Third Realm : "Escape Sequence"

 

This project brings a hard-hitting take on industrial's more EDM side. This does not mean they are compromising the aggression; in fact, the opening track is hitting harder sonically because it is not falling back into 90s nostalgia, but brings the kind of uncompromising attitude that industrial music used to have before too many of the artists got preoccupied with blending into safer mindsets, to not upset the fragile younger fan base merging.  This album goes back to not giving a fuck. They are not always in your face and confrontational, allowing for some ambaince and mood to a song like "Drain Me". This might appeal to the more dramatic old school dark wave fans, as it blends with future pop sensibilities. 

"Twist the Knife" takes futuristic synths and bleeds the desperation and melancholy from them to accompany the very emotional vocal preformance. The yare not so preoccupied with capturing the synth sound from a certain era that they forget about songwriting, as the vocals have a great deal of purpose in these songs. At times, they flirt with a more Depeche Mode-like feel. There is a slow build to "By My Side" that lures you out onto the dance floor. Some old-school techno melodies haunt the background here. Things get darker for "the Damage Has Been Done," which, much like the opening track, highlights what I feel sonically is the strongest side of the project, though I understand the need to have the more melodic songs to provide a dynamic contrast. 

"Leech Parade" does not employ beats that hold the same level of malice as some of the previous, more industrial-leaning, but the heavily effected vocals pick up the slack in this regard. It's another example of how the attitude of the song provides more of the punch. It might be the album's darkest song yet. There is more overt thump to "Compliance Pulls the Trigger." The vocals shift to a higher pitch, creating a different attitude and more of an early 2000s feel as it crosses over into "goth". "Rockets" shifts the mood almsot to the other end of the spectrum with a more Pet Shop Boys feel. I appreciate the dynamic range it introduces. There is still a lingering melancholy to this whih works for me. The beat keeps it's it from becoming too much of a ballad. The deeper you get into the song, the more you can hear the Depeche Mode influence returning. While I enjoy the two remixes of 'The Damage Has Been Done," I am not including them in this review for the purpose of scoring this album. 

With that said, this album surprised the hell out of me and impressed me, a feat when you consider how much dark music I review over the course of the year. There has not been anyone else who has dropped a club-ready set of bangers like this, so I am going to give it a 9.5 and see how it grows on me, if you are into 'goth" laced edm with a future pop sensibilty to the production then this album is for you and even if you don't think you are into that kind of music then you should still check it out as it has gone above and beyond, and are just good songs genres be dmaned. 

pst201

Gothtober : Ultra Sunn :"Keep Your Eyes Peeled"

This Belgian dark wave duo earned an 8.5, for their 2022 album, proving they are no slouches, so let's see how they do with this album that is three EPs, combined. At fifteen tracks it's only a few songs longer than a normal album. They have a good sense of groove, and the vocal melodies work well. By the time it gets to "Young Foxxes' things begin to feel a little like Depeche Mode. We are not at a tribute band level yet, but I can hear where it could slip in that direction. The chanted vocals sections are catchy enough to get you lost in the pulse. However by the time it gets to "Out of the Cage," it loses some of the novelty and feels more like a uniform formula with a few variations, 

Typically what you hear is what you get with this band, there are no arrangements that take unexpected left turns. The synth bass line to "The Speed" keeps the dance floor churning at this tempo, but we are getting into a sound more than crafting songs that will stand the test of time. Lyrically it seems like he is lamenting bad Tinder dates.  "Distress' is catchier thanks to the chanted vocal hook that drones into your ears.  'Silver Smile" is very late 90s in its drive. This could almost be the Pet Shop Boys. Lyrically it's darker which helps the overall tone of the song.  

The grooves begin to run together once we get to "Set Your Self on Fire" is needs more organic elements like guitar mixed in. This sounds like a faster variation of a drum pattern we have already heard.  The vocals take a more aggressive chant. Not only does the groove sound the same, but they could switch up some of the synth tones being used.  The ambient break "Kill Your Idols' and the guitar finally surfaces works in the song's favor. "Sorrows and Tears" lifts from the ambiance to set up the darker sounds that unfold. This along with the more finely tuned vocal performance sets this up as one of the album's best songs. 

"Body Electric' has the same bass line we have already heard, so ideas are being recycled in this formula.  The vocals do not do much to help out either. Things get a little darker for 'Two Snakes" as this would be an effective dance floor pumper for "Goth nite'.  Finally I power through to the last song, not that there has not been some enjoyable moments, things just got too uniform for me.  I will give this album an 8, as they are skilled at what they do and accomplished what they set out to when it comes to the making of this album,. If you just like to dance and do not care much about songs this album is for you.

pst509

Gothtober - Maduro : "Pretty Cages"

 

The opening track does have some dense fuzzed out synths that work on an angular groove while the monotone spoken vocals, try to fall in the gap. The success of the vocals in this firs track relies on how the effects are being used. The dance floor drive instrumental, are accented by samples. The first track like this holds it's momentum, I am not sure that could be said if it was an entire album of that. The vocals have a more Ian Curtis like cadence on. Lyrically bleak this creates a contrast to the upbeat bounce of the grooves. 

