Beauty
Queen Autopsy – 'Lotharia'
The uniting of Unwoman's Erica
Mulkey and Caustic's Matt Fanale promised to be something special
from the very beginning. Combining simple mechanical post-punk beats,
minimalistic synthpop electronics, and prominently placing Mulkey's
seductive post-grunge vocals high in the mix Beauty Queen Autopsy
present a deceptively straight-forward but undeniably infectious
formula that is both intimate and dance-friendly. The album has a
wonderfully gritty 90s sound to it in so much as it evokes, the best
elements of the Nothing Records, Wax Trax! and Warp Records
catalogues of the era but maintains a modern dark sound that is both
dark and strangely pop-friendly. 'Lotharia' is quite simply a
wonderfully strong full-length début from the duo. This a subtle,
but varied album that leaves you hungry for more. If this offering is
anything to go by, Beauty Queen Autopsy are going to be a name to
watch over the next few years as they can only grow from here.
iVardensphere – 'Fable'
iVardensphere are one
of those acts that seem to just get better with every release. Their
last full-length studio outing, 2013's 'The Methuselah Tree', was a
high-watermark for their tribal infused rhythmic industrial formula.
The band proved they could be experimental, cinematic and club
friendly all in the same breath and set the bar high for this year's
follow-up 'Fable'. It is immediately obvious though from the stunning
opening of 'Million Year Echo' that the band are continuing to push
themselves. The band's global rhythms are reflected in a cinematic
style of production that even with such heavily layered tracks they
sound beautiful and expansive. The lessons the band learned in
creating 'The Methuselah Tree' have been built upon. They've not
rested on their laurels and have written an absolute stunner of an
album that in its diversity still remains cohesive and focussed. If
their previous album was a game changer for the band, then 'Fable'
should cement their spot as one of the most interesting and unique
bands at the top of the industrial pile.
Chelsea Wolfe –
'Abyss'
Chelsea Wolfe's blend of shoegaze, goth, doom and
neofolk infused art rock has quite rightly seen her quickly amass a
strong following. Thanks to albums like 'Apokalypsis' and 'Pain Is
Beauty' she has a rich palette of esoteric songs that are utterly
bewitching, but with her fifth full-length album, 'Abyss' she looks
to go a step further. Wolfe has always incorporated elements of black
and doom metal on her albums, but 'Abyss' goes much further than
previous albums dared. The end result is a bleak and nightmarish
journey permeated by blissful melodies and crushing atmospheres. The
end result is her darkest and most honest album to date, one that
pushes the boundaries of her songwriting further than ever before and
reaps the rewards because of it. Chelsea Wolfe may have been a rising
star in alternative rock, but 'Abyss' is an album that will
definitely establish her as a creative force for years to come.
Paradise Lost - 'The Plague Within'
'The Plague
Within' is one of Paradise Lost's heaviest offerings to date harking
back to the ground-breaking second album 'Gothic'. Nick Holmes' death
vocals are front and centre backed-up by a bludgeoning doom metal
barrage tinged with gothic symphonic elements. It's the kind of album
that long-time fans will be yearning for. The production is cold and
bleak, recalling the likes of Ulver and Swallow The Sun. It's the
band at their melancholic best brought out by the capable hands of
producer Jaime Gomez Arellano. A partnership that will hopefully
continue onto future releases. 'The Plague Within' is a magnum opus
for the band. Uniting 25 years of melancholic evolution while pushing
their sound forward once more, they exemplify their own past and
future. The album is heavy, dark and full of doom metal influences
executed with the skill and attention to detail that you would expect
from a veteran band of their status. The album is a proud declaration
that signs acknowledges their roots but gazes towards the horizon.
Swallow The Sun – 'Songs From The North I, II &
III'
Since the release of their riff-laden début 'The
Morning Never Came' Finland's Swallow The Sun have been a shining
beacon in the ever gloomy world of doom metal. Blending death doom
with funeral and ambient elements and liberally sprinkling with
memorable riffs they have quickly built an enviable discography. The
band's newest album is an almighty slab of everything to love about
their style. Split into three albums 'Songs From The North' takes the
listener through their accessible death doom on the first album.
Brings us through a head mix of acoustic folk and doom on the second
album. And finally unleashes monolithic slabs of pure funeral despair
on the final album. The band have taken their time, indulged their
whims, and made a gamble that has ultimately paid off in a big way.
