous shows. Everything sounds crisp and clean, the vocals were pure, and the instruments unhindered in their clarity. Previous shows had been somewhat ruined by a group of overly aggressive mosh pit inconsiderates who don't appreciate the fact that a mosh pit has certain unwritten rules of consideration to those both in and outside of it. This was nearly the case at this show too but I felt a lot more positive energy coming off of that part of the room rather than the harsh energy I'd experienced before. In short, the energy was driving people crazy, but in a good way this time. The entire show was a non stop powerhouse of euphoric aural abuse. Here is a band that has found their truest form with the release of Metawar. Hearing a lot of their new album live was an experience I am truly grateful for because it is not just a show, it's a feeling, an itch that gets under your skin tempting you to remember and relive the concert in your mind. When you give in to it your spine goes cold, your brain feels molten, and an adrenaline response kicks in half out of a sense of excitable danger and half of it like a drug addict wanting another fix. That's how powerful 3TEETH's live presence has become. With their encore track, Lex came out dressed as the shapeshifter in the 'President X' video bringing the last vestiges of energy out of the crowd, pouring their pure joy at the stage. Setlist caught by Cai stood behind me, just as I turned my eyes off the stage, typical ;) 3TEETH are something almost out of this world, something you just can't put your finger on. Perhaps the shapeshifter is a perfect metaphor for all of this and more, or maybe it's not? You'll need to see them to decide for yourself! 9/10 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 #3TEETH #PIG #HeavenNightclub #Event #Industrial #IndustrialMetal #Aggrotech #EBM #Goth #LiveReview #Interview #AlexisMicolla #Metawar

Dav Dralleon is a composer of darksynth electronic music, from Nevers (58) France who recently sent me his EP album for review and even on the first track, I knew this was going to be a little jewel of an album. Who is Dav Dralleon? Always having an ear interested in electro synth music, he is inspired by cyberpunk culture by bringing his dark touch and release his first Darksynth EP 'D E P T H S' on November 11, 2017 under PLAYMAKER label which proposes to make audio cassettes limited edition of 50 copies and later the label ELECTRONIC PURIFICATION RECORDS offered him to make Vyniles limited edition. In the course of 2018 he released 'A L T E R E D E A T H' and 'W O L V E S Q U A D', two singles announcing the production of the new 7-track EP in September, entitled.. 'H O LY W R A T H'. The art work for the two singles. Also check out his other great tracks on bandcamp such as 'Mortal Kombat' and 'The revenge of the Shinobi.' HOLYWRATH is available on Spotify also. Dav on Holywrath story: From the depths, the fallen souls emerge from the otherworld and discover the hypra massive structure of domination. The dimension of technology is such that its origin gradually becomes a myth, giving rise to new divinities. Among these sects, some dive through the mysteries of life and death, and scan the cybernetic heavens to find answers about the infinite and the afterlife. Others meet in the vaults of doom to invoke the dark spirits of darkness... Nobody has ever seen the face of domination. Who are these spirits who decide our fate? Is it our faith in our infinite beliefs, or is it our omniscient science that will save our souls? Review: As many of us are aware, darkwave, synthwave, and retrostep have been exploding in popularity over the last year having many industrial influences that make all of the genres easily likable for anyone in to electronic and alternative music. With HOLYWRATH almost all the bases of taste are covered even though it is a sinister and overall very dramatic compilation that is a perfect example to point to should anyone ask "What is dark synthetic music?" It is also a good exploration in to more popular formats of synthwave, having been picked up by 'The Prime Thanatos' who alongside 'Synth Wave City' put out the best synthwave, retrowave, and dark synths compilations on YouTube. There are many influences here and of course it is easy to say that this whole album oozes the retro classic sound of sci-fi and 80's computer games, as is the style and influence of such music; We find Vinyls everywhere again now and Dav has gone so far as to produce 50 red shelled cassettes of the EP, further adding to the retro vibe of his work. However it is more than just those basic criteria. This EP has a lot of industrial dance vibe to it, on top of gothic macabre, almost like a far more electronic Cradle of Filth. To put it simply, this is almost a selection box of sweets only with no card to tell you what the flavours are, leaving it up to your own interpretations as to the different flavours of synthetic sounds blending together in a masterfully harmonious way. You could relax to this album, you could dance to it, or you could use it as the supporting music to a horror film, that is how diverese this album is. Wolvesquad and Vaultovdoom are good pieces to dance to with their upbeat and strong tempo appealing to the more industrial amongst us; Whilst Helraider and Mekazaryon are great ambience pieces for those preffering a calmer aspect to electronic music. This is a brilliantly done piece of work and I hope Dav finds well deserved success with this album and that he continues to make this high standard of music in future! 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 #DavDralleon #HOLYWRATH #darkwave #Synthwave #Goth #ElektroVox #EBM #Industrial #IndustrialMusic #CyberGoth #Retrostep #DarkWave #GothicMusic #Syntheticmusic #DarkSynth

When it comes to Gothic nights out, especially of the industrial kind, there are especially few and far between options in the U.K. Everyone knows of course of the majesty of Slimelight London, and RevolutioN in Sheffield but I honestly feel ashamed to not have heard of Tyranny sooner. Having started in 2011 in the city of Bristol, Tyranny deserves far more recognition across the alternative hive mind and so I felt the need to bring my experience to anyone else who may not yet have heard of this hidden gold mine of a night out. My partner being local to Somerset had asked me multiple times to try out Tyranny on the basis of the great Goth and Industrial music being played by the DJ's, as well as an incredibly welcoming and friendly crowd of attendees. Now this, I thought.. was a bold claim. Having spent a lot of time with the industrial family in London, I've come to know what I consider to be welcoming, friendly, and a great offering of tunes so how could anything compete with that? And yet, her description was spot on. The alternative crowd in Bristol are every bit as inviting, if not more! (Some of tyranny's atendees) The night started out arriving at the house of a wonderful pair of hosts who although knew my partner, had not met myself and were very kind to put us up for the evening. Having got acquainted and our outfits sorted we headed to the city of Bristol via Uber. Out we jumped and headed in to the Gryphon, a wonderfully loud and homely heavy metal pub that reverberates with positive energy. Winner of Bristol's 2019 pub award with its tongue in cheek art work and all manner of alternative paraphernalia adorning the walls. Had I not discovered Industrial music, I would have been content to spend the night in there! We swiftly headed on to The Crown in Saint Nicholas market where Tyranny is located in 'The Trap', a historic cellar beneath The Crown and an ideal venue for all things Goth. Tyranny is on the last Saturday of every month and stars at 21:00. Entry is £4 which is perfectly reasonable even though it only lasts until 2am. Sadly that is the venue's policy and not Tyranny's. The cloak room was free, however unmanned after 1am, meaning if you want your stuff back, go dig for it! Yet this really isn't an issue. There is a genuine atmosphere of trust and respect that no matter where you leave your stuff or your drinks, there is no need to worry about who might take it or meddle with them. The door staff at this venue are some of the most down