Despite the samples of erotic moans, drifting under the synths, there is something too robotic to feel sexual about the song, no matter how hard the beat tries to bang. Seems an odd timing to dance too. The opening synth riff of "When the Fire Stops" recalls Basement Jaxx's  "Where's Your Head At". The vocals are less anthemic than that 2001 banger, and are more of a haunted mumble. "Bound to Nothing" is driven by more of a static pulse, while the robots of future past narrate the proceedings. There are less dynamics to this song. "Nuclear Attack" sounds like it should be the soundtrack for a indie horror movie trying to be retro. "Far Away" sounds like the music was composed and given to some one else to record vocals on it, but that person, who was not a great singer to begin with, did not know quite what to do with it. The result is somewhat awkward.  

While the chorus of "Mystery Guest" works better than the bulk of the songs so far, the verses feel like someone decided to try to sing over  early 80s video game  music.  "Take Pills" is a little more interesting in how the sounds are arranged. The song flows better, though the beat is nothing new. I will give this album a 7.5, there are moments and fans of electronic music looking for an retro minded oddity like this will find plenty to embrace. 

Gothtober- Angelspit :"the Ignorance Cartel "

 This is a project I have always appreciated when I heard them , but have only listened to a few albums all the way through. Though when I listen to this album it strikes me that I might have preferred the albums with Amelia Tan. The way the rapped vocals sit here remind me of Pop Will Eat Itself. I mean what they are doing here is fun and I can appreciate it more when I stop waiting for the femal vocals to kick in. I like where they are going with "Happy Little Coma". It might be less aggressive but has more groove to it. The album was recorded at the onset of 2020 going to shit so that is certainly reflected in the tone of the songs. Though three songs in it is not that political. "Little Bastards" pounds your ear drums , but not much in the way of hooks to it. 

I find myself wanting more vocal delivery like "Happy Little Coman" and less of this forceful talk through of the songs that is going down on "Love to Watch" . The lyrics are just not grabbing me enough to make this work for me and begins to make the song have too uniform a tone for me. Though "Love to Watch' does lock into a more melodic groove that saves the song for me. Their more aggressive approach works on "Someone Else" and the instrumental 'Spade" offers a dynamic shift that keeps the album from relying on a formula. I like the lyrics to "Hot Machine" they remind me of Mindless Self Indulgence. "Comply or Die" is a waste of a great song title as it is ore of an instrumental interlude. 

I prefer the more melodic direction the vocals take on "Easy". The make the most of the groove driving  "Stick to the Plan" .Even this song does not cross over into industrial , yet the are more aggressive than dark wave, electro punk could be a term used to describe them but I think aggro  wave is more accurate. The last couple songs get darker and more melodic, which works for me. This album was not what I came into it expecting but is pretty solid none the less. I will give it an 8.5 

Report to the Dance Floor - The Faint's "Egowerk'

The bar is high for these guys  since they have made some of my favorite albums. ,the first thing that strikes me is how this sounds less like a rock band playing electronic instruments and more like an EDM records. A more aggressive beat drops midway into the song. It almost sounds more like something my girl friend would listen to rather than the band who made "Danse Macabre" and "Wet From Birth".  Once called electro punk, now the punk is out of the equation. The vocals are not a central part of the song either. When it comes to electronic music I like it better than most of the MGMTS out there , but I was beginning to think this drastic change was phasing out song structure altogether . This is cleared up on "Chameleon Nights". The vocals conform to the fact that these guys are making songs. There is a futuristic plastic to their sound that is more pronounced here.

The more biting social commentary that I have always liked about their lyrics surfaces on "Life's A Joke". "Alien Angel" is much more in line with what you expect when you think of this band. The beat is more of a robotic funk on the title track. It works and makes the song  coldly angular. The subtle chorus is a nice touch. "Own My Eyes" is one of the album's best songs as it is a little darker and more sardonic lyrically.  "Source of the Sun " is coolly detached, but all the moving pieces create a groove well. I like the effects on his vocals on "Another World" . "Quench the Flame" moves into a more upbeat direction. The vocals still keep things centered. The layered synths here don't have the same sense of ugency as when the album is firing on all cylinders. A case of where it is by no means a bad song it just doesn't have then same sense of urgency.

The title "Young & Realistic" makes me think the irony is coming on thick. It is more of a disco pulse moving the song. It's a well made mockery of that sound.  Though while smooth and efficient it doesn't have the bite they used to. Everything after "Wet From Birth" has owed a great deal more to Gary Numan. "Automaton" highlights like facts, in the synths even more than the vocals . I'll round this one up to a 9. Despite the stylistic shift into a more electronic direction , they key ingredients still make these guys more than worthwhile.

Gothtober - KnK : "Dead Body Music 3"

I was unsure about this until it kicked in. This project from Belgium effectively combines the groove of EDM with the anger of industrial. The vocals are distorted, but not timid. They go into more of a roar. The synths are rough around the edges and coldly clashing against one another. "Screwdrive" is not as focused as the opening track. "No Forever" is slower in it's throb. The vocals are more spoken and not as interesting. I think they always need effects as it makes them as inorganic as the rest of the music. Having recently reviewed the new Author & Punisher, I can hear on a song like "Mother" how these guys are trying to be oppressive and in the same zip code. Not that they are in any way drawing influence from Tristan Shore, but there is a similar abrasive quality to their brand of industrial.

