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Take a minute to reflect on the latest release from SYS MACHINE and an in depth interview into the music. Graceful Isolation features 6 original tracks, 3 of which feature vocals from Kimberly of BOW EVER DOWN with remixes from ASSEMBLAGE 23, THE JOY THIEVES, SPANKTHENUN, BLUE EYED CHRIST, MISSSUICIDE, MICROWAVED, Steven Olaf, and AUDIO BUDDHA. Artwork is by Greg Rolfes of Eleven12 Design which will be unveiled soon. Interview Q. For those unfamiliar, how would you describe your music, and where does your inspiration come from? Sys Machine is chill minimal electronic rock. It's almost the polar opposite of my other project Derision Cult which is guitar heavy industrial metal. If you're looking for something chill at the end of the night- we're at your service! My inspiration came from a bunch of places. Sys Machine really started life as more instrumental soundscapes and Graceful Isolation was the first real album with collaborators and stuff. What inspired me to begin with was a lot of the instrumental projects that I saw happening in the early 2000's from decidedly industrial artists. Things like Micronaut (Sister Machine Gun), Eco-Hed (Die Warzau), Amish Rake Fight (Machines of Loving Grace) really got me into the idea of putting guitars down. I get inspired by new pieces of gear or programming methods and those eventually become songs. Q. Tell us about your history. Where did it all start, and what inspired you all to start making music? I grew up in Iowa (I live in the Chicago area now). I was a metal head growing up. Early on I was inspired by things like Metallica and thrash from the 80's. When I lived there, I played in mostly metal bands, but in addition to metal, I had a love of David Bowie and always wore things like Tin Machine on my sleeve so bands I was in were a little off-kilter to what was going on in Iowa metal at the time. I grew up in the same scene Slipknot came out of and so there was a lot of sort of, proto-nu-metal happening which wasn't my bag at all. I moved to Chicago in the early 2000's and took a break for a long time from music. I focused pretty heavily on a career in the ad industry and outside of that, got into triathlon/marathons and was fairly competitive and Triathlon and cycling for awhile. I missed music and really, I got inspired by what the industrial scene in Chicago was like. I'm a huge fan of Wax Trax and bands like Die Warzau. When I came to Chicago I ended up meeting a lot of those people and I found out a lot of the most brilliant musicians were also teachers, or accountants, or professionally creative outside of music. Guys like Jim Marcus from Die Warzau/Go Fight and Chris Randall from Sister Machine Gun really inspired me to stop thinking about music in terms of "making it" or all the silly things you wrap your head around when you're starting out and appreciate the value of making something that contributes to the zeitgeist of your time on the planet. That really lit a fire in me to think of art as a reward in and of itself and suddenly I just felt more creative. I really got busy rebooting my music in 2014 or so and that's still where my head is at today. Q. It's great to see that two of your tracks feature Kimberly of Bow Ever Down who I have covered before, how did you both come about working together on this album? Kim crushed it! Kim and I came about through a mutual acquaintance- Gabe Wilkinson from Microwaved. I play guitar a lot of his stuff and he had begun working with Kim. When I heard what she'd done with one of his tracks, my wheels got turning because I had these instrumental Sys Machine pieces that I thought would work really well with her. So I reached out and she was immediately into it. I think she really took the tracks to another place. Q. I see you even have an Assemblage 23 remix of your track 'Poison in my skin' on this release, what is it like having your music remixed by such a big name and how does their remix change up the song for you on a personal level? Well for one thing, Tom Shear is just a sweetheart of a guy. It's awesome he did that. I think it speaks volumes of artists like that who are willing to help out new projects. It was a real honor to have A23 involved for sure. He was actually the first of the people I'd reached out to to finish the remix. He turned it around right away which was cool. His interpretation of the song had more of a build and an arc to it than my original version which was really cool. The first time I played his remix was in my car and it was one of those tracks you just wanted to get out on the highway and floor it. I was pumped! I'm glad people are responding to it. He managed to stay true to the original feel of the song while taking it to a whole other place. Q. Can you please give us a run down of the message and story of each track? The first three are Kim's tracks and she wrote the lyrics. She uses a lot of imagery and allegory. I think I'm more like a non-fiction writer. She can tell you an elaborate story and I basically tell you the weather haha. -Poison in My Skin- There's a few things going on here, but it's largely about leaving a bad situation and staying resolute in never going back. -All the Pieces- There's a lot of revenge feelings in here. Surviving and thriving-- they say living well is the best revenge! -Impossible dreams - This track is about chasing a dream when achieving it feels impossible. I think a lot of musicians and artists can probably relate to that. -Drowning in the Past - I wrote this after quitting drinking. It's basically a hypothetical situation of me going back and time to my former self when I was thinking it was time to give it up and telling myself it'll be okay and how all the anxieties one has are all bullshit. -Illusions- Similar to above. A lot of recovery books and teachings talk about the illusions addictions create in people's lives. The feelings of elation or misplaced senses of confidence or whatever are really just illusions to feed the addiction. It's a really strange thing to come out of it and see it for what it is. Like waking up from being under a spell or something. This is basically my meditation on that idea. Q. Which song/s are you most proud of in this release? Oh man, that's a tough one. Personally, I'm most proud of Drowning in the Past because I feel like I got a point across the way I'd intended. SpankTheNun and The Joy Thieves did a remix of it and both of them turned out great. Q. Is there a favourite funny or important moment story from your music career you can tell us? Heh well the funny ones I probably oughta not have in print because some of the people they involved are still around! I think one thing I was fortunate enough to do was be there at ground zero when Slipknot took off. Not because of their music or any sort of fan-ship, but I got to see up close what hard work and dedication it takes to really ascend to the levels they went on to do. Nobody knew in 1997 what that band was going to do, but the intensity they went at things with-- the bullshit the band DIDN'T tolerate and the spare-no-horses mindset they had was something that stuck with me. I'd probably be lying if I said that didn't fuel things like cycling or what I've done with business work since then. Behind things that are brilliant and seem effortless is a TON of hard work and dedication. Seeing that play out in real time with Slipknot in the early days was really pivotal for me. Q. What life lessons has being in music taught you all, and what would you change about the scene if you could? Well if I could sum up above- it's that you can do whatever it is you want to do in music - but you have to take control, make decisions and do the work. I think the other thing music has taught me- and I think it's something every artist either learns or they don't - is that having people like your art is not a birth right. You really need to practice gratitude- especially nowadays when there isn't really a 'music business' in the sense of the term from when I was growing up. With Graceful Isolation and working with all the collaborators I did, I was really struck by how much gratitude permeates the air in this scene. I love that and I really do try to emulate that behaviour as best I can. It empowers fans and is a source of energy unto itself. That's not a given in the world. I run a consulting business and I can tell you first hand, gratitude is in short supply in a lot of places. As far as what I would change? Hard to say. I guess I see a lot of artists get down on themselves because their music isn't accepted on a more mainstream level. I get it for sure, but I wish they wouldn't let the weeds get higher than the garden so to speak. We're all adding to the cultural footprint and participating in a scene and a large chunk of the world will never know what that's like. For those people I'd say just enjoy the process and not get too hung up on the things that aren't in your grasp yet. Q. Anything you'd like to say to your fans? Well thanks a ton for checking out Sys Machine! I hope you enjoy the album because I def had fun making it! This year I'm largely focused on my other project The Derision Cult and there's a lot planned on that front so stay tuned! Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

If there has been a recurring theme not just for myself but for quite a lot of us, it is the internal chaos of noise and unceasing white noise of not just our on thoughts but the constant bombardment of everything and everyone around us as we sit trapped in so many ways thanks to the way the world has been the last two years. Well.. That kind of feeling is hard to put in to words but what Muta-scuM seems to have managed here is to put that unspoken feeling in to an audio format that keeps you nodding along the whole time thinking to yourself 'Yep.. I feel that.' There's a lot of noise in this EP, and it makes for an unexpectedly zap to the senses to try and wake you from miasma. If you like your industrial messy, loud, yet unashamedly pure. Then you're in the right place with this release. https://muta-scum-music.bandcamp.com https://www.facebook.com/Muta.scuM https://twitter.com/ScumMuta New EP How I Spent My Summer Apocalypse out January 6th 2022 on Furnace Records. Review If there is something other than the particular style of sound that makes Muta-scuM stand out, it is his choice of samples from movies that are fully poignant in meaning and often refer to the deeper meaning and bigger picture of the message; Which dependant upon the listener, can have wildly varying interpretations of relatability and therefore the opening track very much follows this philosophical formulae complimented by atmospheric beats. 'Other Viruses Are Available' brings a sense of desperation, time stretching in to the infinite, and the repetition of days turned audio. It has a thought provoking aspect that I can't put my finger on but the fellow neuro divergent among us will understand what I mean with the comfort of the replaying loops that help to process thought. 'We Eat Our Own' uses some of the famous speech by Heath Ledger's Joker to Batman in the holding cell and never before with our recent times has this particular sample held more meaning. A great addition to the gravitas of the electronic apocalypse. This leads in to the next track being a real game changer with a more relaxed chill flowing in and out of drum and bass similar to the industrial stage sounds of STOMP made electronic. 'Here We Go Again' also has some cascading distortions and waves of sound that really tickle my brain and hit some odd pleasure receptors up there that made me pretty happy with each note. 'Truth 2.0' has a bit of an 8-bit feel to it with it's tongue in cheek loops and playful riffs and then the final track follows on with a similar sound but in a far more serious manner in it's intent and message. Tracklist The Moment And The Switch Other Viruses Are Available We Eat Our Own Here We Go Again Truth 2.0 The Upside Down Kingdom Conclusion A wonderful experimentational concept piece of insight into a families' mind during the pandemic, told through the chaotic electronic love of industrial trap music. There's a lot to unpack in this EP and it makes for some very thought provoking and enjoyable listening. Scores Overall score: 6.5 / 10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