to Earth and friendliest I've met. Having been a doorman myself for a number of years in the past, it's always nice to meet the good ones because believe me, there aren't that many! Not once did I feel any discomfort, cause for concern, or any shift in atmosphere away from the communal feeling of acceptance, friendship, and just plain desire for a good time. In the two pictures on the left, we have the dance floor pretty active after only an hour of being open. On the right we have the dance floor packed out at 23:30 at which point the venue had hit its capacity of 100 and could let no more in. Very few other clubs can claim full capacity at only 23:30, especially in the alaternative scene which is a real credit to the dedication and quality of the music on offer. It may have been because of it being the weekend everyone was finally paid after Christmas, but something told me it had a lot more to do with how much of a family feel the attendees have towards each other and the need to socialise at such a great event. Even the bar staff were incredibly friendly and genuinely happy to be there, complimenting people all night on their attire adding to the great vibes. Also Dj'ing were the organisers of 'Fiendish', Bristol's fetish event. Their more traditional taste of Gothic music did well to break up the dance floor in to a good ebb and flow between relaxed dancing and rave dancing. Even in only a five hour stretch, I feel I made a lot of new friends, adding people on FB, and networking about EVM fest and The Alternative Directory. Absolutely everyone was open and welcoming and I give my utmost thanks to the Gothic scene in Bristol for all being so charming and welcoming me in to their little family. I hope to attend many more in future! Check out our new diretory for all your alt. culture needs! (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 #Tyranny #Bristol #Nightclub #Event #Industrial #IndustrialMetal #Dancefloor #EBM #Goth #News

After 5 years, Biomechanimal start their 2020 release schedule working alongside fellow bass-head, co-producer and bandmate Mechanical Vein with a fierce collaboration track. Drawing on influences from modern EDM, London industrial, and seagulls, "Waves" sets the scene for both artists' return to the digital stage with a brutal crescendo. With lyrical themes exploring music as a self-destructive art form, Biomechanimal and Mechanical Vein bring their artistic A-game. With remixing credits from DNB monster Sinister Souls and industrial heavyweight Grendel, and mastered by Lukas Turza of Snap Mastering (Noisia, Bassnectar), this single is a well-engineered uppercut from the first release out of HYBRID BLAK. Interview We Asked Matt of Biomechanimal and Keith of Mechanical Vein: Q. What does waves mean to you in regards to the lyrics, the ideas behind it, and how it relates to the next album/s? Matt: A. So for me, the first line of the chorus is taken from a Salvador Dali quotation, about how art is the source of our own destruction. The songs main theme is the constructive and destructive effects art has had and will have on our lives; The sacrifice, the breadth of experience, the way it has shaped us so the title, waves, is a summation of this. A journey across the sea, the epic highs and desperate lows of being an artist, a wave. As a song relating to future material, there’s a lot to take away. It’s almost an apology for this taking so long, as one of the lows of being an artist is trying to match your self expectations and destroying yourself in the process but now we’ve crested that wave. We’re surging forward and there’s more to come, to explore, to discover. Keith: A. One of the sub-themes in this song is the idea of fighting off nihilism by fully throwing yourself into constructive and meaningful pursuits. It's so easy for people to be overwhelmed by the state of world affairs and general darkness of the human condition, and we all respond to that in different ways. For me, I rely heavily on artistic outlets and constantly challenge myself to do things I wasn't previously capable of; Probably grinding on those pursuits more than one would consider to be healthy, and that's one way art can become self-destructive. Also, in my day job I'm a film VFX artist specializing in destruction, working on projects such as Pacific Rim & Venom. I really like scattering references to my VFX work into my lyrics, and my verses on "Waves" contain a few of those. Neither Matt nor myself are content to work within the formulaic confines of a given genre. For me that means I'm just as influenced by visceral hip-hop artists, like B Dolan & Sage Francis, as I am by electronic artists. Biomechanimal & Mechanical Vein are both pushing a hybrid sound, which makes this release a perfect first for my new label/collective HYBRID BLAK. Review Waves (original) As the name implies there is a steady ebb and flow to this track from the steady vocals beat sessions Keith puts down that rise the track up in energy steadily just like a ship pulling up on a steep wave, only for it to come crashing down again with the violent and ear destroying power that Matt's powerhouse lungs produce alongside that iconic Biomechanmial sound that has become their signature style we all love. There's a lot of explosive force contained in this track with Matt fingers on the trigger of the dance floor's blast cap. Waves (Grendel Remix) This is a truly interesting remix as it takes the song in multiple directions that make it almost a separate entity rather than a remix. Beginning with an almost 1980's Hip Hop vibe with the piano keys, to then be taken in to retro gaming territory, and to finish off with a 'Cradle of Filth' reminiscent sound to is all. This style loops repeats twice in the track and really doe shine a light on just how much JD of Grendel is pushing musical boundaries away from what people may have come to expect from Grendel. It all creates a seemingly 'horro-esque' feel to the music that works surprisingly well. Waves (Sinister Souls remix) Drum and Bass and industrial have always been close cousins in many respects and this track is proof of such. The speed and ferocity have even brought a 'Pendulum' like knife edge to the dancing undercurrent making for a decent stylised mix that would go down a treat at the cross over events the EDM world has with Goth music such as Cosmic. You can expect this stand alone joint collaboration single to be released on february 21st 2020 on all the usual outlets. 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://open.spotify.com/artist /5CIN7SPcF1y3OmXYJc1DNv?si=YavzrruaQ2qwXNNHAZKKTA https://www.facebook.com/BiomechanimalMain https://www.instagram.com/biomechanimal MECHANICAL VEIN /// LONDØN GENRE-NØMAD /// Defying your expectations with every beat Mechanical Vein is a gritty and visceral hybrid of DNB-electro-industrial-hip hop, with custom instrumentation and a focus on live performance. It's a slightly manic blend of influences, but it comes together in a cohesive unified artistic vision. With a penchant for political and anti-theistic themes, and a strong preference for vocal tracks, every piece of MV's music is laced to the core with cutting commentary. MV's mastermind, Keith Kamholz, has carved a path halfway around the globe, performing in NYC, San Francisco, Black Rock City (Burning Man), London (UK), and several smaller cities. He's also a member of London industrial act Biomechanimal, with a monster Biomechanimal/Mechanical Vein collab release set for Feb 21st, 2020. In addition to that impending collab release, MV has explosive EP nearing completion, featuring guest appearances by Faderhead & Caustic. The stage is set for the next evolution of his unique brand of musical fire. In addition to his work as Mechanical Vein, Keith Kamholz is also a professional Lead VFX artist specializing in destruction. Some highlight film credits include Pacific Rim: Uprising, Venom, Transformers, Captain America: The Winter Soldier, and many more. References to his VFX work frequently pop up in MV's musical output. *** Mechanical Vein is based in London (UK), makes frequent trips to NY/CA, and is always accepting booking inquiries worldwide. *** http://mechanicalvein.com http://mechanicalvein.bandcamp.com https://open.spotify.com/artist/5Uvsfedp0YTUBwr9v8qmtG?si=sHYalvyUQbueDxSpjCpUow https://www.facebook.com/MechanicalVein/ https://www.instagram.com/mechanicalvein https://twitter.com/mechanicalvein HYBRID BLAK Records http://hybridblak.com https://www.beatport.com/label/hybrid-blak-records/83185 https://soundcloud.com/hybrid-blak https://www.facebook.com/hybrid.blak https://www.instagram.com/hybrid.blak https://twitter.com/hybridblak Check out our new diretory for all your alt. culture needs! (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 #Biomechanimal #MechanicalVein #Waves #HybridBlak #Industrial #IndustrialMetal #Grendel #SinisterSouls #EBM #Goth #EVMFest #ElektroVoxMusicFestival #Single #News