This album is the definitive Swallow The Sun statement. It feels 100%
complete as an album as well as a perfect distillation of what is
truly great about doom metal in general. There is a lot to process
but it is one of those rare albums you can truly loose yourself
in.
Neurotech – 'Stigma'
With two great albums out
last year it was a tough choice to choose between them but in the end
the more accessible 'Stigma' won out. The Ljubljana based
multi-instrumentalist Wulf, has been crafting strong albums that
utilise elements of future pop, new age music, symphonic electronics
and metal. The latest release, 'Stigma', marks the first full-length
studio album since 2011's raucous 'The Antagonist' and it aims to
make people sit up and take notice. Recalling in particular the work
of Peter Tagtgren with his projects Pain, and to a certain extent
Lindemann, Wulf presents a highly polished individualistic project.
The production is pretty good with a nice fresh and modern sound to
the whole of the album. With each track getting a solid mix down.
Neurotech have created another strong album that is dance friendly
enough for club play, but has the right amount of heaviness to give
it a broader appeal amongst metal fans.
Killing Joke –
'Pylon'
Picking up from the band's previous two outing
('Absolute Dissent' and 'MMXII') Killing Joke's latest studio album
'Pylon' is another uncompromising blend of industrial electronics,
post-punk venom and metal riffs that will not fail to satisfy
long-time fans of the band. In the 35 years since the band's
eponymous début, music trends have come and gone, politics has come
round full circle, technology is choking humanity and a dystopian
malaise has set in. It's no wonder then that the anarchic and
apocalyptic fire of Killing Joke is just as relevant and needed as it
has ever been. The new album (number fifteen and counting!) recalls
not only the band's most recent works 'Absolute Dissent', 'MMXII' and
'Hosannas From The Basement Of Hell' etc, but it also looks back to
the likes of classics such as 'Pandemonium' and 'Democracy' for its
musical and lyrical inspiration. 'Pylon' shows that after 35 years
Killing Joke still have a lot to say and they know how to grab our
attention. The band sound stronger and slicker than ever – the song
writing is punch, the musicianship is solid throughout, and Jaz
Coleman's vocals are sounding powerful and full of conviction. This
should be an easy album for both long-time and new fans to get into
as it showcases both the band's melodic and heavy sides almost
equally within each song. 'Pylon' continues the band's latest and
perhaps greatest run of album and promises much more to come.
Marilyn Manson – 'The Pale Emperor'
At one time
it seemed as though Marilyn Manson, the self-proclaimed “God Of
Fuck” could do no wrong. The former Brian Warner began his
transformation into America's worst nightmare in the Florida
underground rock scene in the early 90's before getting signed to
Trent Reznor's Nothing Records imprint and releasing a slew of
critically and commercially acclaimed albums including 'Antichrist
Superstar', 'Mechanical Animals', Holy Wood' and 'The Golden Age Of
Grotesque'. Fast-forward to 2007's 'Eat Me Drink Me' and 2009's 'The
High End Of Low' and Manson appeared to have lost the spark that had
won him legions of fans. And indeed the man himself seemed to be on
course for his own public breakdown. We then pick up the story with
the latest chapter 'The Pale Emperor', which is principally a
collaboration with producer Tyler Bates rather than with his
long-time musical confidant Twiggy Ramirez. Musically the album
carries on the spikey post-punk characteristics of its predecessor
and swamps it in nods to the likes of Nick Cave, Bauhaus, David Bowie
and Tom Waits as well as some cinematic atmosphere for a “black and
blues” slant on the Manson sound. As with 'Born Villain', 'The Pale
Emperor' is good as an album and sees Manson continue the conceptual
momentum as he draws the listener into his Faustian tale.
Grave
Pleasures – 'Dreamcrash'
Under the moniker of Beastmilk,
the band that is now Grave Pleasures instantly seared itself into the
rock landscape with a stunning EP release in 'Use Your Deluge' and
the follow-up full-length debut 'Climax' Blending post-punk,
proto-goth / death rock, and elements of black and doom metal giving
themselves a lot to live up to. The band then had a re-shuffle,
changed their name, signed a new record deal and have hit even harder
with their latest output 'Dreamcrash'. It's arguable as to whether is
is in essence a debut or a sophomore album, but that minor
complication is by-the-by. 'Dreamcrash' consolidates all the effort
the band made under the Beastmilk moniker, expands on it, and focuses
its gaze on the horizon. Icy cold atmospheres, sinister jangling
guitars, tribal drums, palpitating bass lines, and the distinctive
emotional evocations of vocalist Mat “Kvohst” McNerney come
together in such a perfect way. There is nothing forced or contrived.