Herein lies one of the most interesting, funny, and genuinely engrossing interviews I have had the pleasure of doing. Eric has overcome some serious difficulties in making music and as the story below will tell you, nothing should stop you from making the great music you have rolling around in your head! Former Tungsten Coil Artist & Actor ERIC OBERTO has just unveiled his new single, "Darkness Never Lies" "Darkness Never Lies" is about the lies people tell and the fears that rule their lives. It's a warning to live honestly, intently, and urgently. In your final darkness, all untold truths become your last regrets. Eric’s new song Darkness Never Lies is featured in the motion picture- Amityville Cult. His debut as a Director and Editor are spotlighted in his music video for- Darkness Never Lies, which is a bonus feature on the Amityville Cult DVD/Blu-ray national Walmart released on November 16th. What makes Eric's composition truly unique is his ability to embrace his diagnosis of synesthesia and right ear deafness. This has created a technique for composition that is nothing short of original. Read Eric's story HERE: Interview Q. For those unfamiliar, how would you describe your music, and where does your inspiration come from? I guess if I had to pick a category, then I would go with Darkwave (close enough). To describe it without a category, then I would say it’s dark electronic music that pulls its DNA from outside the standard dark/goth/synth/industrial genres, but it spins well with any of those genres in a DJ setlist. My inspiration comes from analysis of the human condition (or it could be a disease, the jury’s still out on that one. Either way it’s curable!). It seems like most people get caught up in all the pointless societal distractions that get in the way of really living their lives (speaking from past experience). Then one day they wake up and realize that the short ride of life is over, and all that’s left is regret. I need to write about the consequences of not living your life to the fullest right now! It’s my way of purging the darkness within me and urging others to get busy living (and stop lying to themselves). I’ve never been a “happy music” person, that kind of music makes me feel weird. I feel that there’s extreme beauty and truth within the darkness (you just have to know what to look for), my job is to create dark beauty that is sharable with anyone who will listen. Q. Tell us about your history. Where did it all start, and what inspired you to start making music? I grew up in the Detroit, Michigan area (still my favorite city)! I was born with a condition called synesthesia (a neurological condition that enables me to see sound as three-dimensional colors and shapes, as I hear it) and I give a lot of credit to this condition for my ability to write and play music. I never had any kind of formal training, I can’t read music, and I don’t really understand music theory well. I just mentally paint moving musical pictures in my head with the colors and shapes that the synesthesia provides. When I first heard electronic music, my brain went insane with ecstasy! I couldn’t believe the effect it had on my mental vision! This was well before I was diagnosed with synesthesia, I just assumed that everyone was seeing/hearing things the same way as I was. I immediately knew that I wanted to create and be part of this amazing musical experience. Luckily for me I had an older friend who played synths and wrote music, he showed me how to use his gear. Then I bought my first keyboard and locked myself in my room until I figured it out. Once I started to find my own groove, it was like my mind was finally getting the drug it so desperately needed. Before then, my condition was a hindrance. I couldn’t focus on school or anything really, music gave my brain focus. Q. Can you please explain the imagery and story behind the music video for "Darkness never lies" and how the video and the lyrics relate to the upcoming Amityville Cult film? The imagery and the story for the music video go hand-in-hand (pretty-much). The story of the song is about the inner voice inside each of us, the voice of truth that attempts to thwart the lies we tell ourselves and others. Fear is the basic emotion that gives birth to lies. It’s about people going through their lives and telling people what they want to hear to avoid confrontation, not taking risks for fear of failure, injury, or death, and not going against the grain for fear of rejection (you get the point). In daylight (or while living life), so many people just go through the motions, find meaningless distractions, and convince themselves that they are really living. However, at the end of life, in their final darkness, all lies will become final regrets- Darkness Never Lies! The imagery was heavily influenced by my synesthesia and how my mind visually interprets emotions. It’s a color-exhaustion experiment to try to give people a taste of what it’s like inside my mind. All the different color-soaked, close-up faces represent the mind being fragmented by one’s emotions. We wear many different color faces underneath the surface. The voice inside each of us is the faces. The colors of the faces represent the shades of the life-long internal conflict between truth and lies. ..Also, was the song inspired by the film theme or did the song come first? The basic lyrical concept was conceived first. Then I read the script and found a connection to the lead character’s (Stan Defeo) story/conflict. He had been lied to about his family’s past for his entire life. Then he found out the truth about his family and couldn’t accept it. Spoiler Alert: Fear got the best of him; he ran from the truth and paid the ultimate price. Once again, Darkness Never Lies! Q. I will link your full story HERE but just briefly it mentions your synaesthesia. How has that both helped and hindered making music and can you describe how it influences your work? As I mentioned before, I credit Synesthesia with giving me my unique set of tools to create music and art. But, in recent times the gift had become a hindrance, I suffered a tremendous blow to my musical abilities. In 2015, I was inflicted with Sudden Sensorineural Hearing Loss in my right ear. Being a play-by-ear musician and songwriter, when my right ear malfunctioned- my ability to clearly paint musical pictures through synesthesia was severely impaired (and almost lost). Over the next several years, I made multiple unsuccessful attempts to overcome my disability and failed miserably each time. I feared that my song writing days were over. It was devastating! After a few years of basically giving up and feeling sorry for myself, I finally picked myself up, dusted myself down, and reloaded those guns of life! I then became obsessed with finding a solution to overcome my handicap. In 2021, I finally found a path to create music using my one good ear and filled in the gaps of the broken ear by making use of modern computer software tools. These tools allow me to visually identify frequencies that I can no longer hear, and I’m now able to visually see the stereo field where sounds reside. I also discovered a device that allows me to independently EQ the left and right sides of my headphones. This device gives me the ability to boost all the lost hearing frequencies in the right ear; to fill in the missing gaps. The right ear is broken, completely distorted, and plagued with massive tinnitus. However, by amplifying all the frequencies independently, it tricks my brain into thinking that the correct hearing information is being received (even though it isn’t). The end-result is that it allows my synesthesia to kick back in somewhat, and I use my previous song writing experiences to fill in the gaps. These amazing tools didn’t make me whole again, but they do provide a new path forward to pursue my musical dreams. Now, against all odds, I’m writing the best music of my career (at least I think so). This hearing loss handicap has pushed me to continually prove to myself that I can create art no matter what obstacles get in my way! Q. Is there a favourite funny or important moment story from your music career you can tell us? One of the funniest moments of my musical career is from the days of when I was the singer/songwriter for my old band Tungsten Coil. We were one of the industrial band headliners for a festival show call- Bloodfest. It was basically a bunch of industrial bands, bondage shows, S&M performance art, and people hanging from hooks (you know, fun stuff). Anyway, we were on the road with the show in Lexington, Kentucky and one of the performance groups was short a performer and they needed someone to fill in on stage. My keyboard player volunteered to be part of the show. So, I looked up at the stage to watch the performance and there’s my keyboard player tied to a cross in a “Jesus Christ pose”. Next thing I know, they stripped him naked, and pierced his ball sack up and down with more than 10 piercing needles. Then I see a security guy motioning to the door guy to close and lock the main doors, so the cops don’t see what’s going on inside. It was a wild and hilarious site to see- my 6’5 keyboard player being abused/crucified (and apparently willing) on stage. The funniest part was that he seemed to enjoy it! He was usually the one who was the “most responsible” of the group and made sure that the rest of us didn’t end up dead (from too much partying) while touring. I would never have expected him to be the up there. It was quite a site for sure! ...Wow.. That's the best story I've had back from an artists! Damn.. Q. What artists are you listening to most right now? My musical tastes are all over the place, currently I’m listening to: Front Line Assembly, Dogtablet, Bush, Adoration Destroyed, Kiss, Actors, Electric Youth, LA Guns, Not My God, Tom Keifer, Black Line, and mediation soundscapes. There’s more for sure, but that will do… Q. What life lessons has being in music taught you over the years, and what would you change about the scene if you could? Music has taught me a lot of life lessons over the years (as a kid and an adult). (1.) Life is short, so live every moment like it’s your last (because it might be). (2.) People aren’t always as they appear, stay clear of people who don’t lift you up (you don’t need them). Keep your loved ones close, for they are few and far between. (3.) Music is a universal language that can be spoken by anyone. Take time to study the language of music, but also make time to listen to music without distractions. Music is often the background for other activities (when it should be the activity itself). Enjoy music alone (often), it will enhance you mind, mood, creativity, and outlook on life. Listen to music with others, it creates a bond between people like no other. Even as a hearing-impaired person, I still listen to music every day. Music will always find a way! (4.) Music is undervalued by the general public; they don’t want to pay for it these days. This is a sad reality of current culture. Some much money is wasted on useless shit, when good music is the lifelong gift that keeps giving. As far as changing the scene goes, I wish there was more commercial support for “Dark Music”! There’s so much horrible shit out there that gets commercial support, it baffles my mind! I wish there was a way to shed some more commercial light on Dark Music, the world would be a better place. (I completely agree!) Q. Anything you'd like to say to your fans? I just want to say THANK YOU to all my fans over the years! You are simply the best fans in the world! I so appreciate all the inflows of support for my return to the world of entertainment! My pledge to my fans is as follows: I will continue to break through the limits of my creativity, so I can give you my very best (because you deserve it)! I LOVE YOU ALL! There’s so much more coming soon, so please stay tuned… Thank you Eric for your fantastic answers and time! Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

J:Dead has been covered several times in the last year on Elektro Vox and for a good reason, Jay's music and voice is fantastic! So it is a real pleasure to have Teknovore now adding to the musical mix with another release. Between 'Tearing me apart' and the two remixes by Ruined Conflict (YAY! Love their music) and Technolorgy.. This is something quite special indeed. J:dead is the solo project from Jay Taylor, live drummer of EBM/Synthpop bands such as Tactical Sekt, Tyske Ludder and Harmjoy. For the last 16 years Jay has frequented many stages across the world performing in his own signature style of aggressive, hard hitting acoustic noise to the forefront of electronic acts. Now, with the creation of J:dead, there is an opportunity to show his ability in developing music which is at the core and drive behind his musical ambitions. J:dead provides emotional and lyric driven tracks with a dark synthpop vibe, inspired by a range of artists and genres. Teknovore was created by George Klontzas (formerly of Preemptive Strike 0.1 and Croona) in 2020 as a means of exploring a variety of dark electronic genres, the philosophy of Cosmic Indifferentism and the Metaphysics of Identity. J:dead and Teknovore took the opportunity to work together on the track Tearing me apart to bring together their talents and create something slightly different to their normal styles yet finding their ability to create something new. Tearing me apart is a hard hitting dance floor track with punchy bass/synth lines, thumping beats and fast paced vocals. Tearing me apart is digitally released on the 29th Oct 2021 under Infacted Recordings and includes remixes provided by Ruined Conflict and Technolorgy. Review 'Tearing me apart' opens up with a soothing female vocal and soul massaging beats which then filters in some profound lyrics that many familiar with the darker side of night life or even just the darker side of mental health can relate to. It hit me with full force and brought back memories of previous struggles and pain; Yet somehow with the killer beat and uptempo rhythm, I found it quite empowering and invigorating like watching a fight scene where the failing hero/ine gets back up off the floor and starts to finally kick some ass! "I need something to break, and I need something to take, All the pain that I know, could do with melting away, With a tab on its own, in a place I don't know, See the face of it all, be the end of control." There are very few artists who can make synthpop and electronics sounds so damn catchy and memorable. (I once wrote that J:Dead reminds me of a modern Human League and this still very much rings true, only with much heavier energy!) The tempo is energetic and dance worthy with impressive growls thrown amongst the vocals. It's exceptionally hard to tell where Teknovore begins and J;Dead ends but either way these two artists have created a wonderful single here. The Technolorgy remix pulls in deeper bass and a more electro keyboard sense of retro urgency like playing streets of rage on hard mode. It has sprinklings of early 2000's industrial that add a rich seasoning of flavour to this modern piece of industrial rock meets synthpop. I can imagine someone going nuts on a key-tuar to this. Finally we have Ruined Conflict's mix which brings a bit more of an aggrotech edge to the track and that industrial stomp feel to the darker electronic dancefloors of Goth. I would LOVE to hear this remix blared out as loud as possible at Slimelight Elektrowerkz with the rhythms and beats reverberating through the walls and the souls of every dancer. Conclusion This is one of those singles that catches you instantly. I often dislike reviewing singles for lack of content to express upon, however these three different slices of the same single pie have left me wanting for so much more because it was delicious from start to finish! Each contributing artist has outdone themselves with a masterful single and I truly hope this one receives the recognition it deserves. Scores Technicality: 9/10 Soul factor: 9/10 Energy: 9/10 Vocals/Samples: 9/10 Re-play value: 10/10 Overall score: 9.2/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

Time for something I have always meant to start adding to Elektro Vox as a whole is Industrial Techno having fallen in love with it over the years but never quite delving in to it properly, with this review of 'Deep & Dirty' I feel like now is the perfect time to do so! Hardstyle, Industrial & Fun tracks. Not to be taken too seriously! Simon has been in and around the electronic music scene for a long time and has several other projects including 'Studio-X vs. Simon Carter', 'SD-KRTR', 'Narconic', and 'Humans Can't Reboot'. Review First of all I will say both of these tracks are fantastic and have the same quote samples shouting at 'Simon' and to get away from a 'device' which adds one hell of a dramatic flare to the whole thing. I could be very wrong but I vaguely remember these samples being from 'Ultimate Force' or at least a very similar military themed show. "I was once told by someone that my latest track was good but needed more 'Simon', I've no idea what they meant but hopefully this meets their requirements..." Deep A deceptive opening that creates that real sense of euphoric inclusion and connection in a chilled out way, the kind of techno that plays smoothly as you transition between nightclub rooms or from scene to scene in a film. After the samples have played out their first full loop, the drop in to the meat of the track kicks in and pulls those electronic soul strings in a supremely satisfying way even though there is a chilled flow to it all rather than an intensive beat kick like you'd expect from industrial techno. That is until 4:26 when the bass starts to thump a little louder, a little more deeply, and fleshes out the layers of audio enjoyment. A strong and smooth half to the release, like sipping on a fine bourbon on the rocks, it has all the right notes but doesn't hit you too hard. Dirty In a perfect Yin and Yang symmetry 'Dirty' takes on that far more sinister and sci-fi edge, like a cyberpunk character who both wants to kick your ass and then screw the pain out of you, it grabs you right in the core where all electronic rave-esque music should do. Each pulse, beat, and altered rhythm sends waves of satisfaction as it throws in higher layers of tempo and fierceness in comparison to 'Deep'. 3:47 drops a Buzzsaw sound that gets right in your diaphragm and kicks the intensity and sinister beats in to a higher gear. I can't even begin to imagine how good this would sound blared out at a nightclub full of intoxicated rave lovers and laser lights. (Slimelight DJ's take note!) Tracklist Deep Dirty Conclusion Truly a fantastic release that bridges the gap of easy listening industrial techno and high intensity EDM techno which some people find too aggressive even with the drama laden samples. This release hits all the right spots and I will be following Simon's work closely from now on! Both tracks hone the two fine edges of the same electronic sabre and will appeal to any electronic clubbing fan. It's a hard thing to stand out in Techno with so many similar styles and beat patterns but Simon has certainly stood out from the plethora of techno I've come across in clubs and releases thus far. If you find the time, add this guy to your usual playlist, you wont be disappointed! Scores Technicality: 8/10 Soul factor: 9/10 Energy: 9/10 Vocals/Samples: 6.5/10 Re-play value: 10/10 Overall score: 8.5/10 Simon Carter's Links page: HERE Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