In one word? Fire... Both literally and figuratively. Such was the burning excitement of everyone traveling to the arena, the crucible heat that must have been the crowds crushing together to get closer to the stage, the unexpected single eruption of explosives heralding their arrival, followed by the conflagration that was the burning passion and expressionism of possibly the most intense metal show on Earth. No one does it like Rammstein, not even close! The venue was breathtaking, the scale of the view from my upper tier seat was phenomenal, so much so that I wasn't worried about making it to the merchandise stand having seen the queue wrap around the building to the point of insanity. The love and dedication the fans have to a band that has touched them all emotionally in some way was certainly on show in that very long and hot queue. The entertainment started off with a relaxing twist, the two female classically trained pianist know as Jatekok opened on a smaller stage set back amongst the crowd playing piano covers of Rammstein's work, it was really rather touching and calming to listen to the usually heavy metal tunes drift softly through the air. With very little warning, Rammstein exploded on a stage that was itself an industrial metal work temple rather than a mere concert stage. It was a beast, with fire regularly bellowing forth from its peaks and from the sound pillars in the crowd. At first I thought the arena screens were not working as no camera focused upon the band for the screens to see but shortly in to their set, a masterful use of lasers projected center stage what Till Lindermann's Microphone camera could see either being directed at his fellow bands mates or the audience; occasionally changing to what the regular cameras saw of the band. There were mind blowing tricks throughout, starting with a giant pram that coincided with a screaming baby spewing flies from its mouth on the center stage, with huge gouts of black confetti being vomited forth at the crowd to add to the effect even as the pram became engulfed in flames. This was followed by yet more flames upon flames throughout the show. At the half way point Richard Kruspe took to a DJ set built in to the center tower of the stage being lifted in to the air as a killer remix of Deutschland rang out. The band soon returned in light up dance suits and made us all laugh and cheer at how surreal yet jaw dropping this show had become. The jaw drops didn't stop there; Lindermann appearing to launch fireworks above the heads of the crowd, and shooting a flame thrower at flake who took cover in a giant cauldron for the track 'Mein Teil' shortly followed by Flake being doused with a flame cannon instead and with no protection but a heat suit! For the song Engel, the band made their way to the second stage and joined Jatekok and sang over the pianos, thousands of phone lights adding to the serenity of the moment. In true over the top fashion, the band returned to the stage by surfing upon the crowd in inflatable dinghy's before ripping back in to the heavy stuff with the track Ausländer, the meaning of the song not being lost upon the crowd having just returned the way they did. Pussy was soon after and of course, Till once again got to barrage the audience with cum in the form of huge swathes of white confetti being shot from his mobile dick cannon. Left and center image by @Skydivingpeewee (DJ Pee Wee) To see Rammstein play live is always going to be a memorable experience but to see them play in arena where their full glory and boundless character can play out across a wide stage, supported by as many pyrotechnics and high tech special effects as they want, goes far beyond memorable. Their performance is bar setting, with the bar so high, none may ever reach such heights that this band have consistently held high and continue to raise even further. Set list: Was ich liebe Links 2-3-4 Tattoo Sehnsucht Zeig dich Mein Herz brennt Puppe Heirate mich Diamant Deutschland Radio Mein Teil Du hast Sonne Ohne dich Engel (B-Stage) Encore: Ausländer Du riechst so gut Pussy Encore 2: Rammstein Ich will Thank you Rammstein, we look forward to seeing you play in the UK again next year! 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! #Rammstein #MiltonKeynesArena #ElektroVox #TillLindermann #richardKruspe #industrialmetal #goth #metal #industrial #Deutschland

Having started Elektro Vox on a bored and frustrated afternoon in March, I've come to interview, review, and befriend some incredible artists across the world of Industrial including many an artist who I never thought I'd get the chance to talk to. Now here we are with many an interview under my belt and Elektro Vox's very own music festival coming in March next year. 2019 has been quite the year! In celebration of that I've put together some lists of what I would consider to be the 'best' of 2019. Before I start, this will be as Elektro Vox's mission intends, to be focused on industrial and other similar electronic music styles. If it weren't, Heilung and a few other bits and pieces would be thrown in to the lists. Therefore there will be a special mentions sections for those that don't quite fit the lists or the theme, at the end. Best live performance: 1. Welle:Erdball (E-Tropolis Festival. Oberhausen, Germany.) I'd only heard a few of their songs prior to the festival and knew they were an eccentric band but I was unprepared. Having caught a few Die Krupps tracks, I headed over to the second stage and joined Mary at the front of what was already an extremely energetic performance. Germans don't tend to dance as much as us Brits do at shows but almost everyone in that crowd was bobbing and jumping away like mad. There were gifts thrown in to the crowd, there were balloons a-plenty released followed by the band giving out fists full of sparklers. It was the most entertained I've ever been by a band who were just beyond comprehension with the silly atmosphere they exude whilst still being professional performers first and foremost. 2. iVardensphere (Beat:Cancer festival 9th November. Slimelight London) So not only did we get to do an insanely hilarious interview with these guys but we were front row to the only European performance of the year. Absolutley mind blowing energy that was a seratonin and dopamine rush from start to finish! 3. Rammstein (Milton Keynes Bowl) Fire.. Fire.. Some MORE fire, and a damn good rollercoaster of emotion. Full review here GIFs by Robin lee 4. Jan Doyle Band (Fiddler's elbow) Nothing quite prepares you for the performance art of Derek Williams. You see him and any performers he happens to be joined by at any given performance, dressed in what you assume to be glam rock clothing and therefore expect as much.. Oh how wrong you are, what follows is both nightmare fuel and entertainment bliss. Full review here 5.Priest (E-Tropolis Festival. Oberhausen, Germany.) Now it was very close between Priest and Solar fake for this last spot at the same festival as they were both spectacular. Solar Fake made me absolutley fall in love with their music and charisma but Priest, priest took me on a journey I've never been able to describe. No other band sounds like Priest, they are in a world of their own with their euphoric twist on dark synth pop. When their track 'Vaudeville' was pumped through those powerfull Turbinenhalle speakers.. Just wow. (Full E-Tropolis review here) We were then lucky enough to video interview Priest in their only video interview later on in London: Best albums: 1. Massive Ego - Church for the Malfunctioned From the second I heard this album, there was no doubt it would take top place. Massive Ego are true gods of the industrial arena and will soon be on their joint headline tour with Ashbury Heights, in Germany. Full review and interview here. 2. Faderhead - Asteria Faderhead returns with an emotionally deep and mature album that tugs on all levels of the soul. Faderhead agreed to an interview but he has sadly been too busy to return our questions. This truly is worth a listen, check out 'From his broken bones.' 