More minimal than the bulk of industrial music, they do make use of what sounds to be more analog synths. The spoken vocals at this point even with the effects are beginning to bore me. In fact the only reason I have hung on this long is because they are so fucking dark. They capture some cool sounds, but I am not sure I would say it always translates into compelling songs. "Choke" has a more angular pulse to it and is more up tempo than the bulk of what we have heard here so far. It's also not as dark. Once again the vocals are a let down, not that I am really expecting much from them at this point. There is a little more atmosphere going into "Creeps in the Land of Creeps" to the point that going into the song it almost sounds more like kraut rock. It does build into more of a groove, but the narrative remains the same.

There is more tension to the groove of "Collapse". This can only play into their favor for song long as the vocals do not change. The samples in "Falldown" help change the narrative. I think the more jagged percussive patterns help change things. The vocals sit back further in the mix, so they are less of a distraction. What plays against this song is it is not as dark and there is not as strong of a groove.I'll round this one down to a 7, while I like the mood it creates, I find the vocals to be the biggest draw back as it works for the first few songs then bores me.

Nine Inch Nails : " Bad Witch"

The final installment of Reznor's trilogy of eps dropped. This was an exploration for him as to where he fit in the world today. Going into this I had perhaps read too many interviews. The stage was set too well. The production on the first song is a little weird. It feels muffled by the distortion almost like it is trying to hard. There is guitar but it doesn't sound heavy. The muffled distant mix continues with the hip hop inflected break beat of "Ahead of Ourselves". While I like the vocals to this song better than the first song, I'm not really getting blown away here. The chant the song ends in is not that hooky, leaving this song just shy of standing up against even his most recent efforts.

The ambient abrasion employed on "Play the Goddamn Part" makes this like the audio equivalent of Twin Peaks, so it's not surprising Lynch featured Reznor on an episode. There is more ambiance than there is song leaving this as a more abstract interlude than something needing your attention.  With the sax and frenetic break beats I can hear how this is an almost blatant homage to Bowie, with Reznor trying to do his best croon. To his credit these songs are fairly compact. "I'm Not From This World" is another atmosphere noise-scape. I listened to it once and deleted it which is about what it's worth.

"Over and Out" closes the album. It's a slower groove that pauses to let the bass line simmer in the middle. We are three and a half minutes into it before the vocals come in. There is another Bowie like vocal that comes in to make this song more enjoyable at least for me in that regard, but I would not say it's Reznor's best work. Then there is two mins of ambient noise that closes this song. So despite the fact he wants you to think of this as an lp there is a ton of  dead air wasting time here. If I wanted to listen to Brain Eno , I know where to find him. I'll round this down to an 8.5 and see how long these songs last in my iPod, I think this is Reznor being a better producer than song writer, but even when he is just dialing it in , he is still better than most.

Strvngers : "Amor / Noir"

+ This gem was dropped in my in-box and was a lucky surprise.Song's like "Fetisha" have nu-metal edge to their swelling dynamics , but the blood in the song's veins is more of a desperation conveyed in the smart and biting lyrics. The production on this album gives it a big arena filling sound. Sometimes the sound takes on more of a euro dance feel falling closer to Lords of Acid then at other times there is more of a cocky Mindless Self Indulgence vibe in the attitude that oozes from some of the songs. Where it excels at every turn is by their mastery of creating hooks that bring you back for multiple listens. 

The dynamic range of this albums goes from future pop with the vocals taking on more of a croon as the glide over bouncy anthems like "This Isn't a Phase" to more grandiose and cinematic swathes if apocalyptic majesty. "Hexxxed" has a slower bump and grind to it that reminds me a little of Marilyn Manson's "Apple of Sodom". The smoother pop groove of "Pink Coffin" is some what upbeat ,despite the lyrics, though the hook of "I don't give a fuck about anyone but myself" gives the song more attitude, as the edges of the song drip with the steamy porn sound bytes. A darker more industrial strength shadow falls over the stomp that rocks "Lethargy". This album doesn't just rely on cool beats, but has fantastic vocal lines that keep it compelling. In the album's third act , more guitar does begin to surface as it takes you down a much darker rabbit hole. I really love the more Depeche Mode like croon on the verses of "Porcelain". The chorus has a more explosive rock feel, but I think they achieve a perfect balance dynamically.

 Even as the album ends with more of a neon power ballad  you are caught up in the bleak longing this album invokes at varying speeds. This proved to be an infectious album that I found myself returning to many times over so it easily gets a 10 and it went straight to my iPod ,which is as big of a compliment as I can give any band. The real estate of gbs in my iPod is pretty competitive considering the amount of music I consume on any given day.
 

the Soft Moon : "Criminal"

The 4th album from Luis Vasquez finds him taking this project into  a some what streamlined sound. It is not as dark and dense. The vocals continue to be just as brooding as they were on the previous album "Deeper". The first song sounds a little more organic like some of the sounds are looped guitar parts and an actual bass with strings might have been used. It sounds like early Nine Inch Nails though with less of a metallic aggression. Then it's decidedly less organic on the second song"Choke". The vocals float under more effects against the groove. The vocals come across as more chanted than sung. The sounds all work together , but it rides the beat rather than coming together as a song. While I can accept this early on in the album as it progresses I am not going to be content with grooves alone.