This EP tells of a space epic, immovable and unstoppable cosmic forces in a gravitational war for supremacy. Ambience is a genre that I often struggle to find enjoyment in however this EP is a real journey of intelligent and conceptual delights that I enjoyed every single second of. The Roche Limit The point at which one celestial body can no longer maintain its own gravitational self-attraction and disintegrates due to the gravitation and tidal forces of a second celestial body. Peter Adjobia (Dragon, Edgewood) and Paul Jetten (Jettenbach) met some 20 years ago at Slimelight London where Peter was a resident DJ. The two formed a friendship founded from a mutual love of obscure Electronica/ Industrial, Post-Rock and Science Fiction novels. While the two talked of starting a music project back then, it has only recently come into fruition. The Roche Limit is the beginnings of a musical partnership, a collision point where the pair's varied and diverse influences coalesce. Inner Demons Records. Review <●>°• The celestial constructed theme is immediately apparent. As the intro track pans across this storied vision, I am reminisce of the background atmospherics of the classic Space RTS games Homeworld (especially Homeworld:Cataclysm) and Stellaris as well as the eerie and not so empty corridors of Dead Space. Something immense and unescapable is vividly pictured with the calm and alluding soundscape in this progressive and spine chilling soft drone of electronics. You can almost hear choir like voices amongst the din that aren't even there; Such is the imaginative scope that sound alone brings to the fore. It both clears the mind and implants it with weighty imagery of the slow but imminent celestial death. ○)°)• An Unrelenting pulse draws you in from the edge of your hearing like that of concentration 'Theta waves' tucked between the sweeping pitches sliding from one ear to the other. There dawns a sense of majestic beauty in the implications of a planet losing its orbit. Billions of years of astronomic history changing in what is effectively less than a cosmic eyeblink. It even reminds me of the releases from NASA where they had translated recorded data in to the 'sounds of the sun' and other bodies. There is a real peace amongst the slow and cataclysmic storm; Unrelenting in its unstoppable momentum. How this has been achieved by 'simple' sounding Human electronics and a few descriptive words of theme, is beyond me.. ○)) ●)) The final track starts very differently with a sharp and abrasive sound that is intense in its desire to be heard and pushed to the forefront of all else. A sense of danger and imminent harm plays out across the distortion. Calamity and a struggle against the inevitable is told like an electronic scream of binaric information in the simple yet complex ambient resonations. This track skirts the fine juxtaposition line of hope and fear, excitement and dread laced with cyber punk-esque story telling through audio format alone. It is also inviting of a mental-self deep dive of reflection of your own place in the universe and how small you are whilst the sounds drift out. In space no one can hear a planet scream.. Tracklist <●>°• ○)°)• ○)) ●)) Conclusion With Classical music we had Gustav Holst writing incredible pieces for entire orchestras to pay tribute to the planets of our solar system. Dragon and Jettenbach have captured this same spirit for the modern age in the form of ambient electronics that in contrast to orchestras prove that sometimes, less is more. What others could have produced as perfectly acceptable base backing ambience has instead provided for one of the most satisfying and enjoyable listens as these two artists have put decades of skill into a beautiful and powerful piece of storied concept with undeniable synthetic elegance. Each tone plucks at different strings in your mind or some unknown part of the cosmological energy entity that we are inside these temporary flesh forms. It certainly makes your mind wander.. Scores Technicality: 8/10 Soul factor: 8/10 Energy: 7/10 Vocals/Samples: N/A Re-play value: 9/10 Overall score: 8/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

What an incredible night this was, not only was the venue packed out for Reaper and Nachtmahr but the crowds didn't stop pilling in for Slimelight long into the night and it was truly wonderful to see so many people heading the call in their hearts to return back home to the UK's cradle of Goth. The new lighting and lasers on the top floor was incredible and the use of multi coloured strobe lighting during DJ sets, was nothing short of heavenly. In truth I had not expected to review (So this will be short!) or do any Elektro Vox related content for this as I simply wished to enjoy the night and introduce a friend to the beauty that is Slimes for their first time. That soon changed however as I was offered an interview opportunity with NACHTMAHR and to finally ask once and for all on camera, THAT question that we have all wanted clarifying.. Which you can watch below. If you wish to use any of the photography please contact us and we will put you in touch with the photographer. (A huge thank you to him for supplying the images for this review!) My Hysteria Sadly I was unable to catch this band due to huge amounts of London traffic and therefore I missed out upon the rather snazzy dressed Alessio taking the stage again. I heard many good things however and if their performance at Static Darkness was anything to go by, I'm sure they did the venue proud! Black Light Ascension A replacement for Splatter Disco and one that a lot of people were very happy to see now added to the line up, the cameraman especially! I felt the opening was a bit slow but half way in to the set, my friends and I were very much vibing away and really enjoying the dark electronics and darkwave-ing guitar rhythms. A really wonderful band to mellow out to but containing enough energy and electric spice to keep you wide awake and thoroughly happy so much so that we had to thank them for their great set when we bumped into them at the smoking area. 9/10 Reaper I've seen Reaper a few times now and each time is absolute magic. This was one of the defining artists that made me fall in love with Industrial and the reason I ended up spending so much time at slimes and later creating Elektro Vox. This was one of those sets where the spirit of rave possessed my body and the cathartic flood of endorphins in the brain was like an intense drug trip of euphoria that I have so, so desperately needed. It's amazing what good music and a strong beat can do to a sober brain! I've rarely seen a crowd so energetic and pumped at every single track an artists plays. Reaper is for sure one of the Gods of electronic rave. Viva la Reaper! 10/10 NACHTMAHR Now before I start this review I would like to state that yes there have been some concerns voiced about this band, so please see our interview video below where I asked Thomas Rainer to clarify the band's stance. (And they are indeed ANTI right wing) When the band began to play, I struggled to remember having seen the top floor so packed in all my time at Slimes, so much so that our usual crew who are always dancing at the front of shows covered in lights and glowsticks had to find a tiny slither of space against a wall to try and dance at, this will give you some indication of how excitable and energetically stacked the room was! Each track had belted out passion and fury in equal measures. Thomas still commands a lot of frontman magic getting the crowd to sing along and interacting with those in the front row. You can tell the band loved to be back at Slimes and that love was pouring off the stage and in to the audience. Truly one hell of a stomp fest that I wont soon forget! 10/10 A huge, huge, thank you to Slimelight!! Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