'Dreamcrash' is an album that has successfully surpassed
expectations. Any worries about the line up change and subsequent
re-branding of the band are instantly dispelled and all that is left
behind is some of the best gothic-tinged post-punk released in years.
With The Dead – 'With The Dead'
Given the past
relationship between Rise Above Records (owned by former Cathedral
vocalist Lee Dorrian), and Electric Wizard (whose founding rhythm
section comprised of Tim Bagshaw and Mark Greening) having been a
tempestuous one, the coming together of individual members of new
doom metal trio With The Dead seemed like one of those “when hell
freezes over” prospects. But nevertheless it has come to pass and
the end result is a heavy dose of real doom that sees the distinctive
voice of Dorrian set to the rhythmic talents that gave us
'Dopethrone'. With such accomplished work in every member's
respective discographies, it is evident that With The Dead is a band
that has nothing to prove and is free from the shackles of everything
that has come before it. Yet this isn't about resting on their
laurels. With The Dead want to craft their own identity and have one
hell of an album with to do it. The album is grim, heavy, eerie and
crushingly brilliant. This is a stunning début from three veterans
of the doom genre that acknowledges their past work, but seriously
amps it up. The eerie atmospheres, use of samples, and that ever
present pressure from the guitars is a simple but wonderfully
effective combination that has set the bar just that little bit
higher. Hopefully With The Dead will become a mainstay of the doom
genre for years to come.
Mr Kitty – 'Fragments'
Forest Carney AKA Mr Kitty returns with his fifth full-length
studio album and the first since the conclusion of his acclaimed
“Dark Youth” quadrillogy that encompassed 'Death', 'Eternity',
'Life', and 'Time'. The new album 'Fragments' sees a much more open
and vulnerable side to Carney's song writing coming through.
Musically the icy synthpop and trippy witch house elements that
characterised the first four albums remains at the core of the album,
but with an air of stark and clinical futurism that recalls turn of
the millennium ebm. The album is a deeply satisfying of melodic
synthesizers, throbbing bass, steady dance beats and soaring vocals
drenched in delay. It feels delicate and brittle, but altogether more
hopeful and optimistic than his previous albums. This is another
great and solid album from Mr Kitty that heads in new directions with
ease. It is more emotional, measured, and instilled with a strong
sense of purpose that sees him firmly close the door on the
quadrillogy and look ahead to a very bright future.
Primitive
Race – 'Primitive Race'
There are super groups and then there
is Primitive Race. Boasting members of acts such as Pop Will Eat
Itself, Peter Murphy, <PIG>, KMFDM, Ministry, Tricky, Nitzer
Ebb, Combichrist and others in its ranks the group headed by Chris
Kniker evoke everything that is great about industrial rocks past,
present and future. The sound is hard to pin down though. It is a
hard mix of industrial rock and ebm, but here are so many different
flavours that bubble to the surface courtesy of the revolving line up
of musicians and vocalists on every track. It's a veritable
smorgasbord of world class talent coming together to do what they do
best. Primitive race may be a new moniker, but it's members are some
of the most respected names associated with industrial, ebm, and
gothic music of the last 30 years. As such, this first full-length
outing feels fully formed and actualised without any straining to
find a niche. Fans of classic acts such as <PIG>, KMFDM, Skinny
Puppy, Nitzer Ebb, Ministry, and Nine Inch Nails will feel right at
home with this. While those just taking their first steps into the
scene will find this album sits comfortably on the shelf next to
modern acts like 3Teeth, Youth Code, Caustic, and Project F.
Cocksure – 'Corporate_Sting'
One year on from
their full-length début album, the duo of Chris Connelly and Jason
Novak return with their sophomore outing under the Cocksure moniker.
The band's second album 'Corporate_Sting' sees the duo continue the
big beat orientated industrial mayhem of their début across ten
brand new tracks that evoke they 90s heyday of the Wax Trax! sound.
Hard gritty beats, throbbing bass, heavily distorted vocals, and an
anything goes attitude come together to blend old school sounds with
modern execution. And once again it just works so damn well. There's
certainly nothing corporate about this album, but there is plenty of
sting to it. 'Corporate_Sting' is another great release from
Cocksure, and fans of both old school acts as well as modern bands
such as 3Teeth, Project F, Öhm, and Youth Code will definitely find
plenty to enjoy here. Connelly and Novak's musical partnership is
fast producing some of the strongest and most memorable material of
their respective careers, and long may it continue.