The vocals float into a higher falsetto on "Give Something" . The instrumentation under them is murky and distant. Like the first two songs it rides the pulse. There is a more driving dark wave like beat to "Like a Father". The vocals are more spoken behind a distorted filter. The song has a fuzzy coat of feed back around it. The chant of "Somethings got to give" keeps returning. "The Pain" sounds like more minimalist Stabbing Westward, until the more post-punk bass line falls into place. It is when Luis finds the balance of indie rock cool to make this seem vital, with the depth of 90s industrial that this really works best . Some of this rides heavily on the mix and how high certain synth lines are in this balance. He also needs to put a little more behind the vocals than the chants he uses on "It Kills".

"Ill" is a droning instrumental that is more of an interlude. The more throbbing dark wave direction of "Young" makes it one of the albums best songs. The momentum of this creative spark carries onto into "Born Into This" and it begins to make the first half of the album seem like filler. The album closes with the title track and it takes half of the song for it to really get wound into it. This album sounds great and expands on the over all scope, though song wise I do not think it's as good as "Deeper", so I am giving it a 8.5. Out on Sacred Bones.

Fever Ray : "Plunge"

It opens in a manner not unlike her other work. She is sticking to what she does as a singer. Which is along the lines of Cyndi Lauper being remixed as she is in the process of singing. The electronic backing tracks do not seem to have as much depth as her previous work. "Musn't Hurry" is not bad , but it sounds like she is running in place rather than moving forward as an artist. Their is an oriental feel to the intervals of the synths bubbling around "A Part of Us" . There is some more experimental ambiance around the corners of "Falling" . The song just throbs off of the one groove without going anywhere. "IDK About You" is more upbeat . Her vocals take on more of a sing song cadence. The backing track just seems like it's there and not really giving her much support even when it builds up.

On "This Country" the synths continue with their journey into the Orient. The vocals have a more desperate sexuality to them. There is not really a chorus to speak of so nothing really hooks you in . I do like the lyrics to this song the most of what I have heard six songs in despite their extreme leftist slant. Her primary sentiment is this country makes it hard to fuck. Oddly the title track  is an unneeded instrumental that sounds like video game music for kids. "To the Moon and Back" is the odd single I first heard from this album that left me under whelmed. The vocal shows more of her Bjork influence. Listening to the song in the context of the album it sits a little better with me, but is far from being her most compelling work.

She goes back to a more familiar sound on "Red Trails". With lines like "waiting on your love to happen/ is like waiting for a drug that never kicks in" this might be the album's strongest song. It also has strings on it so the first song with some kind of organic instrumentation. "An Itch" also falls more along the lines of what we expect here. The vocal draws you into the otherwise sparse instrumentation.This album took time for it to grow on me. Eventually it connected with me like her previous work, but it took some warming up to. I'll give it a 9.

Suicide Commando : " Forest of the Impaled"

Dark and theatrical are the first thoughts that come to mind from the onset of this electronic acts new album. Nero Bellum from Pysclon Nine provides vocals for the opening track. There is a bouncier dark wave feel to "My new Christ" . This song is less industrial and more edm. The vocals are lower than what Nero does, more spoken through a thick filter of effects than screamed. There is more groove to "Too Far Gone". But the tones are not as dark so it begins to remind me of something from an anime soundtrack. The vocals get more of a hateful edge on "Dies Lies waiting" . The synth melodies are a little more interesting here, it has , more of a Skinny Puppy feel. I think the darker and meaner these guys can get the better.

The tempo accelerates for " the Pain that you like", I can see myself using this song for BDSM sessions, so it has me rethinking if this album could possibly make it over to my iPod. Lyrically it's a lot of chanting , but the song is almost industrial in it's level of aggression. There is more of a stomp to " Poison Tree". But there is something upbeat and slightly more light hearted to it that doesn't really resonate with me.Though with that said it is still not too much out of left field from the rest of the album. It would be sad if a song called "the Devil" did not have a cool evil groove. It's along the lines of the newer edm Skinny Puppy and not the darker industrial Skinny Puppy. There is less balls to "Chasm of Emptiness" .  "Crack Up" has a more robotic feel to it , which is a decent substitute for their more aggressive side as I understand the album needs a sense of dynamics.

The last two songs are alright , but don't strike me as going above and beyond the call of duty in terms of songwriting. When these guys are paying attention to the details and bringing an extra dose of darkness and aggression to the mix then they rise above the run of mill fare for this sort of thing. They even show that they are capable of writing great songs. So when things falls into the more middle of the road electronica then this could be anyone. I'll give this album an 8, it's strongest moments are really worth the time of industrial fans or fans of aggressive electronic music.

From their latest album release ”Forest of the Impaled”. Released: July 21st, 2017. from vanGuardia on Vimeo.