3. E.S.A Electronic Substance Abuse - That Beast (Meat cut remixes) Although That Beast was released in 2018, the remix album released this year is an amazing mix of talented artists on one release. 4. Promenade Cinema - Living Ghosts Just.. Just do your self a favour and go listen to it. The voices of these two and the emotion behind the tracks are exceptional and have been a true gem to discover this year for myself. 5. Syd 31 - Walk Amongst rebels Nothing is ever quite so powerful to the industrial music scene as post apocalyptic styling and this album is the anarchists cookbook to the coming dystopian apocalypse. Best Music videos: 1). 3TEETH - Pumped up kicks I was very close to putting their album 'Metawar' in the best albums list but they sure win best video, and not just for pumped up kicks but also for President X. Most websites have already listed President X in their lists and so, pumped up kicks it is for me. The political and real life issues 3TEETH poke at are very real and raw. I have been listening to this song constantly since their epic cover of this track was released. 2. Rammstein - Deutschland Controversial and thought provoking in it's depiction of German history, Deutschland is going to be one of the all time greatest music videos of our time. 3. Pretty Addicted - Mother On a supremely tight budget and working her absolute heart and soul out to get the release of 'Soul For Sale' finalised, Vicious got some of her crowd funding sponsors together for an enthusiastic middle finger of a video which is delightfully deviant. Interview here 4. Massive Ego - Digital Heroin Also on a very small budget, Massive Ego produced one of the most metaphoric and iconic videos of late addressing very modern day problems. 5. Aesthetic Perfection - Gods and Gold Take a journey in to the reflections of spirit, identity, and beliefs in this masterful video. Rising stars and ones to watch: 1. Biomechanimal With their shows bringing in ever increasing crowds, Biomechanimal have absolutely stormed the UK industrial scene and the hype for their second album is surreal. Having recently performed their first London headline show, we look forward to seeing them play EVM fest in March. 2. Matt Hart With the release of Terra '3808' and his great performance at Static Darkness festival, Matt has solidified himself as a true powerhouse in the UK scene. We also look forward to Matt playing EVM fest! Full review of Terra '3803' here 3. Seraphim System. With multiple releases this year. Seraphim continues to be one of the truly underrated yet most talented of industrial artists. Go listen to his stuff. NOW. There's also quite a few interviews and reviews on our site regarding Seraphim System. 4. Witch of the Vale With trance like melodies, soul soothing tones, and a heavenly voice to die for, Witch of the Vale are truly ones to keep an eye out for. Featuring on the Beat:Cancer CD (found here) and supporting Linea Aspera on the 11th of January. 5. Dav Dralleon Dav contacted me about his release of HOLYWRATH a while back for me to review (found here) and so far it is some of the darkest and most strong darkwave / synth music I've heard in a while and this release is packed with mind bending tracks. I truly look forward to his next release. 6. Auger Although well established in terms of success, a lot of that is down to the release of their album 'From now on I' this year. Auger have truly broken through this year and made a 'household' name for themselves and we are honoured that they will be playing EVM fest. Interview here Special mentions: Heilung Their performance at the roundhouse in London was nothing short of a spiritual inferno with their healing ritual. The queue to get in stretched for an age and their epic performance hit everyone on a deep level that can never be fully described by those who have not witnessed the ritual in person themselves. This truly spectacular and emotional night caused me to get a tattoo to honour Heilung and what the two performances I have now witnessed, mean to me. Heilung will be lending their musical talent to the second Hellblade game. The first game saw the character Senua struggle with psychosis and other mental health problems as she fought her inner demons and fought the dangers of the viking world. Vain Machine Vain machine were an artist unknown to me at the time but their performance at Beat:Cancer was exceptional. A charismatic showman with a real flair for entertaining. Their music was thoroughly enjoyable and their dedication to the charity semi colon is one that has a lot of meaning to us all. Mark Haigh and Peter Sawyer (DJ Kark and PeeWee aka Karkasaurus) Mark has done incredible things for the goth community, via Beat:Cancer Mark has held industrial together in this country with a damn solid glue and I don't think Elektro Vox would have been possible without his influences and good words put in on my behalf. Such a wonderful and selfless man who we all owe for keeping the music alive. Full interview with him here Peter is also the man jointly responsible for Cosmic Hard dance and is dedicating the next show to Beat:Cancer. He also made the EVM fest posters, damn nice design work right? Together these guys from Karkasaurus will be playing EVM fest and helping me learn all the ropes a music promoter needs to know. Top guys and from the bottom of my heart, Thank you for everything you guys do! Mary and Lucy Mary has helped me film most of the interviews I've had and has been a great friend, always telling me where I've slipped up in facts or made a spelling error. Lucy has joined the team now too helping to film and take pictures. The two of them went to Gary Numan's London performance for me and reviewed the night. To my two Elekto Vox-keteers, thank you so much for your help and support! Ruinizer Jay ruin closed the doors on Ruinizer this year but not before releasing a last track to be the Elektro Vox theme track as per request. He now runs studio ruin and other great musical projects which you can read about here. Jay produces and remixes tracks for so many artists, he truly has influenced the Gothic scene in the UK and beyond in a way I don't think he realises. Truly a top guy who we hope to see perform again in future, no matter what name he plays under. Also a big Thank you to Aesthetic Perfection for being my first video interview and putting up with my then amateur mistakes; and a big thank you to God Module for being one of the friendliest interviews I've had and your generosity in the give away competition earlier this year. Finally to Jason Pearson of Syd.31. You have been a real inspiration for a lot of people this year and thank you for plastering Elektro Vox's name in so many of your posts and press releases, your friendship and faith in me is truly appreciated! Most hyped for in 2020: Resistanz 2020!!! Need I say any more? The best goth festival the UK has ever seen returns for one last Tanz. With very few tickets left and even more bands to be announced, it's gonna be incredible. Check out an interview with the organiser himself, Leighton, here. Nine inch Nails N.I.N are rumoured to be releasing a new album and tour next year, lets hope it's true! Menschdefekt With a post on Facebook recently promising their return to music shortly, I for one am very happy as their 'the human parasite' is my favourite industrial album and over ten years old now! Faith No More Faith only just announced a UK show next year on the 17th of June at the 02 Academy Brixton and they sold out in only a couple of days. A real shame as I would have loved to have seen them play again. Having seen them support Black Sabbath in Hyde park a few years back, I can tell you they truly are a must see band. V2A, that post apocalyptic mad max whirlwind of a band we all know and love are bringing their own wasteland Mad max style festival to the UK; the prospect is far more than just 'exciting.' EVM Fest! That's right, Elektro Vox music festival picks up where Beat:Cancer has left off. With an incredible line up and a U.K debut from the aggrotech band Chamaeleon, it's going to be a wonderful start to Elektro Vox music events. Event page and tickets: https://www.facebook.com/events/424028331822849/ Also in aid of beat cancer next year: 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