Lindemann
– 'Skills & Pills'
The coming together of the musical
maestro behind Hypocrisy and Pain, and the vocalist
and lyricist of Rammstein was always going to yield interesting
results. Peter Tägtgren's blend of addictive industrial metal that
he perfected over the years under the Pain moniker melds perfectly
with the twisted humour of Till Lindemann who now treats, or
subjects, his audience (depending on your position) to every filthy
lyric in English. With Rammstein Till has used English sparingly,
usually for comedic effect in songs such as 'America' and 'Pussy',
but with his Lindemann project he drops the veil for the non-German
speaking world to finally hear. Musically the album calls heavily on
Pain albums such as 'Psalms Of Extinction' and 'Cynic Paradise' with
its hard, memorable riffs and industrial meets symphonic synthpop
electronics. All the while Till Lindemann's distinctive vocals power
through the tracks to whip up huge sing-a-long choruses. It's a
combination that simply works. Hardened Rammstein and Pain fans
should find plenty here to get their teeth into, though casual
listeners may be turned off by Till's explicit use of English, or
perhaps the strong musical resemblance to Pain rather than something
drastically different. However, that's not really the point of the
album. It's dirty, it's fun and it's most certainly memorable.
Cold In Berlin – 'The Comfort Of Loss & Dust'
Cold In Berlin have become one of the most respectable and
genuinely intriguing bands in the UK underground. The band's first
two albums were stunning exercises in gritty and arty gothic tinged
post punk. But the band's third album sees perhaps the biggest step
in their sonic evolution thus far as 'The Comfort Of Loss & Dust'
slaps a heavy dose of stoner rock on top of the bands cool gothic
sounds. The fusion is a slice of sheer bliss that recalls the black
metal tinged post punk of Beastmilk, and the avant garde doom rock of
Chelsea Wolfe, as well as occult rock bands such as Jex Thoth and
Subrosa. The Siouxsie Sioux meets Lene Lovich with a liberal sprinkle
of Grace Slick style vocals of Maya cut through the cacophony of fuzz
to preserve the bands gothic menace. The bass and guitar switch
between doom, stoner, and punk riffs while the drums thunder above to
create a thick and foreboding atmosphere of melancholia. The Comfort
Of Loss & Dust' is a revelation. They've taken a gamble and it
has definitely paid off for them. It mangles and distorts genres into
a captivating new beast. One that will still appeal to their
long-time fans but will open new doors for them with an appeal that
fans of occult rock, stoner rock and doom will find hard to resist.
Near Earth Orbit – 'The End Of All Existence'
Artaud
Seth (Merciful Nuns, Lutherion, Garden Of Delight) teams up with
Ashley Dayour (Whispers In the Shadows, L'Âme Immortelle, Veneno
para las Hadas) to usher in the end of days. The duo's new project
Near Earth Orbit is an apocalyptic exercise in atmospheric gothic
rock fixated on the threat of destruction from space. The album is
propelled by Fields Of The Nephilim style bass lines, coupled with
near ritualistic beats, washes of droning guitars, and dark ambient
synthesizers which frame Seth's shamanistic vocal style. There are
nods to the likes of Fields Of The Nephilim, Pink Floyd, Tiamat,
Tool, and the duo's own expansive back catalogues. It's a seminal and
wholly original sound that is both disturbing and utterly compelling.
'End Of All Existence' is less of an album than an audio disaster
movie. Such is the scope and excellence of the execution. Seth and
Dayour have crafted a fine and original work that while following the
path laid out by Seth's own recent work with Merciful Nuns, still
manages to create a unique and effective identity of its own. The
songs are catchy and fans of both artists will easily be able to pick
up this album and engage with it. It's a promising first move from a
partnership that looks set to pay off time and time again.
Sidewalks And Skeletons – 'White Light'
Love it
or loath it, witch house is here to stay and so is Sidewalks And
Skeletons, AKA Bradford's Jake Lee who, on his latest release under
the moniker continues to experiment and push the definition of the
genre. 'White Light', the follow-up to last year's 'Future Ghosts',
incorporates the classic trappings of witch house but pushes beyond
them as well and even goes as far to infuse metal elements into some
of the songs. It is an album that is set on expanding the palette of
its creator and the experimental scope of the genre. 'White Light' is
hands down the strongest Sidewalks And Skeletons release to date, and
perhaps one of the best witch house-related releases of the year. The
songs are aiming for another level and more often than not reach it.