3Teeth : " Shutdown.exe"

You might have caught these guys when they were opening for Tool. There first album had a little more organic industrial feel to it. This go around the production is slicker in a weird way. It starts off plenty dark and heavy enough with the dramatic "Divine Weapon". There is more melody and even some heavily effected singing to "Pit of Fire". This finds them still getting the job done as it's certainly dark enough and has the kind of creepy vibe that I want from industrial when it goes this route. The changes become more evident when they take a turn into the purgatory between nu-metal and industrial, that Marilyn Manson and Rob Zombie have known to occupy. The chorus is very Zombie due to the shift of the vocals. On second listen this doesn't irk me as much as it did when I first heard this, but it almost has you waiting for the chant of "Living Dead Girl". This kind of nu-metal vibe does strike me stronger "Oblivion Coil" which reminds me of a harder version of Cruxshadows.

The title track has more of a dark wave groove to it. This one is very 90s feeling, but considering that was the high water mark for the genre I don't think that should surprise anyone. There are some shadows of Marilyn Manson cast over the vocals in places."Degrade" is a more fulfilling blend of brooding and groove. The militant chant of the vocals is what I want from this harder brand of industrial. It does strike me that they are playing it much safer in terms of what the cyber goths these days are wanting. This is what sets it apart from classic industrial acts that made the music they wanted to make and the audience conformed to it rather than letting them become power bottoms in this regard. The Marilyn Manson comparison's can resume on "Tower of Disease" which made me want to go listen to "Portrait of an American Family" again. The robotic groove makes up for this . It's the screamed vocals that really bring Manson to mind.

One of this album's strengths is the use of samples. They are well placed and the subject matter is well thought out. "Voices" is one of the albums stronger songs. There is a great balance of dismal mood and melody working together. When it does get heavy the dynamic is well earned rather than being an easy way out. The guitars are way in your face and massive on "Slavegod" and while they are powerful and sound great it makes me wonder where have the guitars been for the rest of this album. The vocals are handled in a more KMFDM manner. They come back with the very well balanced blend of sounds that makes up "Insubstantia". It's all tied together with some pretty decent songwriting that proves these guys can get the job done as needed. The cohesion this song has is what "B.O.A" lacks and keeps it from working as well.  The slower and darker has the right amount of heft in it's pound to make it's kind of creepy work well as a closing for this album.

There is a sad lack of this brand of industrial these days and this band does a pretty decent job of helping fill that hole. I am going round this album up to a 9 and see how this sits with me over time. If you miss 90s industrial rock then these guys should without question be on your radar especially if the last Marilyn Manson album did not have enough balls for you.

Hexheart : "Midnight On A Moonless Night"

Jasyn Banger of God Module is releasing the debut album from his newest project Hexheart, that backs away from the more electronic propelled edm industrial of God Module. This project is more dark wave. The guitar sits low in the mix and I had to listen for it pretty closely as it is almost mixed behind the synths. There is more of an edm/ dance current running through the back bone of "Nothing" almost making this seem like more of a re-branding of God Module. His low raspy voice is not as heavilly altered with distorted filters as it is with the other project. He says in more of a static spoken narrative than singing. While 'Stars In Your Eyes" is a turn in a darker direction, I think "Falling" a better song. The purpose of the vocals is much clearer and hooks me in.

He comes closer to singing on "Second Sight" which is a very well put together song. Banger's range is very limited and he manages to make the most out of where he puts what he does manage to get out in his sing song whisper. There is more of an epic new wave hook to the synth lines adorning " Problems and bigger ones" . There is an almost aggro tech aggression to the synths on "Lunatix' and he slips back into his more comfortable industrial boots. "Hollywood" is darker, but doesn't do as much for me as it sounds like it is not a fully realized as the other songs. Though when I pay more attention to the lyrics and the reverb heavy guitars it grows on me a little,

A similar problem plagues" Never  Understand". It has more atmosphere , but all the moving parts don't feel like they are really screwed into one another soundly. When this is the case the flaws in his voice are exposed. There is a bigger industrial feel to the last song. Its a big finish so you can't fault him for that. I will round this album up to an 8, which means I am considering loading it onto the iPod. If you like God Moduile, then this album is different, but still a must. If you like darkwave with a heavier electronic edge then this is also on your to do list. It comes out June 9th on Metropolis.

Depeche Mode : "Spirit"

I have only kept a half ear open to their work outside of "Ultra", there have been moments I have liked and could stand to delve back into that era. Lyrically they are going way to the left. Things are not far removed in Britain from where they are in the states so I can see where they are coming from and it's not like with songs like "People are People" they haven't touched on this before. It think it makes the song fall a little flat though. We have some real guitar on play, while it's not as dark as "Ultra" there is a steamy pulse to "Going Backwards". There is more of a electronic quality to "Where's the Revolution" This song is working pretty well for me until they start chanting the train is coming. So it looks like my issues with this album are going to lie more in the lyrics than the quality of the music, which sounds like Depeche Mode. Dave's voice is fine , he is not really trying to throw his pipes around that much yet.


 I like Depeche Mode's ballads, but "the Worst Crime" felt dialed in. I do think the groove of both "Scum" and perhaps even more so with "You Move" takes them in a better direction. It does feel like they are a little all or nothing when it comes to guitar these days and that added texture is what keeps this from sounding like a re-mix rather than real Depeche Mode songs. They drop down a notch on "Cover Me". The guitar on this sounds like it's lifted from a Lana Del Ray song. It doesn't really take form until the beat comes in. His voice sounds great with his almost androgynous croon on "Eternal". But I am going to need these guys to do more than just croon over some synth chords.