Here we bring you another dark synthetic offering for those who are fans of the likes of Perturbator, Gunship, and Dav Dralleon who we reviewed recently as well. Introspect hail from France and In their own words Intospect are: 'Dark room, unreal lights, sexy silhouettes dancing to a powerful, dangerous, and thrilling music: Introspect aims at provoking deep emotions, repressed desires, and forsaken memories. Mixing funky basses and metal guitars with techno drums and retro synths, his music—sometimes epic, sometimes menacing, always punchy, always funky—lends itself equally to neon-lit dance-floors and solitary night rides.' Track list: 1. Unmake my love 2. Breathing strobe 3. The Flayed dancer 4. Alien sex (pt.1) 5. No turning back 6. Come up 7. Dance with me 8. Soumets-Toi 9. Delirium 10. The Agent Review: 'Unmake my love' has a bass drop after a short intro that opens the door on a promise of satisfaction for the rest of the tracks to come. A sense of futuristic wonder and fantasy play out in the melody as a great tension builder and introduction to the album. 'Breathing Strobe' opens your eyes as wide as it drops your jaw once it kicks in. There is a real sense of atmosphere and even additions of some dub step style influences to the dark synth norm. This makes for a quite unique sound with an increase of variety with the twang of a bass guitar. A sinister slow down half way through is brought back up swiftly by uplifitng retro feelings; Only for you to be slammed with the bass drop once again in quite the eclectic mix that this track continues to provide from start to finish. 'The flayed dancer' begins as if you were standing outside a club with the sound of the music being muffled behind the walls of the club. As the track continues, it conjures the visual imagery of walking through the doors and in to the club as the music comes in to full clarity and intensity as if being led around an awesome piece of science fiction. When the track slows, it is at this point that the image of the flayed dancer is easy to picture. Ony three tracks in and already this album has an incredible ability to open the imagination up as if it were an interpretive art piece, able to tell entire stories simply through a few synthetic tones and notes alone. A whispered and sinister sample rounds off this offerring in a nicely darkened twist. 'Alien sex (Pt. 1)' Is a real foot stomper with unforgiving waves of bass and a beat so good that anyone could dance to it. The music and intensity levels flow in and out seemlesly in to a sound that can easily make you drift away in to dance fuelled joy. 'No turning back.' There is an almost solem intro with a hint of rain; Followed closely by a powerful and inspiring tune as one might expect in a montage or the hero of a film deciding to stand up and fight back. The synthetic keyboards send flushes of emotion in equal parts motivation and retro nostalgia. 'Come up.' So far this album has made me imagine it being played in the nightclubs of the 'Mass Effect' games and other similar dark sci fi futures with their mysterious dancefloors filled with danger, lust, and intrigue in equal amounts, and this track provides that imagery and atmosphere fully. I suppose this song is apptly named.. I can see how it would soundtrack that well. The pulse and rhythm of this track are unstoppable and undeniable as your feet impulsivley tap away along with your bobbing head. In fact I'm at a coffee shop with headphones on trying immensley hard not to start dancing away in public! 'Dance with me' is self explanitory and further supports my previous point. This track however feels far closer to the industrial sound of synthetic music, you may even compare it to some Modulate style of 'rave' industrial; or you might also say it has a Daft Punk when they worked on the Tron remake. It's a more faithful and alluring take on dark synth as a whole. Even so there is an element of experimenting with 'trap' music as it never quite goes where you think it's going to go throughout. It's a nice and heavy offering which I love. 'Soumets-Toi' has a strong and constant beat that now puts me in the mindset of the dark synth artist 'Gunship' with it's take on the truly darker side of synth. It is a much deeper offering for the senses and much needed to vent that pent up dance energy that the album has been building. 'Delirium' is a fast paced and somewhat experimental piece, one that may need a full night club set up with a great light show and cranked up surround sound volume to be fully appreciated, especially during it's slightly trance like come down section. However in headphones it doesn't quite seem to be heard effectivley. It feels out of place in regards to the rest of the album but has a rather unique take on the senses that I can't quite put my finger on but it is a fascinating listen and just as entertaining as the other tracks. 'The Agent.' This is another track that provides a playground for the imagination as it flows from aspect to aspect. This time I am put more in the mind set of a John Wick movie shootout scene. It rounds the album off well with a good balance of added interpritation for the mind. Conclusion: With all the different styles flowing in and out of this album, Introspect has made himself stand out impressivley with 'Redemption' in a scene already overflowing with talent. Redemption is experimental, often thought provoking, and wholly satisfying throughout. Top three tracks: 1. 'Dance with me' 2. 'Come up' 3. 'Soumets-Toi' Bandcamp: https://introspectmusic.bandcamp.com/ Contact: contact@introspect.fr Website: http:www.introspect.fr/ Official Shop: http:introspect.fr/shop/ Twitter: https:twitter.com/Introspect1990 Instagram: https:www.instagram.com/introspect1990/ Soundcloud: https:soundcloud.com/introspectmusic Spotify: https:open.spotify.com/artist/6QRzLAFMxOmvdrwQKHB3ze?si=xAVBJctFS020EHnxTBxpeg Youtube: https://www.youtube.com/c/Introspect 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. Tickets: http://beatcancer.info/elektrovox/ Also in aid of Beat:Cancer: 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 #Introspect #Redemption #Beat:Cancer #Elektrowerkz #Slimelight #London #industrial #goth #synthwave #DarkSynthetic #darksynth #darkwave

Matt Hart has been a regular performer in the industrial scene and earning more and more well deserved success with each performance. Having witnessed some of this debut album played live at Static Darkness festival. It is apparent that Matt has truly started to get the recognition he deserves with the release of this album. Since the release of his first EPs in the three that are 'Chaos Rising,' war against machines has always been the theme behind his music. With Terra 3808, it seems he has finally found his ideal form in regard to that concept and the way in which it is performed. Set list at Static Darkness festival on the 2nd of November 2019: Terra 3808* Mechanical Dominion Fall Of Humanity Superficial * Deep Mind Formulates * Infinite March * Gone to Shit * Judgement (Requiem) * = From Terra 3803 The album starts with the self titled 'Terra 3808' which has a most out of character and yet refreshingly uplifting opening with hand drums that has an almost iVardensphere like feel and rhythm. Further in, a cybernetic choir puts you in amongst the backdrops of the great cult films of the past, like Lawn Mower Man, and especially the bubblegum crisis anime films where androids and the like would spring in to murderous rampages. 