*Rave The Requiem, Grooving In Green, and Cold In Berlin did not attend and were replaced by Novus UK, FyreSky, and Witch Of The East. Welcome! This is going to be a different sort of live review for a change with Elektro Vox. On this occasion we had myself down at the London show with a media pass to get some interviews in; and Mr Smith up at the Leeds half of the show with a pit pass to get the juiciest photos that my Iphone could never live up to! Now I spent most of the first day trying to grab bands and the second day taking time to enjoy my friends' company so I can't say I paid a great amount of attention to each band to write anything in depths for many of them and Mr Smith is busier than he's ever been with new found photography success. So it is for these reasons that the band reviews will be very short but in essence what I truly seek to review is the festival itself! Scroll down for a vast array of images and interview videos! This was the first ever HRH Goth (Incorporating HRH Industrial) and many of the original line up were not able to make it due to Covid, travel restrictions, probably something Brex-Sh*t related no doubt, and some other rumoured issues. Now I will admit that I had been very sceptical about this festival because for one, I knew very few of the bands, and secondly it seemed to be marketing itself as 'the first true UK Goth festival experience' which seemed like quite the unresearched slap in the face towards Infest, Resistanz, and Whitby festivals and I found the lack of line up change info disturbing. Having said that.. What I expected was a fairly poor weekend, what I got however was an incredibly friendly, helpful, and thoroughly enjoyable experience even if I didn't agree with a few of the line up. The staff were incredible, the bands performed their hearts out, and long needed socialising was had in a great atmosphere, minus two small instances that is. Having got my passes agreed only the day before from an incredibly helpful Holly and Toby over the phone, I was then introduced to the lady in charge, Charlotte (Charl) and Harry at the venue. Having had a misunderstanding with my media pass' access rights, I was led up to Charl once again by security supervisor Lee. Charl was amazingly friendly and issued my partner and I with higher passes and Harry showed us to a room that we could use all to ourselves for interviews upstairs in the Foyer. Perfect! So first day was full of great first impressions even with the confusion. Near the end of the first night, a friend in my group was approached by a far less than pleasant man who I had to make leave for reasons I wont' go in to. Having worked in security for many years I couldn't help but keep an eye on him all evening, and when I noticed him repeating his mistakes with other women in the venue I quickly had a team of security staff huddled around to get a good look at him, and sure enough he was spoken to shortly after and then I imagine, escorted out. The next day Lee the security supervisor assured us he would be on a last warning should he return and the wonderful HRH team lady at the front desk offered my two female friends royalty passes to be able to escape upstairs when necessary. Now THAT is how you handle festival problems, I was beyond impressed at the staff's ability to empathise, react, and assist; So in terms of safety and customer service 10/10! Anyway, enough of that for now, on to the bands! Novus UK A good friend once told me that a show should always start on a banger to get the audience's attention and Novus opening the festival was a super enjoyable experience to start with, that's for sure! A three piece band looking incredible from the start with PVC galore, powerfully positive energy, and catchy track after catchy track made for a set deserving to be much higher on the billing. Vocalist Sarah looked truly at home on the stage with Peter and Angie both looking absolute fire and like they couldn't quite believe they were there; Their last minute placement however was definitely well deserved and made for a great feel-good kick start of Gothic rock! 9/10 Leeds photos: London Photos: Interview: "From an artist perspective.. One of the best organised events we have played and especially in London, the sound and stage guys were amazing. Could not be Nicer or more willing to help." -Peter Jones ~ Novus "Both Venues were excellent, all the staff and crew were super helpful. The crowds at both cities were really into the music from all the bands. In Leeds the lights were amazing, especially for Auger." -Sarajane Farr ~ Novus FyreSky I only managed to catch the last two songs of this band having been interviewing Novus but from the fire filled energy of their exiting numbers that put me in the mind of 'From Dusk 'Til Dawn' came a jaw dropping smile across my face (Let's ignore the logistics of that statement!) The lead singer hypnotised the audience with one hell of a powerful voice and charismatic edge weaved in to every word. The other members of the band were ecstatically energetic and owned every inch of that stage, and even the pit as the two guitarists threw themselves at the audience! Absolutely wonderful stuff that I wish I had seen in its entirety. 9/10 London Photos (Did not play Leeds): St Lucifer A super well rounded sound that brings a smile from start to finish. St Lucifer really is a band that can appeal to every taste which is a rarity. A wonderful statement of diversity and pure enjoyment of time spent dedicated to music. There wasn't a single moment where I wasn't enjoying the beats and vocals, constantly bopping my head along and smiling at the profoundly positive vibes pouring out of the band. 8/10 Leeds photos: London Photos: Interview: Seething Akira Really out of place at a Goth event with their rap meets pop punk vibe. They put me in the mind of a band that would support Hollywood Undead. Also another band that I only caught the last two tracks of, in which they seemed to be keen to throw positive vibes and an energetic stage performance to the day. Fair play to them, they were certainly playing their asses off but it seemed uncomfortably out of place at a Goth festival which is more the booking agents fault than the band's. 5/10 Leeds Photos (No London Photos): Auger It was with a beaming smile that I eagerly nodded a resounding 'YES' to my partner when she asked me to clarify if this was the band that will be co-headlining my EVM fest when it (Finally) gets rescheduled as we both headbanged along to the glorious riffs of Kieran and the nuclear powered voice of Kyle. Surprisingly this was my first time seeing them in the flesh, having seen them multiple times on lockdown live streams; My Gods, it was worth the wait! Photographing Kyle is really hard, the man NEVER stays still on stage so I am stunned by how good some of Mr Smith's Leeds photos have come out! Auger are a band on the verge of taking the world by storm with their easy listening yet pleasantly heavy style of dark rock that made bands like Guns and Roses and Queen so popular. There really is no describing Kyle's deep resonating voice, which you can pick up from in our interview somewhat! If you've never discovered Auger, then I suggest you take a day off work, sit yourself down, and lose yourself inside the music made for every possible occasion. Same to be said for the next band too, Massive Ego of whom Kyle is now also a part of. There is an interview video of Auger and Massive Ego together underneath the Massive Ego photos! 10/10 Leeds Photos: London Photos: Massive Ego A band that puts out Gothic nightclub anthem after anthem containing all the hallmarks of what makes music so special. From the addictive electronics, to the stomp factor drums, and the majestic vocals that tell a story with passion each time. Massive Ego are like watching a dark rock musical and I thoroughly love every second of each performance I have seen so far. A change in the band with Scot leaving which I was deeply sad to discover, and Kyle of Auger joining, with Lloyd once again returning to the group making the band a fantastic four piece now. There was passion, fire, and beauty pouring off of that stage in chaotic measures from a truly banging 'Let Go' and 'I Idolize You' to a hauntingly meaningful 'The girl who finds gifts from crows'. Hearing guitar riffs breathe new life in to familiar songs was a perfect upgrade that balanced out Massive Ego's sound rather than drown it out like when other bands tend to kill their music by adding way too much guitar and snubbing the electronics that made their sounds so popular.. Not naming any names, or big bands starting with C. *Cough* 10/10 Leeds Photos: London Photos: Massive Ego and Auger Interview: Lord Of The Lost Which brings me to the highlight of the weekend. I managed to catch 'Judas' as I came out from behind back stage from the previous interview which sounded absolutely phenomenal. How a band can have multiple members sounding so crisp and clear, yet heavy as F**K is beyond me and a real testament to the band and the sound engineers' skills. After 'Judas' the band made a truly heartfelt apology that because they had run late and didn't want to cause any inconvenience to the next band or the staff that they would just play one last song and cut the set short which came across as a genuinely empathetic and wonderful touch from a band who look so fierce; It almost seemed like a collective and touching 'aww' was being breathed from everyone's lips. To Round that off the band played out to a cover of Duran Duran's 'Ordinary World' which is one of the most touching and beautiful moments I've witnessed from live music. A friend with me then swung that in a different direction when she said.. "You NEED to get an interview with them cause they are SO HOT and I want to meet them!" Which was then made even more hilarious by the band throwing Lord Of The Lost condoms at the crowd as they walked off! Sadly I wasn't able to grab them in time for an Interview but what fun that would have been if I had! 10/10 Leeds Photos: London Photos: I was able to find a recording of 'Ordinary World' but at the Leeds event so not quite the one I witnessed but good enough! Many thanks to 'From the barrier and beyond'. My Dying Bride: I can see why they would be played at a Gothic event but it certainly felt like another out of place band. You see I am a fan of funeral doom metal, I love Swallow The Sun for instance but if I wanted to see a doom metal band then I would have gone to a more metal or doom orientated event and so hosting them at HRH Goth just seemed.. Bizarre. Having gone from an insanely packed floor for Lord of the Lost to a crowd of less than forty people on the floor for My Dying Bride was quite sad to see but when you put a cold, slow, and depressing themed band on after a deeply enjoyable and energetic band that should have headlined, especially after a long day.. well.. Again, booking agent's fault. Not the band's. My Dying Bride are a good band with some incredible talent be it from the vocals or masterfully incorporated violin but it came across as a dreary anti climax. Doom metal has a place for sure and I love it but sadly myself and those in my group were not in the right place to enjoy such melancholic tempo, especially as we had no realisation of what type of band they would be, I think we were just a bit surprised and a little confused. As a band they sound great though, certainly wouldn't fault the band in any way as they had some impressive songs. 6/10 Leeds Photos (and 2 from London): Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Day 2 Witch Of The East Sadly I can't comment on this band as my partner and I found ourselves in Camden for what was meant to be breakfast.. It turned in a Goth trap of too many shops and the convenient use of credit cards.. My apologies Witch of the East! Leeds Photos (No London Photos): In Isolation This was a band that only played Leeds and therefore I am unable to comment. Leeds Photos (Did not play London): Deadfilmstar Now this band.. This was a tasty one! The lead singer looked as if he were about to drag you beneath the waves and feed you to his master Cthulhu with his sclera contact lenses, ruggedly dreaded hair, shaking jaw, and a persona that was fully in character for ripping out throats in the name of the dark lord of R'lyeh.. Oh, The music was great too! This whole band gave themselves to the music completely pouring ounce after ounce of showmanship and presence in to their performance. The singer bored holes in to souls with his unwavering gaze that added depth to some heavy and meaningful old school Gothic Rock. This is music to start biker brawls to. 9/10 Leeds Photos: London Photos: DROWND This band had notes of Nu Metal and I wasn't quite able to put my finger on to what I was listening to. Overall fairly enjoyable but another odd choice for a Goth festival, I must admit I can't recall much beyond that. 6/10 Leeds Photos (And 3 London photos): The Webb This band were a much needed mash up of humour, alien sci-fi, dance beats, and showmanship cabaret Gothic who brought a wonderful change of pace that truly shows that Goths do have fun and can point fun at things. We are all actually quite nice and often quite silly once you get to know us and this band personifies that quite nicely! What is Goth, if not fun and enjoyable? A very nice mix of song styles left me bopping along and speed dancing in some places, what a wonderful world we live in when the Halloween stuff starts appearing! I also really want to go watch Rocky Horror for the 400th time for some reason now.. Probably the keyboardist's amazing hair! 9/10 Leeds Photos: London Photos: All My Thorns Of the two songs I caught the end of this band sounded great, very American in rock sound but with a hint of UK metal heaviness/ What an outfit! 7/10 Leeds Photos (And 3 London Photos): Red Sun Revival Unfortunately a band I hardly heard any of as we had just come back from dinner and I only managed to grab two far away shots before they finished. Sorry! Leeds Photos (First two are London): Jayce Lewis I said this to Jayce himself and I'll say it here.. I didn't really know any of the bands on day two and was so far not really connecting with or feeling the music vibe but when Jayce Lewis came on who I had never heard before my partner and I both looked at each other and said 'F**K Yes, THIS, I like this!' Jayce, Sy An, and Martin, throw themselves around a stage. I've rarely seen such zeal and fervour from a band, especially Jayce throwing his entire body in to each shouted lyric and Sy An sparking non stop talented fire in to her guitar. I could see why Jayce Lewis has supported and will continue to support Gary Numan on tour because he has an incredible sound that pushes the boundaries of what sound systems should be able to keep crisp and clear. I could make out each word, each note, and each moment with crystal clarity. It's not every day a band like this blows you out of the water for not having heard them before. Truly an amazing set and I was lucky enough to grab Jayce during Fields of the Nephilim for an interview. See below. 10/10 Leeds Photos: London Photos: Interview: Fields Of the Nephilim A Goth band everyone has at least heard of, and I was looking forward to seeing them! Sadly they had a no camera rule for the audience it seems without notice and security rudely pushed people's phones down (*cough* Covid risk) Now.. I understand why some bands ask for this because they want you to enjoy the experience and let people behind see etc but it was very clear from the huge banks of fog, big hats, and sunglasses that the band just weren't interested in anyone being able to see who they were; So it's not like the no camera rule made much sense anyway, all that did was breed an air of animosity amongst the front row crowd which sadly became two or three utter morons treating the front as a mosh pit, clearly against everyone else's will.. We were at a Goth show.. Not a metal fest. You morons know who you were and you should be ashamed of yourselves... So I had to remove myself or them.. I chose the peaceful option and listened upstairs to the soothingly dark beats and rolling epic melodies. It was at that point I grabbed Jayce Lewis and missed most of F.O.T.N From what I heard the band sounded good but again with the putting a slower band on last straight after an energetic one, seemed a little odd. I can see why they this band are well loved musically but I can't say I heard enough to give a fair review of their music. What I did experience was impressive riffs, clean and brooding sounds of melodic peace in places and then deep brooding yet energetic flares of dark rock most satisfying in others. I shall have to make sure I watch in full next time! 7.5/10 Leeds Photos (No London Photos): "From an audience member in London. The whole weekend was amazing and I'm so glad finally that this event has happened." - Jennifer Dale Conclusion For a first attempt at the Goth scene, HRH have done well. I mean, the line up didn't ideally fit the Goth tag and certainly not the Industrial tag all be it filled by some industrial association from bigger players in the scene such as Lord Of The Lost, Massive Ego, and Auger. The second HRH Goth is already looking to be of similar half and half yes and no although I am impressed to see Mono Inc on the line-up. Still, practically no Industrial however. So.. Getting a group of my friends in for the price of one ticket from a 'ticket win' certainly made a very nice social aspect to the festival. The sound system was perfect. The staff were absolute stars. From the security, to the bar staff, to the techies, and of course to the wonderfully empathetic HRH team themselves. (Honestly Charl you are amazing and it was so wonderful to be treated with that level of trust and respect, you deserve a promotion!) Convenient location Having the upstairs reserved for royalty ticket holders I can understand but you do need to provide some sort of seating downstairs for such a long day/s, many in the Gothic scene have mental health or physical problems that are exacerbated when the only choice to rest yourself in pain is on the floor. So that needs to be addressed. More shops would be good for a festival, one small merch stand felt a little underwhelming but with the lack of space, not surprising. I guess festival as a word I tend to also associate with shopping for goodies. Although more of a venue issues, there needs to be some sort of food consideration as leaving to get food means missing out on the show. All in all a great experience with unpolished edges but what good part of Goth life isn't? I can thoroughly admit that although it will never have the same deeply social and close feel of Infest or Tanz, it is looking promising to see a large company trying to uplift the niece genres and we can certainly all agree that more alternative events can only be a great thing! A huge thank you to all at HRH Goth and 02 Kentish Town and Leeds! 9/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you!