We are back to a more Lana Del Ray like lounge on "Poison Heart". They are actually playing their instruments here and the song takes on a more rock like slink. There is an interesting mix of sound on "So Much Love". The guitar comes in right where it is needed. There is a more "Speak N Spell" like beat to "Poor Man" with gospel undertones returning with the vocals. The manage to get some unique guitar tones to layer over this.The get their groove back in a manner more fitting of their legacy on "No More".  They end things on a darker more somber note with "Fail". It sounds like Dave's tribute to latter day David Bowie. I'll give this album a 9. The lyrics are the only real problem and even then there are maybe three songs where they throw the worst turd in the punch bowl.

Street Sects :" End Position"

Punk meets industrial is not as odd a pairing as kids might think today. If the guitar was dialed back on the Lard albums there might have been as similar sound as this gang of wacky kids conjures on this album in 2016.There is a more spastic side of "Copper in the the Slots". This almost comes across as more of an interlude and less of a song if you weight it against a song like "In Defense of Resentment" . It has more glitch ridden twists and turns than your average militant industrial song, and certainly owes more to Skinny Puppy than other industrial acts though pre-metal Ministry's influence can be felt as well.

 "Feather Weight Hate" proves that real singing can take place and it doesn't all have to be manic screams. There is ranting, abrasion and drone all wrapped into "Our Lesions". The vocals are more crazed, to the point of questioning if any of this makes any sense. There is almost a power-violence thing going on with "Victims of Nostalgia". It really rides the border between being music and just noise. "Black Din" sets an almost death rock mood against the crazed electronics. So far it might be my favorite song on the album. "Feigning Familiarity" is easier to turn into a blur of background noise on the first listen, on the second time around I can find the melody. By the last two songs I'm guessing I'll have to resign myself to the fact that this album is losing some of it's steam apart."Collared, Kept" is more of flailing chaos with plenty of aggro. The vocals just don't give me anything in the blur of glitch driven samples to really latch onto.This begins to remind me of old Butthole Surfers. There is a little more cohesive of a vocal on the last song.The odd break into an ambient drone kinds looses the momentum.


 Overall I like what these guys are trying to do. I am on board with any band trying to bring back the golden age of industrial, these guys don't do it with the same grace as Youth Code, but are doing their own thing in some respects though it is easy to hear where the influences are coming from. I'll round this up to an 8, at times some of the craziness sacrifices the more redeeming melodic elements. If you are hungry for new industrial then this is worth checking out.

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Combichrist : "This is Where Death Begins"

This is not the first time we have reviewed Combichrist here. They are back  with "This is Where Death Begins". It seems like the line-up has been shuffled around  this time with some new face backing Andy. The guitars that open this one are way more traditional metal leaving the synths on the edges of the song to really stand as the only industrial element. LaPlegua's vocals working much better when yelled than when he attempts more melodic moments that are more spoken than sung. There are some catchy riffs on the opener, but the rule around here is cool riffs alone don't make a good song. "My Life My Rules" finds the vocals improving, but it could be one of the 69 Eyes more cock punk moments without the faux goth vocals. The guitar solo further punches this point home. "Glitchteeth" is the first EDM like song. The vocals work better when layered in gang style over dubs, on the verses Andy's raspy rap is far from Trent Reznor. There is a little more soul in this one, but something about it doesn't click track for me.

We begin to dig into actual industrial on "Exit Eternity". The really biggest chorus works well and this is the first song that works for me on every level. The more questionable vocal approach returns on "Skullcrusher". If you are a fan of the band's more experimental glitch filled work then this will come across like a Marilyn Manson tribute to you. It does carry the same big glam arena strut that  post- Anti Christ Superstar Manson often offered. The first glimpse into that side of the band is not seen until midway into the album on "Tired of Hating You". Even here is almost of Stabbing Westward thing going on. They songs takes it's time going anywhere. Then when it does it's almost more of a punk explosion. They get a little darker with the bass leading into "Time Again".  I think if the band was honest with themselves it's a song like this that plays more to who they are than the more rock n roll moments. The vocals aren't screamed but emoted with conviction and everything creep along with room to breathe. The groove has a throbbing pulse that makes this one of the album's strongest songs. It's hard to tell if the drums here are programmed or Joe Letz, which speaks to Letz's ability to blend in with the electronic side of the band. Letz has played with every one from Mortiis to the Genitorturers so he knows his shit.