'Superficial' then grabs you by the f**king throat and yanks the primal urge to fight out from deep inside of you. Quite masterfully, the sounds roll noticeably from left to right especially when wearing headphones. A rising, powerful guitar leads the way smoothly for Matt’s growling lyrics to open up. The singing is supported by an artificial voice reminiscent of the Cylons in Battlestar Galactica. The addition of synthetic strings gives a real sense of urgency and the epic scape of the concept story Matt is trying to bring to life. A powerful stage is set in 'Deep mind formulates' as the A.I decides to become the nemesis of mankind. The feel overall is that of a world somewhere between the Terminator film's Skynet and the RTS game Command and Conquer Firestorm’s Cabal intelligence who decides to kill those he was created to serve via a cyborg uprising. Given that the soldier on the cover of the album looks similar to a Command and Conquer GDI soldier, Matt confirmed that is was indeed part of his inspiration. There is a lot of nostalgia already prevalent in beginning of this album but in such a way as cannot be placed. The backdrop and the theme are familiar for sure but the music itself and the way Matt has gone about writing these pieces strikes a whole new depth entirely. This seems to confuse the mind in to wondering why it feels nostalgic over an album so fresh and pure towards re-inventing industrial music that contains 'metal' guitar riffs. 'Outlaws'.. Now this is where the album truly starts with the words "Welcome to 3808" that drops the heavy riffs and the pounding industrial drum beats that we have come to know and expect. The message of the outlaws fighting their guerilla war against the machine overlords is clear through Matt’s growling vocals and lyrics. The track is reminiscent of the rise of punk, only set in the future where anarchy is once again the focus point, as is often the case with post apocalyptic concepts in one way or another. A track that is stomp heavy and sounds brilliant with rhythm and the aggressive energy thrown out from this aural assault. Synthwave and industrial goth music constantly seems to have blurring grey lines between the two as the rhythms and futuristic passions play almost parallel. So it is again with 'More alive.' The sample of the commentary on life is relatable not only in the scheme of the concept the album is trying to tell but also as a current day observation on some of the underlying resentments brewing in society; perhaps that even lead to futures like 3808, the rise of the regime in V for vendetta, Big brother in 1984, and the current political hell hole that let more and more people suffer as we march blindly to a similarly worrying future. This is an ideal break as it were after the aggression of the previous tracks and a great change of pace that sets the album up for its second half. 'Edge of life' is a bit more of a classic return to industrial with the slower, grittier tempo and lyrics. Skinny Puppy and Ministry comes to mind with a slight Egyptian twist underlying the keyboard notes which further adds to the nostalgia and contrast of a futuristic story album. It's an angrily spat out song with some deep and heavy lyrics that dig deep in to the core of human emotion if you allow yourself to go in that direction, and yet supported by a rather energetic and motivational sound. In Matt's words 'Infinite march'.. "Is set in the year 3808 but draws parallels from the days of the trenches of WW1 where humanity was expendable; infinitely marching over the top to certain death, as it will be against the mechanical threat in 3808.” An overwhelming crucible of sound with a horrific sense of dread and hopelessness pour out of this offering. Matt electronically metronomes out the lyrics in stark contrast to the fury of the meatgrinder that is the war of 3808. In true 'Hart' style though, the growling screams rise up again even as the beats are steady and the industrial metal flows like blood. Yet another song performed wonderfully live. Erin of Witch of the Vale lends her angelic voice to the powerhouse of a track that is 'We burned the sky.' This song would have been ideal for a cult film such as The Crow or Bladerunner. Matt’s parts drag your body through the gravel, only for Erin to pick you back up and wash the gravel away repeatedly that makes for quite an experience on the senses. It’s strange to feel relaxed as a guitar riff rips in to your chest cavity and demands that you feel the bass vibrations. The emotional content and connection with the song creates a very finely balanced track that would appeal to anyone. Matt also remixed ‘The way this will end’ On the Witch of the Vale EP 'Changeling' and it's nice to see both artists having songs on the latest Beat:Cancer CD. 'Gone to shit'.. "There’s nothing we’re doing right" This is one for the dancers. It’s lighter than most of the album, and once again pays homage to the classic greats of music, this time I am reminded of Public image limited. The style is wildy different to the rest of the album but works well, undeniably one to fill the dance floor. Here's the real beauty of this track though, I absolutely love samples in tracks from films, TV, games etc and this has Dylan Moran's wonderful speech half way through making this an absolute gem for me, especially as the track is upbeat and electric. 'This is the future' is a much more stable track in it’s rhythm and continuity, the looping guitars and melody lull you in to a deep trance as you listen to the robotic voice and industrial rhythms. For those who know Kraftwerk's 'We are the Robots,' Imagine a modern version of that but heavily influenced by Richard Kruspe of Rammstein. 'Seeing through the grey (digital noise analogue)' is a calm and relaxed acid trip flirting with the lines between industrial and synthwave once again, embracing in their influences and styles in a rather peaceful way. There are no vocals, just a lamentful outro to an album that has a damning outcome for mankind. 'Superficial – Ruinizer Remix.' A great remix to end the album with; the remix is smoother and more faithful to the industrial dance and dark wave scene, rounding off the harsher tones and smoothing out the instrumental loops in to a great piece to dance to and smash yourself around a dance floor. Top 3 tracks: Gone to Shit We Burned the sky Infinite March Matt Hart has outdone himself with an album that, whilst can be described as pure in its approach to industrial music, can also be seen as an experimental amalgamation of all forms of industrial music from heavy industrial metal to synthwave, and aggrotech to synthpop. Some vocal parts seem out of place in their style of their delivery, as well as some parts being overwhelming in the amount of sounds going on at once. However, truly a dark and well thought out album with a great focus on production and story that will have something to appeal to everyone. Get you copy of Terra 3808 on Bandcamp (Click the album image) Also catch Matt Hart play at EVM fest.. 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. Tickets: http://beatcancer.info/elektrovox/ Also in aid of Beat:Cancer is the Hardstyle Cosmic hard dance festival. 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 #MattHarts #Terra3808 #Beat:Cancer #Elektrowerkz #Slimelight #London #industrial #goth #synthpop #aggrotech

Drakenwerks gave us an insight last week in to their workings. 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. More details, line up, and ticket announcements to follow shortly. Also in aid of Beat:Cancer is the Hardstyle Cosmic hard dance festival. 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 #Drakenwerks #Beat:Cancer #Elektrowerkz #Slimelight #London #industrial #goth #synthpop #aggrotech

Nature of wires supported Empathy Test tonight at the o2 Islington. Last week we spoke to them about their music, their history, and plans for the future. Beat:Cancer album with Nature of Wires track 'Shame' available via bandcamp (Click the album pic) 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. More details, line up, and ticket announcements to follow shortly. Also in aid of Beat:Cancer is the Hardstyle Cosmic harddance festival. 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 #NatureOfWires #EmpathyTest #Beat:Cancer #Elektrowerkz #Slimelight #London #industrial #goth #synthpop