Stay-In-Fest (Infest) Live on Stage line-up – Portion Control, Tapewyrm, Witch of the Vale, Zeitgeist Zero, Red Meat, Scene Cover, Byronic Sex & Exile, La Rissa, Bone Cult and Biomechanimal. Virtual livestream line-up – DSTR, Shiv R, IAMX, Cyanotic, Noisome, A Place to Bury Strangers, Empathy Test, Spank the Nun and Nightmare Frequency. Infest is and always has been more than a music festival. It’s a meeting of converging like-minded souls. By this I don’t mean everybody is Gothic. It’s a highly unusual melting pot where everybody from crew to artist through to crowd is on the same wavelength. The overall feeling of community cannot be matched within any long running UK Goth festival. How does such a festival family meet up during a pandemic? Well to beat lockdowns in 2020 they invented Stay-In-Fest. A livestreamed virtual festival. This year with restrictions lifting, but with an eye on community safety and well-being, a hybrid event was created. Partly live, with bands and a socially distanced crowd for those that are willing to attend such an event – and a livestreamed festival for those still not comfortable venturing into the new Covid world just yet. Simply brilliant. If you wish to use any of the photography please contact us and we will put you in touch with the photographer Biomechanimal If you are into harder metal infused industrial techno you’ll know about Biomechanimal. I’ve seen them before and again they provided a set full of energy. A set so full of energy it not only made me think they deserved to be further up the bill, but they were so hot they set off the fire alarm! Matthew was accompanied by a different band line-up to the last time I saw Biomechanimal play, the two new members were equally up to the job. A great set, I wouldn’t expect anything less. 9/10 Bone Cult Two guys in masks that provided an edgy slab of The Prodigy style metal / dance crossover for the Infest crowd. They played throughout the set in full-face masks which looked other worldly on stage. The lights complimented the overall look and sound incredibly well. I got the impression these two have an eye for an overall audio and visual style – the two elements are closely related in Bone Cult’s world. A screaming, beating selection of Bone Cult catalogue was exactly what I needed. Seemed like the crowd felt the same too. A highly recommended live band, you need to see them. 9/10 La Rissa Now a two-piece band, this Leeds based synth-pop band have done rather well lately – being tipped by the BBC as one to watch. I’ve spent time getting to know the band listening to their studio output, but never seen them play live. Now I have they have seriously got under my skin – in a good way, not in nasty parasite way. Larissa has a splendid voice live that contrasts with the soulful dark themed songs and the electronics. It was a completely faultless performance that just seemed so easy for them. In many ways they reminded me of Empathy Test, another high-quality band simmering under the surface and about to break big. 9/10 Byronic Sex and Exile Joel Hayes is a well-known and well-liked face on the ‘true’ Gothic circuit. His new project has done rather well for him and has filled a bit of a void that was once so full in the scene of the 1990’s. Think of bands such as London after Midnight, Nosferatu and Suspiria, with even more Gothic soul, romance and poetry. This guy is no stranger to being on a stage, and to all intents and purpose completely at ease showing off his Gothic stylish good looks and poses. He would make a fine actor in a period drama, perhaps even portraying the Prince of Darkness…… Well as it is he’s a fine performer this afternoon, he played new tracks from his latest album ‘Unrepentant Thunder’ and a couple of covers – including a marvellous VNV Nation cover to please the Infest crowd bias towards electronic Gothic acts. I don’t think I’ll ever tire of listening to this talented chappie and seeing him on stage. 9/10 Scenecover Fitz is the guy behind the sub-lime Skinjob, a band I am a huge fan of. Scenecover was born in 2020 and played at the Stay-In-Fest. It’s kind of basic stuff, Fitz playing stripped down acoustic style covers of well known and loved tracks from our scene. He simply sat behind his keyboards, played and sang. He covered a wide variety of songs covering around forty years – OMD’s ‘Messages’ was an enjoyable cover of one of my favourite songs from the earlier days. He also covered ‘My Name is Ruin’ from Gary Numan – and as anybody that knows me will say; I am a huge fan of Numan. The rest were a crowd-pleasing mix of the likes of VNV Nation, Apop, Rotersand and Seabound. I’ve got to be honest, I enjoyed the set, but didn’t love it. I guess it wasn’t helped by Fitz having some vocal problems. I hate to say this, I feel like a traitor to Fitz. But the rest of the crowd loved it, despite it not quite gelling for me. 7.5/10 Red Meat I loved Rhys’s last project Ded.pixel, so was looking forwarded to this proudly queer chunk of meaty, pounding, meaty Wax Trax style industrial techno beats. If you were at this gig and weren’t moving you must have died. Completely engrossing, enthralling and ultimately a clever kick in the frontal lobes – your senses are given a test run on the wildest test track. A sheer elevation of this genre, Red Meat is really where it’s happening right now. 9/10 Zeitgeist Zero Surely there isn’t anybody in the scene that hasn’t heard a track by Zeitgeist Zero? Or been to see them live? A perfectly Gothic ethic meets industrial rock with some fine melodies and great song writing. But I’ve always felt that the home listening experience, though excellent, is not a patch on them playing live. Some bands are like this, their material breaths and expands on stage. Zeitgeist Zero add the extra element that defines them as the special band they are when put on a stage. As always I loved this set, bubbles and all. The bubbles seemed very fitting due to the time, consideration and care Infest had taken to provide Covid safe conditions for everybody. There was a slight mishap with (I suspect) a footwear malfunction, which resulted in an impromptu stage floor body-pop. But other than that a perfect set from one of the big hitters of the UK scene. 9/10 Witch of the Vale As I write, I know my pulse is racing just that bit faster when I write Witch of the Vale. I don’t often get overly enthusiastic, I’m quite a reserved chappie after all. But hey, I f*cking loved Witch of the Vale! I remember missing them play at the 2019 Infest. I was too bone idle and slept in – they were an opening band that year. Ever since then all I have ever heard is people being gushing in their enthusiasm for them as a live band. I loved it when their album was released last year, it filled a gap in my disappointment of missing them. So, yes I admit this was the band I was looking forward to the most at this years festival. F*cking hell! F*cking f*ck hell. I don’t swear a lot. F*ckity f*ck! These were awesome, f*cking awesome! Everything you have ever heard about the band playing live, it’s true. Very f*cking true. The imagery, the unsettling atmosphere, the sublime vocals of Erin swirling around and forging bonds with Ryan’s traditional drumming and his contrasting electronics. This is something very special. I don’t swear much, f*ck these guys are f*cking good! 9.5/10 Tapewyrm Seeing a gig by Tapewyrm is a one-man mission to head-butt you right between the eyes with a full force wrecking ball of unpleasant noise. Tribal rhythmic beats vibrate you until you submit and dance, a huge wall of distorted sound mashes your brain. How can this guy muster the power? How can one guy make all this impactful noise? It’s purposeful. Its purpose is to chew you up and spit you out. A brilliant set that left me a little punch drunk, I wondered if my ear drums had burst. Was my sternum still attached to my ribs, or had that powerful vibe completely mashed my insides? That’s mission accomplished for Tapewyrm. 9/10 Portion Control Being almost a pensioner, I’ve followed the electronic beats of Portion Control since around 1980. They recently released a series of three EP’s ‘Seed’ and this set is heavily based on those. This was the perfect end to a festival. I looked into the crowd, don’t forget this was a socially distanced seated table service festival – but everyone was on their feet. Dancing, smiling, laughing, cheering. It was like the old times, before Covid changed the world. Yes a moment of madness, I guess – but a huge release for us all provided by these old timers, Proving us old guys are still entirely relevant. Good old fashioned techno EBM, kind of in a similar vein to Nitzer Ebb, I loved this set. So, we were at the end of this special day – a milestone in the history of Infest. What a way to finish it. Portion Control were awesome. 9/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

There are always unexplored alleyways and hidden avenues that reveal strange and interesting new sights, sounds, and experiences. This self titled album by Cyborg Amok is one such metaphor of intrigue. I find myself in territory somewhat unknown with a vague sense of direction and grasp of this type of musical language; Even so, there are many enjoyable things that caught my attention throughout. August 19, 2021 - Gothic/Post-Punk duo, CYBORG AMOK have recently unleashed their debut, self-titled LP. The album covers conflict, hope, loss, betrayal, estrangement and depression, looming in the darkness on the fringe of the grey. CYBORG AMOK resides somewhere between the brilliance of twilight and the apocalyptic darkness. Their gothic infused synth-rock sound delivers the listener to a panorama of synthetic waves, twisted organic tones and a slightly pop crust … the language angels speak in the darkness. Greg Bullock states, "Much of the inspiration for my music comes from life experiences. I will also read or see something going on in the world that moves me to write a song to chronicle the event." CYBORG AMOK's self-titled album was released in both digital and CD formats. The album is a compilation of two previous EPs that are now extinct. New music blog Right Chord Music described the release as “gloriously brooding and timeless in its introspection.” This album is a compilation of two previously released Cyborg Amok EPs (Order Of Dis-Order and TOO). Cyborg Amok is ... Greg Bullock: lead vocals & keyboards Brydon Bullock: drums & backing vocals Review 'New(er) Dark Age' is a poetic approach to opening an album that paints a picture much in the format that Pink Floyd would structure out the unfolding messages and stories of their songs. At first I found it to be odd and confusing, much like my opening introduction analogy, I was at a loss and in unfamiliar music grounds. However once the experimental electronics akin to Theremins pulsed out and led back in to the chorus I find myself swaying quite pleasantly and very much enjoyed the military style drums playing it out. With the next track, I realised what sort of album this was going to be (at least for me anyway) as 'Dancing On The Floor Of The Sea Of Tranquillity' kicked in; It feels very much like an 80's musical that was never put to stage or film but now finds itself rediscovered in album form. I say that as a good thing because A.. Who doesn't love the 80's? and 2.. Who in the hell doesn't love musicals? There's a little sprinkling of cheese, and those retro slightly out of tune vocals throughout yet I find these endearing and actually a boon to the song overall. The keyboard sections certainly bring a funky nostalgia factor complimented perfectly by some beautiful and subtle female vocals. I might even say there's a hint of Meatloaf's style here too. Definitely the best song on the album. The rest of the tracks on the album certainly have a lot of meaning to the lyrical content and therefore the inspiration for them. It's also nice to hear some very distinct artistic directions in the music style of each. 'Another Turn' has some courage inducing march drumming and positive spinning notes throughout which is a nice touch. Tracklist New(er) Dark Age (radio edit) Dancing On The Floor Of The Sea Of Tranquillity (2019) Choice Not Taken Burden Away Beyond Me Another Turn (Still) Too Far Out Conclusion I feel like I don't know even half as much as I should about this particular genre in order to review it properly with any substance however this album (although not to my usual listening) has felt like I've took a wrong turn on holiday somewhere and got lost in translation, yet had a great time regardless. It has some fantastic pieces sprinkled throughout and just when you think you understand each song, something different and unexpected grabs your attention. Cyborg Amok bring a sense of style and new discovery in contrast to a retro journey of electronics and rock that makes for a pleasant indulgence of musical storytelling. Scores Technicality: 6/10 Soul factor: 7/10 Energy: 6/10 Vocals/Samples: 6/10 Re-play value: 8/10 Overall score: 6.6/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