It has aspirations to stay true to its roots but at the same time
redefine what they are and can encompass. This is an album that
should hopefully capture a lot of people's attention, and quite
rightly so.
Chant – 'Brave New Apocalypse'
Chant,
AKA Bradley Bills, sounds like one of those projects that has been
around forever... despite only being on album number three. Chant's
high profile North American and European tour supports with the likes
of KMFDM and Die Krupps has seen Bills spread his tribal infused
industrial sound far and wide and gained an international following
in the process. Drawing on influences such as Nitzer Ebb, Nine Inch
Nails, Killing Joke, and KMFDM there is something classic about his
sonic formula that creates and instant familiarity. The third album
from Chant, 'Brave New Apocalypse' sees Bills further refine his
rhythmic industrial manifesto and brings in a fresh take on the
classic industrial rock style of the early 1990s. 'Brave New
Apocalypse' is a great stylistic turn by Bills and should play well
to new fans looking for something to rock out to, as well as older
fans who will feel a pang of nostalgia for the days in which
industrial rock gained some mainstream traction. It is full of
potential club-friendly hits and will ensure a healthy live
repertoire for future live shows. But most importantly it should
continues to see Bradley Bills song writing talents strengthen and
his position solidify as a name to be reckoned with.
EPs:
Wik▲n – 'Nightfall'
Sheffield's Wik▲n may be
flying the flag for the witch house scene, but there is so much more
to their sound than that. Their newest offering (their eighth EP
since 2010) 'Nightfall' includes ambient, drone, noise, dark electro,
and even neofolk as well as drag and witch house to create haunting
soundscapes and experimental grooves. But no matter which direction
they choose to go, the songs remain epic in their scope and rarely
drop below seven minutes in length. Wik▲n may not be a common name
in the UK underground scene but they should be. 'Nightfall' is a
mature, engrossing and deeply fulfilling listening experience. The
band prove they can turn their hand to anything and everything here
and still make it sound like a cohesive whole. This is definitely an
act to keep your eye on.
Garek – 'Take the King Vol. 1'
You may have seen the videos for the incendiary slices of
pop-industrial that Garek has released prior to his début EP in the
form of 'Cavity', 'Save The Queen' and his cover of Katy Perry's
'E.T'. If you haven't had the pleasure yet then you've been missing
out. Garek presents a satisfying blend of electro mixed with
industrial rock and given a radio-friendly pop veneer that recalls
the classic years of Marilyn Manson, Orgy, Nine Inch Nails, and
recent acts such as Aesthetic Perfection. Throw in a glamorous
presentation and a genuinely artistic idiom and you have a winning
formula. The EP is brief clocking in a t just over twelve minutes in
length and refreshingly doesn’t include any tacked-on remixes,
instead keeping to the short but complete statement of the four
tracks. But despite it's length it hits its mark with ease. Garek has
a great sound that won't fail to inspire a big following and perhaps
even some cross-over success down the line.
(((O))) –
'We Hate You'
Despite only emerging in 2012 (((O))), AKA
Nikita Vasilyev has already developed a loyal following thanks to
releases such as 'Black EP' and 'Motherland'. This year
the Belarus-based artist returns with the new three-track EP,
'We Hate You'. Taking its cues from LaVey and Lovecraft it's dark
experimental electronics and witch house embellishments make it one
of the few underground electronic bands that can be happily summed up
as avant garde while keeping a straight face. If you haven't had the
pleasure of listening to (((O))) then 'We Hate You' is a good
starting point. It's accessible, moody and psychedelic electronic
that fans of dark electro will be able to appreciate. It would have
been nicer to have a bit of a longer running time. But the three
tracks feel like a complete statement, so it is by no means
disappointing. However it does build up the anticipation that could
be quenched by another full-length release.
The
Gothsicles – 'The Nyarlat Hot EP'
After Brian Graupner and
his band of reprobates embark on their most club-friendly and
well-rounded outing to date with the delightfully mad 'Squid Icarus',
The Gothsicles returned with a follow-up EP in the form of 'The
Nyarlat Hot EP'. Picking up where they left off the band with three
new songs and some bonus remixes to extend their club appeal a little
further. The classic Gothsicle elements are all present such as
Graupner's bat-shit crazy vocals, the 8-bit leads, and of course more
nerd culture thrown under the microscope and lovingly mocked. Throw
in some great remixes from the likes of Ballpeen, Projekt
F and God Module and this is becomes and addictive little
taste of where the band are at. The EP may be a humble one and not
exactly push new ground in it's own right, but it is a nonetheless
zany and delightful appendage to the main album that still has some
great dance floor moments to enjoy.