Massive Ego played a wonderful set at the first Static Darkness festival on Sunday. The night before we joined them for an interview using a brand new microphone (Which I didn't connect properly!) I have had little success in subtitling the video but it seemed such a shame to write it off completley; So please enjoy what parts you can and appologies for the awful audio quality but most of it can be heard. There were a lot of people coming in and out of that room! Sometimes these things just can't be helped. 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. More details, line up, and ticket announcements to follow shortly. 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 #MassiveEgo #AshburyHeights #StaticDarkness #Elektrowerkz #Slimelight #London #industrial #goth #synthpop

Promenade cinema had a quick chat with us about their next album, about the sound of the band, and the reason they chose Cassette Conversations for the Beat:Cancer album. Please get yourself a copy of the album that has Promenade Cinema's incredible song remixed by Cyferdyne as well as many other great tracks, available on bandcamp. Click the image below to be redirected in a new tab. 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. More details, line up, and ticket announcements to follow shortly. 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 #PromenadeCinema #BeatCancer #Beat:Cancer #Elektrowerkz #Slimelight #London #industrial #goth #synthpop

We spoke to iVardensphere in a hilarious toilet interview at Beat:Cancer festival before their only European show this year at the legendary Slimelight Elektrowerkz. iVardensphere (+Iszoloscope, +ESA) Walk in to a toilet... A big thank you to the band, Beat:Cancer, and the slimelight staff 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. More details, line up, and ticket announcements to follow shortly. 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 #iVardensphere #E.S.A #ElectronicSubstanceAbuse #Iszoloscope #BeatCancer #Beat:Cancer #Elektrowerkz #Slimelight #London

The opening night gig at the London Roundhouse of Gary Numan’s tour of REVOLUTION was the penultimate night of him celebrating 40 years of touring, being made penultimate by the huge demand to see him allowing for a Friday night showing to go on sale as well. This set the night up perfectly with an energetic atmosphere for his signature synth pop style with the supporting act, Kanga. The concert hall was filled with starry eyed fans from across all age, gender and social demographics which demonstrates just how far reaching this eclectic, long standing powerhouse of music has become. Tension was built wonderfully throughout the opening act with Kanga, whose ethereal synths and lingering vocals paired with intense bass made for a truly atmospheric and beautifully haunting experience. It is no wonder that Gary had chosen her as the supporting act. The intense satisfaction from the audience was felt to the bones when Numan took to the stage. The engagement from Numan with the fans and crowd was good to see, in a way that only the most talented and experienced of artists could do so with the empathy they have built with their fan base over so many years. There was even acknowledgement of how it is the fans who have enabled him to keep touring all these years, it was touching and met by the crowd enthusiastically. A thick cocktail of showmanship, loyal fans and an intense and emotional performance of ‘Absolution’ made for a memorable night. The audience were also treated to a sneak peak of the new track 'Intruder' from Numan’s forthcoming album. Numan has been known to use incredible light shows in his performances and this time was no different. Although not quite as intense and dramatic as his show in the Shepherds Bush Academy last year, this would be more down to the fact that the Roundhouse is a little less forgiving in its design when it comes to light shows. However they set the mood incredibly well in concert with the songs being played and the way the sets flowed, and the large screens were put to good use. ‘Disconnection’ was a particular highlight of the show with its powerful energy. Numan masterfully changed in and out of styles with his vocal range and back catalogue of songs both new and old, keeping the old school hardcore fans and the newer generations happy and on their toes throughout. Overall, the show had a truly celebratory feel to it as Numan made sure to deliver an engaging performance and acknowledged the hefty anniversary with the audience. He expressed genuine gratitude and love towards his fans at the encore adding even more magic to an incredible evening. (Review and photos by Mary R and Lucy SB) 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 #Roundhouse #GaryNuman #Numan #Kanga #LondonRoundhouse #London #Revolution #Intruder #Goth #GothMusic #ElektroVox #EBM #Industrial #IndustrialMusic #CyberGoth #GothicMusic #TraditionalGoth #SuperStar

In this article we have a preview and review of the Beat:Cancer 2019 album (Scroll down), the history of Beat:Cancer, an interview with the founder of B:C Mark Haigh (DJ Kark), and much more! What is Beat:Cancer? Beat:Cancer is a charity formed to help fight cancer through funding research, treatment, screening and care using electronic music: We release music, run club nights, host gigs and organise festivals to raise money, which we then grant to worthy institutions such as hospices, research centres and treatment wards. We are a registered UK Charity (number 1169212) run entirely by unpaid volunteers who are passionate about using great music to save lives. Since forming in 2012 with the humble beginnings of a small Halloween fundraiser in Peterborough and 100 copies of Beat:Cancer v1 we have produced CD, cassette and digital compilations, totalling 11 CDs of cancer kicking music: all donated by fantastic artists around the world. Our releases are the perfect take home companion to the festivals, club-nights and gigs we run across the UK. Beat:Cancer has found a home in the hearts of fans, allowing us to host artists such as Memmaker, The Gothsicles, ESA, Freakangel, iVardensphere and Sirus. Next month heralds our biggest event yet: B:C Fest v2.0 – 9 bands from around the world, top class DJs throughout and till dawn - and of course a stonking raffle! It’s on Saturday 9th November from 6pm at our spiritual home: Slimelight, London. Limited numbers of tickets are still available at beatcancer.info/live, along with the new CD, featuring 17 exclusive and unreleased tracks from across the alt electronic spectrum! What’s it all for? The profits from all our work goes to carefully selected not for profit benefactors: Research centres that fit with our ethical beliefs and are pushing science to it’s limits to improve screening, treatment and hopefully create cures. Care and treatment centres that really deserve and need every penny they can get, to give patients the best quality of life and chance of survival possible. Who are we? We are all in this because this cause matters to us personally, as it sadly does to so many people around the world; cancer is a disease that touches far too many families. Kark started the first compilation as a reaction to a loss of a friend after a long struggle with cancer. Since then we’ve grown and pushed harder and further each year in reaction to the fantastic response from Industrial/Electronic music fans across the UK. This balances with our love and passion for the music we use in our fight against cancer: various members of our team are in bands, are DJs and promote other events across the UK (BeinE, D.E.P & Karkasaurus to name a few). Most importantly we all give our time for free, effectively running second jobs to do the best we can for the fans, and for the worthy benefactors we support. We are lucky enough to be partnered with AnalogueTrash Records, and this year are again working closely with Digital World Audio and the acclaimed Infest Festival; we consider ourselves a part of the industrial and alt electronic community and strive to keep that at the core of our fundraising. From the end of this year we will be on a hiatus: after 7 years it’s time for a break, to take stock, give bands and DJs a rest from being badgered by Kark for exclusive tracks and shows. We’ll still be around, in our own projects and working with promoters around the UK to put on “In Aid Of Beat:Cancer” events, much like those Khronology and