Let’s Rock the North East Festival – Human League, OMD, ABC, Howard Jones. Sister Sledge, Midge Ure’s Electronica, Heaven 17, Pete Wylie, Toyah, Go West and more…….. Herrington Park, Sunderland, UK - 21st August 2021 I grew up in the era of fading punk, emerging New Romantic and the underground Goth scene was bubbling away. It was possibly the golden era for ‘freaks’ - those that didn’t fit into society with so many alternative music and fashion scenes. New Wave came in various guises and synth-pop was king. Gender bending, as the press called it, had another resurgence after the glam-rock years of the 1970’s. Men and women were experimenting, people pushed the boundaries – it was a very exciting period to be growing up. Commercially synth-pop will perhaps always be associated with the early 1980’s – and this festival caters for this end of the market. A large group of chart toppers from this period of time, predominantly of the synth and electronic genre. It was raining as I arrived at the festival, and the weather forecast wasn’t good. I had my press pass, and my car was parked next to the rear of the stage – alongside artist hospitality. I had access to VIP, hospitality and was even fed by the organisers. Good stuff, we have a job to do, but it’s appreciated when we are appreciated! I quickly met several of the bands, took photos and established recognition – this always help when in the photography pit to get good images. Good stuff. Go West arrived on stage first, not my cup of tea, and but they deserved to be higher on the bill. I spoke to their manager earlier, they had another gig to travel to, so were unusually the opener. Now I’m no fan, but when the likes of Black Lace (of the truly appalling ‘Agado’ and ‘Do the Conga’ chart hits) and tribute bands were before them, I must admit I felt it would have been better to stay at home. The crowd liked them, they were a good opener. Another artist lower on the bill worth mentioning was Jaki Graham. The polar opposite to my own taste, and I would imagine to Elektro Vox readers too – but she managed an impressive set. I’ll also give Sister Sledge a mention too, further up the bill. Again not of interest to us electronic beat lovers, they gave a fantastic performance. Toyah shared the same band that had been used by Black Lace and the tribute bands. Not a good start. However, quickly I realised they were actually a good band. It all worked well on this short set of Toyah’s most famous songs such as ‘I want to be Free’, ‘It’s a Mystery’, ‘Thunder in the Mountains’, ‘Echo Beach’ and ‘Good Morning Universe’. She is a little bundle of energy, and just as exciting to watch as her younger years. Good stuff. 9/10 Heaven 17 arrived and by now the crowd was very large, several thousand people, and it was clear they were happy to see this band. Glenn and Martyn shared the same two backing singers of Toyah and several other bands. But as they had proved with Toyah they are very good indeed. I’m a big fan of every band Martyn Ware has been involved with, and he can be regarded as one of the great- grand daddies of electronic music in the UK. As most readers will know, Heaven 17 was born after half of The Human League split away. Today they are as relevant as they ever were, the festival speakers get a full work out with powerful bass synths rumbling the field. Yes, of course they played all their hits, it’s the type of festival it is. Check out their upcoming gigs where they are playing the first two Human League albums for more obscure tracks. However I thoroughly enjoyed this set of popular chart hits, and I suspect I will continue to enjoy every gig I see of theirs. 9/10 Midge Ure’s Electronica is Midge’s latest way of presenting tours and gigs. He formed this band a couple of years ago. Presumably as it seems to be very clear that Ultravox will never play live together again. I’ve seen Electronica a few times, and either (only) quite enjoyed them, or found them a little embarrassing. I say this as hearing Ultravox songs without the musical genius of Billy Curry leaves me a little cold. However on this occasion they have either got it together better, or my ears are becoming a little more accepting. I really thought they worked well together and added to that spine tingling voice of Midge – hearing that “Ohhhhhhh Vienna” will never fail to raise the hairs on my skin. Yes, Midge and his new band are now forgiven. 9/10 Howard Jones writes very upbeat synth-pop. His style was a kind of musical positivity / motivational meme. All about looking after one another, doing our best for the world etc. I am all for that. In fact, as a kid and getting into all forms of electronic music I was a big fan of his. As time went by my musical direction went a little darker, and I listened less and less to Howard. I’ve never seen him play live, until this festival. Well I’m sorry Howard but judging by your performance and odd attitude backstage, you have managed to earn a living from preaching positivity, but not practising it in real life. One of his band members had to apologise for his behaviour towards the photographers. The performance itself was a tad detached and lacklustre. Forced smiles and gestures. It seemed like an act. Press the play button and go. The band was superb, especially the fantastic abilities of Nick Beggs (from Kajagoogoo) on the Chapman Stick. Mindblowing ability, truly exceptional talent with this unusual instrument and perhaps an even more unusual approach to playing it. I enjoyed the set, but Howard come on, take a chill pill. 7.5/10 ABC. Hmmmmm……… How do I do this? Write this review? Probably wise to be honest and truthful. I truly dislike the material they produce. Often marketed as a synth-pop band I find them to be cheesy tosh. Not for me. So, as for the review…… Martin appeared, sang and looked like the crooner he always has been. The band played well. They played all the hits the crowd wanted. I left halfway through after getting the necessary photos. Sorry guys. 5/10 (I’m being kind) OMD, or better called their full name, Orchestral Manoeuvres in the Dark. Pure legends. They may share the three-capital letter style name of ABC, but that’s where similarities stop. They are true pioneers of the UK synth and electronic music movement with a broad spectrum of musical styles. They got their big break supporting Gary Numan on his first major UK tour, and returned the favour to him in the 90’s by having him as an guest artist (some would say support) on one of their tours. Yes, they are that good – Numan is of course god-like. Andy is, as always the gig singing windmill – his dancing is as legendary as the band. Paul, quietly sits behind his keyboards most of the gig. However he does swap duties with Andy for two songs – taking over the singing for ‘Souvenir’ and ‘(Forever) Live and Die’. Andy’s bass player is essential entertainment. The band are good – very good. They play all the hits – just as this festival crowd want. They should have been headliners, I can accurately say the crowd responded so well with them – the most enthusiastic reaction for the whole festival. As always, completely mind blowing. 9.5/10 The Human League had been quietly making electronic music in their home town of Sheffield for a number of years when Gary Numan broke the charts in 1979 making alternative electronic music commercial acceptable. Forever associated with ‘Don’t you Want me?’ and of course this was played tonight, this band is much more than this (and a string of other hits). The trio of Phil, Susan and Joanne were placed at the front, the two girls either side. They have on numerous occasions self confess that they can’t sing well, and as a big fan I agree. But combine this with the excellent vocal abilities of Phil tonight, it all works very well – and is part of the Human League experience. Phil is one cool dude, he looks great on stage. But he has a very weird habit of whiz-walking the stage. It’s like one of those old Benny Hill speeded up videos, you almost expect him to sing fast and at high pitch like Pinky and Perky. (Note to self; I must remember the general readership age of Elektro Vox, many will not know the reference to Benny Hill nor Pinky and Perky!) (Editor: Oh we do Mr Smith.. We do!) Anyway, Phil walks fast, but sings normally as you’d expect! As per the norm for a nostalgia fuelled festival all the safe hits and tracks are played, including the solo Phil Oakey hit ‘Together in Electric Dreams’. A brilliant performance from everybody. But OMD should have been headliner. 9/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

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

528 days.. 528 excruciating days passed between my last proper Slimelight on March 7th 2020 (add probably another month on top since my last concert) and this perfect evening of bands in a glorious return to Slimes. Although that wait was horrible as were the withdrawals from my spiritual homes and live shows; Alongside the yearning to see friends again in that setting, and of course the tragic news of Mak - the co-founder of Slimelight's passing.. After all of that, I could not have hoped for a better evening of truly magical scope. To see so many people and friends raving so hard to the music and enjoying what many have described this past week to me as 'A community temple where we all come to worship each other's company' was paradise in absolute. A fitting moment for Mak's legacy.. To the Slimelight crew.. Thank you so much for one of the best nights of our collective lives. We love you!! Review J:Dead The first ever live show from Jay's project J:Dead met all of my expectations and then blew them away. (Jay Taylor already being the live drummer of EBM/Synthpop bands such as Tactical Sekt, Tyske Ludder and Harmjoy.) J:Dead's recent debut album of 'A Complicated Genocide' sounds gorgeous throughout, intermixed with softer vocals and occasional heavy, screamed filled sections that can feel like Human League one minute to a full on industrial metal band the next. I had no idea that Jay's vocals would be so very crisp and clear live however. Quite how he managed to walk that line between harmonic vocals and guttural growls is beyond me. Honestly, he smashed that stage harder than any opening band has the right to and he did so with heaps of style and charisma. Of course, he left the heaviest track until last when thankfully the dance floor had packed with a half decent amount of people; Obviously lured in by the impressive music they had been overhearing, and he absolutely blew everyone away with that ending track. Pure class and I hope to see J:Dead on many more listings in future. 9/10 Biomechanimal Biomechanimal are of course a band I am hugely biased towards as they are the only band I have seen time and again yet get more excited with the anticipation of each new show rather than less. (Although not strictly true, you can actually apply everything I've just said here to ESA next as well!) This time around sadly we had no Keith on the Electro Axe as he was shielding and Lex no longer plays bass for the band and I don't think that's something I'll ever quite be able to get over being a huge fan of her stage presence and talent as a musician. However looking past those two factors, Bio laid down an artillery barrage of a set. The supporting small arms fire of the heavy calibre drums, the intense thudding mortar of the bass, the cannonades and explosions of the backing tracks, and of course the hellfire screams of the battlefield spiralled cacophonies of awe from the jaws of Matt's skull; even if the microphone wasn't picking up vocals half as well as it should have but that's not Bio's fault really. Each track had been re-tuned and upgraded in undeniably impressive fashion adding layers of depth and enjoyment to the overall monster on stage - Like Godzilla's return as Mecha-Godzilla, Biomechanimal once again proved that London is there's to destroy and theirs alone. 10/10 Electronic Substance Abuse Where to even begin? And what could I even say? ESA being a band I've reviewed time and again, and an artists that very few and far between have yet to experience. What Jamie hits you with is a wall of noise that somehow in amongst all of that brutal, stomping power, reaches in to the core of your being grabs a hold of the right sections of your soul and twists multiple keys at once unlocking parts of you that you never knew you had. ESA is a multitude of experiences all at once, a rave for the soul, a brutal massage for stress, a tight hug from the beyond, a tribal calling from your ancestors, an outlet for aggression - yet an outlet for love.. Each beat, each tone, each hit of electronics brings you closer to understanding music as a concept and yourself as a human being, and what it means to be alive. It is grandiose yet intimate, strikingly intimidating yet inspiring of courage, small in scale but epic in scope.. No one on this plane of existence reaches in to the ether and creates music quite like the king that is ESA does. Jamie put his pent up fire in to that performance with each impressive vocal growl, each hit of the electric drum, and each carefully precise alteration of tech. If you haven't seen ESA yet, what the hell are you even doing with your life?? 10/10 Alien Vampires Who can deny that putting on an Alien Vampires track is always a good idea? A.V rounded off the night with a relentless punishment of hard as hell rave that stirred the crowd in to a furious frenzy of dance and smiles. I for one absolutely lost my mind as the first sample of 'He who controls the spice, controls the universe'.. Steve did an incredible job of smashing those sounds out as Damien put on quite the show of anarchistic nature expected from a band such as A.V. The indulgences seemed particularly strong however and the vocals somewhat suffered from it but never the less, the energy and the soul of what it is to dark dance flooded the room with each track. The band was joined in their last song by special guest Atilla from Mayhem making for a rather pleasant ending twist. Fire and fury spat forth in waves of joyful energy in the shared euphoria of a large crowd that had been desperate for this kind of hardcore rave release and A.V we deeply thank you from the bottom of our hearts for that. 8/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

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

Well I never, those rather clever people at Infest have come up with another Covid beating festival experience last year. Not content to let Covid and peoples' gig hesitancy to get in the way, they have built upon last years Stay-In-Fest to give us something very special indeed this August Bank Holiday. Last year they brought us the delights of a twelve hour live stream with the likes of The Cassandra Complex, IAMX, Ash Code, London After Midnight, Zardonic, Empirion (and many more). It was a fantastic twelve-hour Gothic extravaganza. It seems Infest are aiming the festival towards a larger and wider audience by going online with their live streams – probably now an ongoing feature for future post-Covid Infest…… Saturday the 28th of August at 12 noon this format will be repeated again for the 2021 edition of the festival. However, this time there is something very different from last year. The festival will be held at the Student Union of Bradford University, the home of the regular pre-Covid Infest – WITH A LIVE CROWD! Yes it will be a seated and socially distanced event, and much more intimate than the regular festival – but what’s not to like about exclusivity and food and drink service to your table?!! Infest are asking for interest in tickets for the live festival to be registered via this link; https://infestuk.com/2021/08/02/infest-2021-stay-in-fest-live-from-bradford-latest-news/ Of course the band, artist and DJ line up will be announced shortly, but let’s face it whenever has there been a bad Infest line up! It’s the UK’s premier festival for all dark electronic and Gothic music! We’ll come back to you with further details as soon as they are announced! Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