Monomorte
– 'The Three Mothers'
Danny Ryder AKA, Monomorte, returns
with a new EP sure to appeal to fans of witch house. The
Liverpool-based producer has crafted some wonderfully unique releases
in recent years including 'Ad Extremvm', 'Coven XXIII', and
'Douosvavvm' which have explored genres such as chillwave, ambient,
old school house, trip hop and industrial to create a take on the
witch house sound that is accessible, enjoyable and most importantly
high quality music. 'The Three Mothers' is a very, very strong
release from Ryder. Its a shame it only features three tracks as it
leaves you hungry for more. It shows Ryder continueing to develop and
improve his take on the witch house sound, and as a result raise the
quality for others to aspire to. Let's hope a full-length release is
on the cards soon.
Psy'Aviah – 'Never Look Back' /
Words' EP
Belgium's Psy'Aviah AKA multi-instrumentalist and
producer Yves Schelpe, have been providing an eclectic injection into
the electronic scene for a number of years. Blending elements of trip
hop, ambient, pop, rock, techno, electroclash, and ebm Schelep and
his now revolving door of talented vocalists the music of Psy'Aviah
has always been something that is hard to ignore. Now one year on
after the last full-length outing on 'The Xenogamous Endeavour'
Schelpe returns with the 'Never Look Back' / 'Words' EP as a
precursor to the next Psy'Aviah album. With the two lead tracks
Schelpe continues to break down genre conventions injecting 'Never
Look Back', which features the vocal talents of Ellia Bisker of New
York's Sweet Soubrette, with a heavily trip-hop saturated direction
while keeping it's fresh electro framework. While 'Words' , featuring
J Ari, adds a couple of big helpings of reggae and Mowtown to
Schelpe's electronic formula. This EP bodes well for the forthcoming
album. If it continues down a similar line of eclectic genre blending
and emotion-tugging melodies, then the next full-length Psy'Aviah
album could be their best yet.
V▲LH▲LL –
'Vi††ΞЯS†ЯåK'
Stockholm's V▲LH▲LL are an
undeniably impressive act. Formed in 2012 they have fast become one
of the most impressive underground electronic acts around today
despite only having a few releases to their name. Their début
full-length release last year on Artoffact Records, 'Leaning On
Shadows' was a triumphant blend of atmospheric songwriting
incorporating elements of witch house, neofolk, dark ambient and
industrial. Just in time for Halloween comes the band's new single
'Vi††ΞЯS†ЯåK' which features two tracks of dissonant dark
ambiance to send shivers down your spine. This is another great
release from V▲LH▲LL that continues to show off their skill and
diversity. They seamlessly span experimental and more accessible
genres and can craft exquisitely haunting atmospheres with ease.
'Vi††ΞЯS†ЯåK' is Halloween friendly scary music in a non
cliché way that shows a real mastery of sound, melody and rhythm.
Hopefully the band will follow this up soon with another full-length
album to show the full scope of their abilities again.
Blush
Response – 'Future Tyrants'
Blush Response's last release,
2014's 'Desire Machines' was a stunning blend of avant garde
electronics and intelligent dance music that consolidated Joey
Blush's position as arguably one of the most exciting electronic
musicians around today. Utilising modular synthesizers, Blush blends
a mixture of influences gleaned from glitch, ambient, industrial, ebm
and electronica to create something truly fresh and modern. Fast
forward two years and the now Berlin based artist releases his latest
EP 'Future Tyrants' on Aufnahme + Wadergabe. Distorted glitch
elements combine with subtle dance beats and throbbing synth bass for
a dark and satisfying sound that evokes the early works of acts such
as Front 242, Skinny Puppy, Die Krupps, Cabaret Voltaire, and Front
Line Assembly. 'Future Tyrants' is another feather in Joey Blush's
cap showing him to be a true master of his art. The album is
comprised of instrumentals, and that may turn off those who like a
nice lyric or two to get stuck into, but it doesn't hold it back.
These are four bold and forceful tracks that demand to be heard and
leave you feeling satisfied. Fans of the old school sound will
immediately dig it, while those newer to the classic ebm /
electro-indutrial scene will still find this an accessible point of
reference.
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