A sample of Ted Cruz kicks off "Destroy Everything". Here their heavier side is more fittingly embraced. The song's title is chanted like a nu-metal song, but it works here. The narrative is more challenged on "Don't Care How You Feel About", but the more traditional industrial groove helps. "Blackened Heart" has more of a Rammstein thing going on, but with out some of their militant stiffness and more of a metal groove. It's another one of the album's darker moments so that works for me. It's fairly simplistic in it's arrangement, but keep it simple stupid can be the most effective motto for this genre. "Slakt" is more bombastic. The drum sound is really big. It locks into more of a thrash attack. It feels more German than Norse, but the band is mostly comprised of Americans so that is not surprising here. There is a nice melodic synth break in the middle. The first part of "Black Tar Dove" is more of a noisy intro paves the brimstone path for the more apocalyptic march. The more spoken narrative lays atop the machine stomping. It is one of the album's harsher moments.If you miss the glitchy noise then here is the moment you have been waiting for. The album ends with "Homeward".It is the first moment on this album that I would call gothic-industrial. So it is one of the album's darkest songs.I'll give this album a 7.5. It has strong moments that I think other songs could have been built around. The more rock n roll moments detract what could otherwise be a strong dark album of industrial music. So in other words they can't really touch Youth Code, but aren't faking the funk.

10.1

Youth Code : "Commitment to Complications"

Normally when I review an album I sit down at my laptop with ear buds and start typing as I listen to it for the first time. I could not wait to hear this album so listened to it before I got home so it won't be a track by track journey into it as most of my reviews are, but you are more than likely tired of reading them in that format anyway so lets jump into it. Production wise things have stepped up another level along with the song writing. After a melodic and perhaps dramatic synth intro the kick into the first proper song which kicks more like a rock song energetically than your typical industrial. Unlike your typical industrial there is not an obligatory layer of 90s thrash metal guitar over it. The synths are capable of summoning their own heft. This is in no way saying that there is not metal influence in place or this album isn't heavy. Ben from Goatwhore lends his snarl to the title track. It's interesting as he is not doing anything different from his normal delivery, but it's over a bunch of hammering synths.

Things get more dynamic on "the Dust of Fallen Rome" which was the first single off this that you might have caught on a few websites that ran it. There is a harmonizer effect on Sara Taylor's vocals that create the illusion of actual singing. Realistically she is sticking to the same staccato yell that is sometimes for robotic than other times. Through out this album, I was listening to she if and when she would vary what she does and tried to discern just how versatile a vocalist she is or isn't. Her approach is not as varied as Ogre's . She goes into a little lower sneer on "Anagnorisis", riding the the dark nasty groove. Some times her chants are layered to add a layer of intensity. Their drum programming has really improved and is as hammering as any metal album you might want. "Doghead" is the first song that I can really hear thumping in the current climate of goth night. It's the most straight forward, but sonically well layered toward the end.

The album's third act finds it really getting darker. The sample that leads into "Glass Spitter" collides with a pretty menacing throb. Things ebb down a little for "Lacerate Wildly", ...catch the little wink they give the Smiths there. She is talking more than yelling, in fact she drops down into a almost whispered hiss. The slithering groove have a little bit of Reznor to them, but that's fine with me since they sound good. They pick back up to a more militant dance floor terrorism soon enough. There is a pretty rabid pulse to to "Avengement" , but this sonic real estate I heard back in the late 90s. These kids are great at paying homage to it without being intentionally lo-fi in order to recreate some one else's sound. Things get both darker and more intense of "Shift of Dismay" which is the first song to have the chug of guitar. She screams at you that it's like a car crash and you can only assume she means these beats that are flogging you.

The end on what might be the most personal and emotional note. While the lyrics are not obscured by effect or screaming they don't always slap you in the face. While he vocal approach to "Lost at Sea" starts off more like spoken word and the song is more narcotic in it's pacing, things do build into a more emotional intensity on the " I'm moving backwards for you" part . I'll easily round this one up to a 10, I have already gotten a good deal of play out of it before I sat down to write any of this. These kids are the real deal and not just hipsters playing dress up.

Up From the Underground - Vivi Vex

Here I am prying my mind open with a crow bar and asking  is this future of goth? It's no mystery it has known many incarnations even in the genre's golden years during the 80s. Goth describes a feeling and not a sound. Industrial music the more abrasive punk blooded cousin of goth has acquired a rather incestuous relationship with goth along with metal and in some cases all three have bee mixed up like a flavor of Ben & Jerry's that only comes out in October. Goth is in a pretty good place now, the post-punk rival, darker shades of edm and the rising popularity of acts like Chelsea Wolfe and Youth Code keeps the casket from closing. As the sands in the hour glass turn with the days of our lives the generation of goth I grew up with  makes less frequent trips to the club to ensure that "Headhunter" is still being played. Spotify be damned, there is a whole generation with no clue who the hell Front 242 is and Combichrist holds that place in their hearts. These club kids are now growing up and into prominence in the scene. Vivi Vex is a product of this. So giving this project a shot is me allowing goth to continue on even if it looks and sounds different than what I grew up on.

 When I first gave a listen to to the new single by Vivi Vex, the resistance to change began because it really sounds a lot like a soundtrack to a post- apocalyptic video game.   Vivian Vex aka Vivi Vex is the leader of has a crust industrial group called the "Rust Punk Tribe". With a collaborative album coming the first single was released last week entitled ""Outlet" like the rest of the album to come it features some guest musicians here most notably Sin Quirin from the most recent era of Ministry plays guitar on the song "Outlet". Quirin has had his hands in a little bit of every from playing with American Head Charge and a new project called Supermaniac, he later dipped his toes in EDM by releasing some aggro tech tracks and this music has much more in common with that. Micheal Lubert of Distortion of Events adds to the sound manipulation. Quirin's tone is very distinct but is dialed pretty far back in the mix.I think there is potential here but it falls in a weird purgatory between being edm and industrial, without vocals there is not much to really pull me in on merit of the beats alone. I'll say I might take this "rust punk" thing over the turquoise Tumblr versions of goth from girls who have no clue who Skinny Puppy or the Cocteau Twins are and actually just like the look and listen to Kayne West.