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

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

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

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

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

Take a ride with us as we breach the chaotic storm of sound waves that makes up a very unique and fantastically interesting album, as well as asking Adam just what his music is all about. Album releases Friday 23rd of July. Noise, breaks, occasional melody, and something that sounds a bit like tinnitus. - Muta-scuM Interview Q. For those unfamiliar with your band, how would you describe your music, and where does the name Muta-scuM come from? A. Stylistically it’s probably easiest to call it industrial breakbeat. It’s a bit of a mish-mash. I’ve tried to incorporate a mix of rhythmic noise and break core with a bit of techno but it’s kind of ended up not quite being any of its component parts. Believe it or not the name actually came about way before the music. It was originally a logo design I doodled during a lecture at uni and when I wrote the first track it just kind of fit as a name. The idea is that it’s mutating scum although loads of people used to pronounce it as “mutter” as though I was insulting someone’s mum. It’s become an almost prophetic thing for the music though, the mutation of what started as absolutely crap music into something half decent (I hope). Q. The religious element is very clear throughout your music from the artistry, to the song titles, and the places you’ve taken media samples from. This is a very rare element to be found in industrial so can you tell us about the direction of Muta-scuM and what message your music portrays? A I’ve grown up in a family that have a pretty strong Christian faith going back a couple of generations so it’s probably not much of a surprise that I’ve chosen to follow that faith and just about everything I write comes from that. It’s the biggest thing that’s happened in my life and has affected every decision I’ve made since; So a lot of the stuff I write is more to do with interpreting my worldview and experiences and getting that into some kind of cohesive sound. Some of the tracks are just music for the sake of music. “Still Here, Still Breathing” for example is just how I’ve always answered the question “how are you?”. Some of the tracks have more actual meaning, like “Welcome to the Meat Grinder” is me tackling the fact that I lost 3 mates to suicide within about 3 years of each other. That one is me kind of trying to scream at the cliff-edge that there’s still hope, hence the vocal sample saying “Never give in to the pain. You are loved. You are not alone.” Q. Which songs are you most proud of on Idle Worship and do they all culminate into a specific story or are they more of an amalgamation of theme rather than a concept? A. It’s probably a tie between “A Truly Divisive Icon” which was the last track I wrote for the album and “Rebuilding Jericho” which has been sitting in the vault since about 2012. Icon’s got the most interesting rhythmic layers, I was messing about more with drum editing and wanted to keep it as atonal as I could but still wanted it to have the religious theme running through it like a stick of rock. Jericho on the other hand was more about making something that shifted and moved so it’s got some odd fills and is a bit more cinematic. The album overall is kind of an anthology of songs from the last 10 years. The track listing does seem to have kind of clumped together into a couple of sections though. The first bit (Still Here, Life_Online, & Meat Grinder) ended up being a kind of life and death themed section and then Icon and Porn Scars kind of ended up being about moral theology. That was purely accidental though. Q. Tell us about your history. Where did it all start, and what inspired you to start making music? A. I’ve always had some habits of making music. My folks signed me up to piano, guitar, and violin lessons in primary school so I’ve had a habit of playing music since I was really young. Muta-scuM almost started by accident. The brother of one of my uni mates had a really basic bit of software for writing music back in about 2006 and I’d just discovered EBM so we had a bit of a mess about session writing some sludgy electro trying to copy what I’d heard from the likes of Wumpscut. Frankly, it sucked, but not as much as the rubbish I tried writing on GarageBand after losing contact with him. Over the next few years I started messing about with found sounds and samples and eventually got some decent writing skills layering up tracks. I have to say a massive thank you to Infest here because if I hadn’t won a copy of Ableton Live 6 in their raffle back in 2006 I might have never got anywhere with my production values but many years later, here we are. Q. Which bands have you shared the stage with and which bands would you love to play alongside in future? A. Annoyingly it’s been absolutely years since I got to play live with this project. I had gigs playing alongside the likes of CE Digest, The Ladder, Wrapped In Plastic, and Cyferdyne (although they might even have still been Cyberdyne then) back in the day but I had to put everything on hiatus in 2012 because I joined a pop-punk band (Malokai - search for “Malokai epic fall” on YouTube… you won’t regret it) that took up all of my time. It was great fun, but it meant I had no time to even think about Muta-scuM although I got to do more touring and played more gigs than any other time in my life. In the future I’d love to play shows with the likes of ESA or Cacophoneuses, and Infest one day is obviously the dream gig, but for right now I’d be happy to just get out and play live again. Q. What artists are you listening to most right now? A. I’ve been listening to a ton of LITH recently, I recently discovered Bambi OFS, and been listening to a lot of the stuff that Hands have been putting out like the newest Mono No Aware and I’ve revisited older stuff like Twinkle quite a lot. It’s either been that or hammering Ska-Punk bands. There’s not really much middle ground. Q. What life lessons has being in music taught you over the years, and what would you change about the scene if you could? A. The biggest one is probably “Write what you enjoy”. If you don’t enjoy it, nobody else will bother with it, but also, you might be the only one who ever hears it. I’ve been sat on bits of Idle Worship for so long I’m almost sick of them so it’s great to finally get other people aware of it. The other thing I’ve learned is knowing the right person is a big part of the music world. Having taken all that time off from the scene to tour in a pop-punk band, I've lost lots of contacts from years back so I’m having to start from the ground up again. I think if I could change anything about the scene it’d be to make sure that as many small music venues survive the pandemic. I think that’s going to have a big impact on how easy it is for bands to get in front of new audiences and get known or even just keep going. Q. Anything you’d like to say to your fans? A. Just a huge heartfelt thank you. Some of you guys have been around since the very first gigs back in 2009 or whenever it was (Hi Dad!), and if you’re new, thanks for listening. Hopefully I’ll be able to see some of you in a venue soon. Review An almost psychedelic pulse of concentrative Theta waves ripples out across your body and mind in the introduction track of 'Inhale'. This meditative peace is juxtaposed with an odd resemblance to the introduction of 'A Clockwork Orange' and it's electronic score that lends itself to its foreboding ultraviolence. In many ways this track feels like a deep dive and reflection in to the state of your own mind, opening yourself up to fully appreciate the album you're about to listen to. The synthetics tones and pulses are chaotic yet orderly, intense yet soothing. It's only when Muta-scuM's signature style of -Break Beat- hits in the second track 'Still Here, Still breathing' that you open back up to the world around you with some very energetic and energizing dance worthy tones. It's a very catch track and got me fidgeting to the beat in my chair all the way through. It's a nice touch that it contains the sample "Chaos is what killed the dinosaurs darling." -from the 1989 movie 'Heathers'. 'Life_Online' is a bit of a barrage of self help quoting which personally puts me off but it goes well with the beat and I suppose it is inspirational in a way, especially if you're the type that likes people like Anthony Robbins. 'Welcome to the meat grinder' has a swarm of chaotic power noise that makes me reminisce of fantastic low budget sci fi 80's movies that all had great soundtracks thanks to abused modulators and synthesisers; This track captures that feel brilliantly. It's like a blockbusters burning down in some oddly serene anarchy! Check out our previous review of the track 'Lying Idol' HERE. 'Rebuilding Jericho' opens with a retro wave twist of trance, electronics, and the unexpected. This whole track feels like fighting your way through a mash up of video games. Much like in the film 'Ready player one' this track would have worked well in that film no doubt. Next up we have 'Bad Friday' - You can find our earlier review for it HERE This is where the album really starts kicking up the pace with 'As the fire burn out'. The tempo and aggression seems to have been taken in an almost ESA meets Nero's day at Disneyland blend of power noise and high toned madness which carries on in to 'Porn Scars' which is a fantastic track. This is a track I can see filling up a dancefloor easily and one of my favourites on the album. It brings a lot of industrial's and trance's successful formulae respectively and creates a beautiful, high octane, rave of a tune. 'A truly divisive icon' brings about the old school EBM feel of gritty instruments, malicious impact, and the scrapping satisfaction of early industrial. It's a fantastic track to bounce off the back of the previous showing just what directions Adam is capable of with his unique break beat style. In to 'Pain and Adrenaline' now which is the third released single before the album. It's like stumbling down a kaleidoscopic cyberpunk city tripping on some new found sci-fi drug while robots stare at you emotionless and oblivious to the mind bending chaos exploding all around you. 'Under me' is a chilled out rest, like the day after the night before in it's slow paced serenity. That is until 'Throneless' once again throws you in to a very impressive and action packed track that really gives the sense of a spiralling world of technology and hopelessness. It can only be described as art in audio motion. Finishing up the album we have 'Iron Hide' which although lacks the grandiosity and energy of previous offerings and containing a voice sample that some might raise a questioning eyebrow at, it still packs a decent punch in it's own right. Tracklist Inhale Still here, Still breathing Life_Online Welcome to the meat grinder Lying Idol Rebuilding Jericho Bad Friday As the fires burn out Porn Scars A truly divisive icon Pain and Adrenaline Under Me Throneless Iron Hide Conclusion Idle Worship is a powerful and strong debut album that keeps on giving with each listen. Extra layers of depth and intrigue flash past your senses with each new repetition. It's hard to stand out in a world where the term industrial can be broken up in to dozens of sub genres and yet Muta-scuM does indeed stand out with his self called 'Break Beat' style of industrial that feels unique and fresh. This is certainly an avenue of sound experimentation that I would love to see explored further! Scores Technicality: 7/10 Dance factor: 7/10 Energy: 7/10 Vocals/Samples: 6/10 Re-play value: 8/10 Overall score: 7 / 10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

MORIS BLAK joined me for an in depth chat about his music and all things industrial and electronic. Enjoy! https://morisblak.bandcamp.com/ https://www.twitch.tv/morisblakhttps:// www.facebook.com/morisblakaudio Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox

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

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

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

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

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

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

Who would have thought that a virus originating on the other side of the world would mean we’d have over a year of no live music? After the gap I was chomping at the bit to get out there with my own kin and listen to some bands! Thank you West Coast Gothic for working so hard to put together this mini-festival in Blackpool so soon after the restrictions were lifted – it certainly lifted my spirits! I arrived at the venue, Waterloo Music Bar to be greeted by a gathering of people dressed in black – how I’ve missed this! After a short introduction to everybody involved from the mastermind behind this event Stephen Farr, and a brief overview of the guidelines for this socially distanced ticket only gig, I was free to enjoy myself. The venue would be classed as a small music venue, but in pub terms its pretty large. It’s split into three areas, the largest of course being the stage area where the bands play. Tonight it is laid out with tables and benches as it is a seated gig to keep within government rules. Masks were to be warn once you are on your feet, the time sat at your bench you didn’t need to wear one. Servers bring the drinks to the table, but they were pretty slow in recognising when you wanted a drink – the idea was to light up an empty wine bottle when drinks were needed. We devised various methods to make sure the servers saw the lights! All adding to the fun of the evening. Review Stella Wembley Stella Wembley arrives on stage to kick off the evening. She looks simply stunning, and dives straight into her characterful style. I love her singing voice, a seductive accent that just seems to somehow echo of yesteryear, a period of time perhaps in the 1930’s in my imagination. She plays keyboard and guitar on stage. She is a confident performer and conveys emotion brilliantly – I was completely mesmerised. I loved her performances of ‘Images of Death’, and if you’ve not heard this single I would urge you to give it a listen. A short set, I would have happily listened to more, a predict she has a great future ahead of her in the scene. 8/10 Still Forever Still Forever were next to take to the stage – another soul performer, Amelia Griffiths. I’ve not seen Still Forever play live before – perhaps I have an over-active imagination but as the set progressed I couldn’t stop thinking of how much Amelia reminded me of Alison Moyet in the Yazoo years. All the electronics and a soulful voice no doubt helped this along. I really enjoyed watching and listening to Still Forever, it’s an artist’s back catalogue I will be delving into more. A rather spiffing performance was slightly knocked off track by a technical hitch with a loose cable. Quickly and professionally rectified, none of us were the worse for it. 8/10 Novus I’d talked to Sarahjane from Novus before the gig. She admitted to being nervous and was worried she might not remember the words to her songs. She needn’t have worried! As she arrived on stage she looked great, joined by Peter Jones on guitar and newcomer Blackstone Angie on bass. The three looked fabulous – but I can tell you, they sounded even better. I’ve not seen Novus play for many years, and have missed them, it was great to hear those tunes and Sarahjane’s great voice. They put on a near perfect, good choice of songs, and even managed to pull this off without rehearsals with the new bass player – outstanding. I say near perfect as Sarahjane was sticking to the floor with what appeared to be some kind of gooey white snow on stage! But as they powered through, she eventually gave the thumbs up to us all – she was as happy to be on stage as we were to hear her. 8/10 Before I get to the headliner, the interval provided a great giggle for us all. The ‘snow’ on stage that had caused problems for Novus was being ceremoniously hoovered by one of the Waterloo Music Bar staff. Whoever was playing the interval music had a great sense of humour, and quickly swapped tracks to play Queen’s ‘I Want to Break Free’. The crowd immediately saw the funny side, and the poor guy hoovering had one choice – to play along doing the Freddie hoovering moves! Auger The rather splendid Auger took to the stage in their legendary energetic style. These two know how to put a show on! They both have immense talent and energy, and are currently one of my favourite bands to emerge from the UK scene. Kyle literally bounces around the stage, with that booming deep voice just effortlessly filling our ears whilst Kieran somehow still manages to steal your attention playing in a style that just seems to ooze excitement. The longest set of the night, they play to the crowd and can work an audience as well as any other performer. Scorching through all the favourite songs, the crowd lapped it up and the evening was now a party. Song after song I’d hear myself say to myself – I’m so pleased they played that one. Now how often do you see a gig when that happens? There’s always the one I’m tired of hearing or otherwise think it would have been missed off the set. Not for Auger tonight, simply a stunning offering of songs – even managing to sneak in a new single ‘Dark Clouds’ before it was officially released. If you never seen Auger play live it needs to be said that you are missing out, a hugely talented band that you need to hear. 8.5/10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! 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Few singles hit the satisfaction levels where usually just one track and a singular remix is hardly a worthy appetiser. Yet with a substantial original track and three of the heartiest remixes I've ever heard, 'I DETACH' lays on one amazing buffet of delicious musical genius! The new single ‘I Detach’ sees J Blacker again pummelling the listener with his unmistakeable wall of dark electronic sound. With a writing thick, snarling bass line that comes strange from mid-tempo techno hell, flattening kicks and glorious synth hooks. ‘I Detach’ is yet another reason why ESA is regarded as a must in DJ sets around the world. Alongside the Single release comes remixes from Moris Blak, Mechanical Vein and surprisingly, the enigmatic Mr.Kitty. Further proving that Blacker will never be prepared to do what is expected and is always ready to turn things on their head. Accompanying the Single release is yet another game-changing official music video, which is yet more evidence of Blackers story-telling and directing ability. I DETACH official music video Interview Photo and editing by Olivia Grenadine Chloé Q: There is a lot of visualisation to unpack in this video and the release mentioned that this was a very important subject to you in what happens to women. So can you please explain the premise of what the video portrays and the importance of the butterfly? A: Absolutely. So the main premise of the video is to tell the surface story of the detached / sociopath Antagonist (Caretaker). It was to build a story around him, his childhood, the reasons for his detachment / reason for his relation to mannequins and finally delve into his extra curricular activities of transforming humans into mannequins. As with the other videos I've produced, I try to use the surface stories to communicate sub plots that are basically commentaries on some of the uncomfortable things that I see and feel in the world we live in. In this case I wanted to nod towards the breaking down and building up of the people we are supposed to love. Holding people to ideal standards and forcing them into a new version through control. I used parts of the Greek tale of Pygmalion to help me build a character around that. This can often go hand in hand with physical and mental abuse, which whilst happens to both sexes, the majority of the time (especially over history) this has been a man to woman dynamic. I wanted to point to that in the most sensitive way I could through the process of the mannequin transformation and also the Antagonists need to control the full transformed mannequins like puppets. Olivia Grenadine Chloe (Protagonist Mannequin), really helped me to get to the core of that message from a woman’s POV when this was the role dynamic we were exploring. There is only so much I can communicate abut this particular subject from my own perspective and she really kept me on point with how to deliver that as elegantly as possible, without sacrificing the impact and brutality of the video. The relevance of the butterfly is that of transformation. The butterfly transforms from cocoon into its more ‘elegant’ state. The Antagonist is obsessed with butterflies and relates that transformation to the human to mannequin process. Hence why the scenes are intertwined before the main climax of the video. Q: With the video and the title of the track it seems that the antagonist is detached from reality. What made you chose this as the main way to characterise the video in both his ‘current’ age and his youth? A: I wanted to create a story around detachment. I also wanted to use the mannequins in someway that I had been shown by my brother in December 2020, so the job was to merge those two contents together to create the narrative. I wanted to show the Antagonist in his youth to explain where the infatuation with mannequins and butterflies originated from, that being that he had been neglected and hidden by his parents with only the mannequins as company…and one book, the life of butterflies. The combination of detachment from human love along with the two things that carried him through his childhood created a template for his perspective on connection. Its ambitious for a 5 minute video and it was hard to pack it all in but I got out the bare minimum that I could to explain this, whilst still creating a visually exciting video. Q: Tell us about the second male character (The warehouse owner) near the end of the video and how he plays in to the story as a whole, and also the dancing mannequins near the end. A: On the surface, the Warehouse Owner came into the story to stop the charade that the Antagonist was creating. He employed the caretaker to make humans into mannequins so he can sell them on to commercial companies. He saw that farce and ended it so he could deliver his consignment on, which is what preludes to the final climax of the story (which I won’t spoil for anyone who hasn’t seen it). I also really wanted the main Antagonist (who had been in complete control up until that point), to be made completely redundant in the story. I wanted him to shrink from the person in ‘power’ to that of a coward and for the narrative to basically move on without him. Again, it was hard to pack into a 5 minute video but I hope we got the message across. Q: The overall sound ties in well with your other recent releases and feels like a continuation of the current ESA style but with quite an eerie twist, as well as the quite unexpected 1920’s style cut away. So which came first, the story behind the song or the music beats that then evolved in to a story and how would you say this track differs from what fans have heard on ‘Burial 10’ and ‘Eat their young’? (For those who have not heard this single yet) A: The idea for the video came first and I used that to inspire the track. I’m a big fan of ‘The Shining’ (in particular the scenes where Jack Nicholson finds himself in a 1920’s version of the hotel). So I knew I wanted a black tie, ballroom dance style event in the video. I had to make sure that part of the track tied into that cohesively. It turned out great for the track and really delivers an interesting nuance that I’m quite proud of. For me, visuals inspire audio and vice versa and always has done. They are both intertwined arts and its my job to perform both of them homogeneously and as well as I possibly can. I’d say that the feel of the track sits alongside nicely with ‘The Scorn’ from the Eat their Young / The Scorn EP and ‘You are Not Safe Here’ from Burial 10. It’s ESA at its most accessible whilst still retaining the grittiness and power that ESA is known for. Q: Each of the remixes on this release are vastly different to the original track, especially the Mr.Kitty version. How do you feel about each artists interpretation and what do they add to the overall context of the single? A: I chose all the artists because I love what they do. They all did exactly what I was hoping and I'm really happy they did, rather than following the structure or rules of the original. I will always try to push ESA into new areas and will never go for the predictable remix from the predictable artist through intention. I always want to collaborate and explore different perspectives both with my remixes and collaborations. Q: What do you hope people take away from the lyrics and the music video? A: Firstly I hope they take away the feeling that they have been cinematically entertained. I hope that the mix of the music and the visuals leave them feeling energised and excited. This will always be my first priority. ESA is all about energy and power, but delivered in a high quality and interesting way. Secondly, I hope that they think about the different nuances of the video and the story behind it and what they could mean to them personally and from their perspective. The sub-plot is there to remind us of how imperfect we are and how control is a real living thing that has existed as long as we have been around. It’s a reminder that abuse is alive and is going on behind closed (warehouse) doors. The last seconds of the video is there to show us that we do have a voice and we can break that wall. Photo and editing by Olivia Grenadine Chloé Q: You’ve become quite the artistic video director, is ESA transforming in to much more of a story telling media project in both sound and visuals in order to project the creativity and passion you have for your art? A: Thats an interesting question. ESA has always had strong imagery but over the last 5 years, I have developed the confidence to communicate my imagery from a more personal and cinematic perspective. there will always be limitations on what I can achieve as an underground artist but I am pushing that boundary as far as I possibly can. I feel very comfortable telling stories and directing now, but at the epicentre, ESA is an audio experience and that will exist with or without film-making. I just hope to explore the film-making side of my art for as long as I can. The moment I run out of ideas, is the moment I stop. But that works for both of these arts. Q: Have you had any difficulties in putting this release together? A: Yes, in many ways. The hardest part of the video to pull together is quite a dull answer and that was rounding up the right MUA’s to pull of the level of SFX that I needed. I probably chose the most difficult prosthetic effect that I could to make the story travel and nearly gave up a number of times. The MUA’s that were involved in this, came in and saved me at almost the last step and I will always be hugely grateful for that. Those MUA’s were Andreea Calin, Michelle Hardwick and Marlena Stencil (under the supervision of Nikoletta Tzani) and if anyone wants their details, i’d be happy to pass on. Olivia Grenadine Chloe, Keri Bailey and Myles Fearnley also managed to keep me from losing my mind in the process of making this work. It's safe to say, without this investment and support from all of the crew, this probably wouldn't have come to fruition. Other than that, just the usual logistical problems in creating a shoot that delivered. I also spent a lot of time working on the script so that it felt like a well put together product that said everything I needed to say in 5 minutes. Q: Finally, how do you personally see bands and venues adapting to our current world and in the future. What do you feel is the next logical evolution for the music scene? A: The honest answer is I don’t know. Obviously we are all hoping that the world will return to the state it was pre-2020 (in relative social matters). But no-one knows when that will fully happen. Personally I am not engaged in the live streaming platform. I only understand live and seeing the whites of the eyes and the tribal togetherness of a live show. So for me, that is why I have resorted to the next labour of love in communicating to people, that is though visual art and that's why there has been 3 music videos released in 10 months. How everyone else charters these waters is up to them and how they feel most engaged and most comfortable. Review ESA's use of electronic drums seems to always hit that deep and primal core of my being, like some sort of ancient astronaut theory soundtrack. When I listen to ESA I feel like an ignorant peasant entranced by the technological power and machinations of a far greater entity manipulating me in to chanting, dancing, and worshipping the sounds blasted at me. 'I DETACH' is no exception, the concepts and use of vintage music brings a horrific hell-scape in the mental mind of the characters much akin to the horrors of 'Bioshock'. It's also great to hear Jamie continue with his recent style of sound and vocals which really bring a mature yet vibrant mix full of fist clenching energy. The Mechanical Vein remix sounds like Pendulum made a baby with Frank Klepacki (Responsible for all the killer guitar tracks for the original Command and Conquer games) and hits you with a jaw dropping intensity. It brings not only nostalgia but a fierce joy that wants to break out. This is quite possibly the finest piece of remix work Mechanical Vein has produced thus far! MORIS BLAK has moistened this track with the filthiest bass and mid-tempo electronics, wringing it out for all that it's worth and leaving the listener so gods damn thirsty for more. There are few bands who can make me gurn simply from a bass drop when it kicks in but MORIS BLAK has done it, I'm sober gurning away at the sheer, brutal, stunning FILTH of this. Mr.Kitty has really cut out the precious diamond that is Jamie's lyrical genius and beauty hidden amongst all of the usual chaos and aggression, revealing an industrial pop piece of master artistry I'd have never expected when consuming ESA. It's a trance like direction of feel good, sunshine vibes and I absolutely love it! Tracklist I Detach I Detach (Mechanical Vein Remix) I Detach (MORIS BLAK Remix) I Detach (Mr.Kitty Remix) Conclusion For a single release this is quite possibly the most important release of the year. The original 'I DETACH' track is a worthy successor to ESA's current and epic saga; However the addition of three incredible and MOST importantly widely varied remixes are the main jewel in this crown. Within this one single you have everything that makes Industrial great. Starting with ESA's powernoise, to Mechanical Vein's EDM and almost metal smash up, to MORIS BLAK's cyberpunk mid-tempo aural GOLD, and finally some trance like industrial pop. In essence this is the perfect string of tracks to play to someone who wants to know what industrial music is. I mean, there are so many subgenres and this perfectly encapsulates some of the main ones. This release has it all. I'm going to stop now before my tongue ends up any further into these artists and their work! haha Scores: Technicality: 9.5/10 Dance factor: 9/10 Energy: 9/10 Vocals: 10/10 Re-play value: 10/10 Overall score: 9.5 / 10 Quick note: Elektro Vox is an ad free site that costs a lot to run and get content for. If you like our work please consider commissioning an article, making a small donation to keep us running, or sub to our YouTube for band interviews and music streams. You can also list your band or business on our Alternative Directory! Thank you! Check out the alternative directory for E-stores, online Goth goods, and new bands to discover. Get yourself listed with us! Thank you for viewing and please feel free to share on social media and like us on Instagram, YouTube, and Facebook @ElektroVox