Cosmic have held previously. And you’ll be able to get all our releases on bandcamp and across digital media in time for Christmas, and going onwards from then! Artwork credits: All gig photos Oh Shi Photography. All CD artwork Vlad McNeally. All posters Kohl/Kark Interview with B:C founder Mark (Kark): Q. What has been your favourite moment with B:C over the last seven years? A. That is the most difficult question I can imagine! I mean getting to perform live with Memmaker at B:C Fest 1 was amazing, but then so was filling a DIY backroom to a pizza bar in Liverpool with 4 awesome UK acts makes my heart swell. It’s been a constant and evolving joy for me. Q. How difficult is it to secure bands, venues, and generally organise each show? A. The biggest deal was taking the leap from booking bands I knew personally to contacting people like Memmaker and Freakangel - artists not on our partner labels or stupid enough to have been drinking near me when I was booking bands. That took Mark at AnalogueTrash “politely” telling me that they could only say no! Securing bands has thankfully been fairly easy; mainly due to both the generosity of the artists we’ve approached, and the pro-active nature of the UK scene in particular. There’s a real community feel amongst the bands and promoters we work with, at times I feel more like I’m just steering a show into play with nudges. There’s logistics in the run up that are sometimes daunting; hotels, flights, transfers mainly… and lately finding enough drums for iVardensphere! I’ve learnt a huge amount over the years, much of it from the artists we’ve worked with. Q. You’ve become possibly the most respected and well loved member of the alternative scene in the UK how has life changed for you once you started B:C up until now with this closing festival and moving on to new projects such as Karkasaurus? A. Now however I answer that my ego will be showing! It’s hard to tell, so many aspects of my life changing brought me here - from the friends and my partner who have joined with me as trustees, to people like AnalogueTrash, Armalyte, DWA and Infest not just recognising us but become a huge part of what we do. I think it has given me personally more confidence in putting my own projects out there separate to B:C along with providing me with the contacts to do so, not to mention all the skills I’ve had to learn along the way: I’m a cheapskate so will always try and teach myself how to do a job for B:C so more of the money goes straight to the facilities we fund! Q. What life lessons have you learnt through B:C and working with everyone in the industry? A. Always communicate. Often, clearly and honestly. Everyone we still work with has the same ethic and it is the basis of everything we do: talk to your fans, talk to your bands, talk to other promoters. Q. Although the hiatus is perfectly understandable, do you think you will return to doing B:C in future, possibly with more help to lessen the work load for you? A. I don’t know when we’ll come back and what we’ll do, but I doubt we’ll be away forever. There is too much of a personal stake in the cause for one thing. We are going to use the time we take away to re-evaluate how we work so that if and when B:C returns it can be better than ever, but as you say spreading the load between the amazing crew we’ve built up now. Q. Have any of the places B:C has donated to and funded ever got back to you with how you’ve helped them and how was that for you? A. The best experience regarding that was the Sue Ryder Thorpe Hall Hospice in Peterborough. We were invited to come along and present our donation, then taken around the facilities to meet the staff and residents. It’s a truly amazing centre with compassion and care at the forefront of everything from the design to the day to day management. It brought me to tears, but left me feeling so proud of what we’d raised, thanks to our long suffering comrades, the team at Club Recall at the Brewery Tap in Peterborough. Q. Is there anything you would have done differently? A. We overstretched last year, and while we had an amazing year we pushed ourselves too far. That was the point that we took stock, cut down 2019 to three events (from the 8 of 2018!) and decided to work with only UK acts for the first two. We live and learn, and have so far pulled off two! Q. Do you have anything you’d like to say to everyone that has made B:C possible? A. Thank you. There are so many people involved now that I’m terrified I’ll miss someone, but to everyone that has ever come to a gig, played a gig, DJed, done artwork, photography, sound engineering, mastering, video editing, flyering, airport pickups, merch selling, run doors, raffle ticket flogging… and the hundred jobs big and small that make every event special… thank you from the depth of my heart. This is the best thing I’ve ever done and it’s honestly all you that have made that true. A huge thank you to Mark for all the effort he has put in to Beat:Cancer; Not just for his inspiring fundrasing but keeping the UK industrial scene alive with all of the B:C shows and the subsequent connections, collaborations, and friendships that were possible through him and his work! Truly a wonderful man who we all owe a beer or three to. Next time you see him make sure to show your appreciation! We wish him all the best of luck in future and look forward to seeing Beat:Cancer's name again in future. Listen to the album: Here we have it, you can listen to some of the upcoming album below. Sadly, due to technical difficuties we were unable to provide an exclusive preview of the full album before release. Album Review: 17 tracks make up this rather intriguing collaboration album. That's not just 17 artists but 23 if you include the remix artists! So overall a real collection of talent and styles that has something for everyone. Beat:Cancer has always drawn in many diffrerent artists and in doing so, influences between bands have spread and flourished. Bitman returns with the opening track 'Kill Humanz' and it's a lot more industrial than his usual works whilst still remaining true to his retro style; Followed by Promenade Cinema with 'Cassette conversations remixed by Cyferdyne in an entrancingly melodic twist. Other bands such as Nature of Wires and Still forever bring the more traditional style of dance floor tracks both upbeat synth and traditional goth sway respectivley. Top 5 tracks: 1. Witch of the vale - Your voice remix (Track 4) Holy absolute hell, how have I only just got round to listening to this band?! This song is hauntingly entrhalling and Erin's voice is beyond enchanting. It's not something I expected to hear at all on this album but I am so glad I did! This track alone is worth buying the album for. 2. Matt Hart - Infinite March (DNA remix) Matt's approach to industrial music is always pure, yet aggresive. The power in this track and the combat filled lyrics make this another piece of sheer musical terror in the best way. Industrial is very much alive and thrashing in this track. Q. Matt can you tell us about this track? A. Well the original track is from my new album Terra 3808 out on the 2nd November. The track is set in the year 3808 but draws parallels from the days of the trenches of WW1 where humanity was expendable; infinitely marching over the top to certain death, as it will be against the mechanical threat in 3808. The track is remixed by my close collaborator Adi Calef (who has also mixed and mastered my album) under the pseudonym DNA. 3. C-Lekktor - Animals (Prehistoric remix by Karkasaurus) The vocals are aggrotech heavy and pure delicious filth to the ears, I love it, the boots are stompy, yet in contrast the backing music is almost... silly, but it works.. Must be those bloody dinosaur boys fault (DJ PeeWee and DJ Kark (Mark himsef)) 4. Harmjoy - Heart shaped shadow A great addition to the album which covers a more early 2000's industrial and gothic sounds that always goes down well. 5. DKAG -Indicators of compromise The rave and heavy beats are evident as with any DKAG track, which is why they are well known and loved wherever they play. A perfect addition to their catalogue of pure rhythm. 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! 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