Mortiis : " The Great Deceiver "

Things have changed a lot for Havard since he played bass for Emperor. This has more in common with Ihsahn's last solo album than Emperor. It's no mystery that he stepped away from black metal to create dark ambient music, but not he is making the kind of commercial industrial music that came out in the wake of Nine Inch Nails' huge success in the 90s.It would not be fair to Trent Reznor or Uncle Al to say the opener sounds like them as it sounds more like the bands that wanted to sounds like them. So this means we are talking 3rd string industrial. Mortiis has made interesting music so I am not ready to write him off. "The Ugly Truth" is the song sounds like "Mr. Self Destruct". There is a bit of an improvement on " Doppelganger" to some of the low budget Crow sequels. In other words it's pop for cyber-dread wearing kids that missed this on the first time around. I could see him doing very well at Dragon -Con, gods know this slays Cruxshadows.

On "Hard to Believe" he sounds like "Brutal Planet" era Alice Cooper.  This is actually the first song that offers up dynamics that I find compelling. The album begins to improve as there is some slight experimentation with "Road to Ruin".  Even when he proclaims nothing is going to stop him on his road to ruin and nothing is going to stop him on his way to hell, it's better than some of the lyrics we got earlier on. The beat takes on a more trip hop feel on "Bleed Like You". It sounds like if would be really heavy if this was an A Perfect Circle song getting a re-mix. Here is he wants to hurt his self so he can bleed like you. This will be a cutters anthem.

Things pick up into a more EBM pace for "Scalding the Burnt". This is not the album's most sound compositional effort as some of the transitions seem a little awkward to me. There is more of a White Zombie groove to "The Shining Lamp of God". The vocals are less aggressive than Rob and production wise this album sounds like it was recorded totally using a computer as sonically it's not as dense as if you were to compare it too an album by Ministry. I had to play "Sins of Mine" three times before I finally managed to pay attention it. So needless to say it's not a songs that grabs you. I can appreciate the shift in dynamics to something more melodic. Mortiis doesn't have the best singing voice, in the conventional sense I suppose it has gotten better over the years, but it doesn't carry this song like it needs to. "Feed the Greed" percolates in it's electronic bubbling before kicking in. It has more of a KMFDM vibe to my ears. They really need to find out what Tim Skold is up to.

The album could not have ended with a more fitting title than " Too Little too Late". It's pretty run of the mill industrial rock. On paper it would seem that I am the target audience for this sort of thing. A former member of Emperor who is not making goth tinged industrial. Sure in the case of Tombs it's done in a manner that takes the diary out of the cheese. Here you are getting all the lactose for better or for worse.I'll give it a 6.5.

Report to the Dance Floor :Health's " Death Magic"

I question some of the reviews where I have seen this project referred to has an industrial, they are edm with certainly a dark and dirty slant to it and a kick , but Industrial ? Well it took many listens to convince me of this. This is their sixth album and it's been five years in the making, so no wonder  they  have become masters at layering some clever vocal melodies over yearning grooves to create some hooks that sink into your brain and pull you along for the ride. They flirt with industrial and might even be influenced by as evident on what follows the tribal pound of  drums that open " Men Today" and their is some noise to it , while the sounds assembled are cool , for an album with such emphasis place on sex and drugs it feels like foreplay with no climax. There's an old 80s dance feel to "Flesh World" the androgynous are very fey in the same manner of Sliversun Pick ups or Savage Garden. There are some glitch ridden sounds thrown into the sonic jumble. I have always wondered if the remixes are going to sound better than the originals , then why not just make the original songs sound like that in  the first place? Well the solve that by making "Flesh World" sound like it has already been re-mixed.

There is an "Army of Me " pulse to "Courtship" , then the album begins backing off  from their industrial into more Pet Shop Boys territory on " Dark Enough". That has a slight dancehall skip to the beat. The melody turns around on the song in a way that reminds me of "Policy of Truth". Things get even poppier with "Life". The opening cadence to "Salvia" might fool some into thinking this is industrial, and it is rather close to some one like Soft Moon. But it's really just an interlude. "New Coke" is a surreal form of ghostly pop that echoes behind the beat. Out of the darkness that has generally been the rule of thumb for this albums comes the sparkle of "L.A. Looks". This could be played on the dance floor of any hispter dive.

There is a little bit of a witch house thing going on in the production, some of it has the old school Zola Jesus lo-fi quality to it and this is brought out on "Hurt Yourself". The album ends with the very fitting " Drugs are Real" whose lyrics makes me think of a few old friend and takes me to a place of morbid reflection on my drug days. I like where the vocals sit in the mix on this one.I'll give it a 9.5 and see how it grows on me , it is good enough for me to want to dig into their previous albums.