Review: Non-Bio – 'The Future Is Written'

NON-BIO 

'The Future Is Written'
SELF-RELEASED 

South-London based experimental industrial act Non-Bio return with their latest full-length studio album 'The Future Is Written'. Known for blending electronic, powernoise, ambient and industrial elements the band have crafted an intriguing and sometimes confrontational back catalogue.

'The Future Is Written' sees Non-Bio continue to refine their sound and push the boundaries of experimental electronics by making their disjointed and unfriendly sound manipulations strangely appealing.

The album opens up with the slow rhythmic noise of 'The Servility Device', a minimal a disorientating track centred around a pulsing rhythm that throws you off balance from the start. However the dirty, glitchy old school sounds of 'You Reborn' harks back to the chaotic but defined appeal of early industrial sounds of acts like Throbbing Gristle, Cabaret Voltaire and Skinny Puppy, and this is built on nicely by the unfriendly mechanical break-down of tracks like 'Facial Recognition', 'Distraction', 'Revenge Makes You Stronger', 'Overcome Anxiety', 'Dreamstate', 'We Own Your Memories' and End User Agreement' which despite their often noisy elements maintain a sense of rhythm and melody.

Though tracks such as 'Quit Smoking', 'Loose Weight', 'Believe', and 'Nourish' push these noise and experimental ideas into harsher and less user-friendly areas, and would definitely perhaps tip a casual listener over the edge there is still method in their madness and remain compelling listening.

The production is gritty and low-fi throughout. Distorted vocals, rhythms, samples and synth sometimes teeter on becoming a pure all of noise. But it doesn't. There is a minimalist feel to the band's compensations that doesn't overwhelm the tracks. It's chaotic yes, but Non-Bio are in full control at all times.

This is another solid album that blurs the lines between appeal and revulsion, the cerebral and the bestial. There are some solid rhythms and the odd hint of melody that shine out amongst the harsh din of noise, but it is in no way a commercial endeavour. Non-Bio are less “Do Androids Dream Of Electric Sheep” and more “Do Terminators Have Nightmares About Their Victims?”. Hopefully there will be another full-length album to get stuck into before too long.

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Review: Croona – 'Memento Mori'

CROONA 

'Memento Mori' 

INFACTED RECORDINGS 

Fredrik Croon already has an impressive resume that boasts industrial and aggrotech acts such as Menschdefekt,Project Rotten and Cynical Existence. However, this time around he's gone in a slightly different direction, dropping the heavily distorted vocals of his previous work, and embracing a cleaner singing style. 'Memento Mori' is an album that leans heavily on the melodic and emotional elements of genres like futurepop and synthpop, while still embracing the dark electro and metal influences of his previous work, in a blend he has christened Aggropop.

The result is a more diverse and and varied approach that pushes his skills as a songwriter into new and interesting directions. There are still dark elements bubbling away below the surface and the odd heavier embellishment, but overall this is a richer and more melodic style that retains a solid dance appeal and feels more well rounded that the unfettered aggression of previous projects.

Songs such as 'Into The Shadows', 'Mine', 'Ashes From The Past', 'A New Dawn', 'The Day I Died', 'Rise Again, and 'When all Is Said And Done' give the album a solid back bone of dance beats, trance-like melodies, airy textures and clean that definitely play up on the pop element of his self-christened sound. Yet tracks like 'Bleed For Me', 'Regret', and 'It's Over' with their darker tones and harsher vocals provide a nice heavy counterpart and link back to his previous works.

In terms of production the album definitely captures more of the polished 'pop' feel than the heavier offerings in Croona's previous projects. It's still hits hard where it needs to and even the instrumental tracks maintain a compelling edge despite their dance floor focus. It effectively switches between the dark, heavy elements and the more melodic and leaves the album feeling nicely balanced.

This is a strong outing from Croona and it's definitely something he should build on, playing with the nature of his new aggropop style and seeing how far he can push it in every direction. Hopefully there will be much more in the near future.

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Review: Various Artists – 'We're In This Together: A Tribute To Nine Inch Nails'

VARIOUS ARTISTS 

'We're In This Together: A Tribute To Nine Inch Nails' 

TRIBULATIONS 

Only a month after their impressive tribute to Bile, the Tribulations team unleash to arguably the biggest band to ever come out of the industrial scenes, Nine Inch Nails. There have been a few tribute albums to NIN over the years, including piano, lullaby, acoustic, and string quartet versions... so the contributing artists have their work cut out for them to come up with some different variations on the ample source material.

Acts such as Corlyx, Killchild, Man Woman Machine, Acidrodent, Visions In Black, Marc Lowe, The Cryptids and more take on iconic tracks such as 'Reptile', 'Wish', 'Heresy', 'Hurt', 'Into The Void', 'The Becoming', 'Gave Up', and Something 'I Can Never Have.

The variations in artistic styles are far greater her than say the previous Bile compilation, and some acts stick close to the source material while others go off in other directions. It's a shame there are two versions of 'The Becoming', and 'Reptile' – while both versions of each track are great – with no representation from 'Year Zero' or 'Hesitation Marks' it feels like the album could have covered more ground.

As with all compilations the mastering ties things together nicely once again by creating a cohesive sound from amidst the various genres at play here. Even with some major stylistic shifts in the track list the album flows nicely from start to finish.

Nine Inch Nails are a band that have been covered many times and in many different ways. Approaching this as a tribute album curator or a contributing artist is no small feat, and everyone involved once again deserves praise. And if this wasn't enough we can expect a tribute to Front Line Assembly in the near future as well.

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Review: Various Artists – 'We Reject: A Tribute To Bile'

VARIOUS ARTISTS
'We Reject: A Tribute To Bile'
TRIBULATIONS

A cornerstone of the 90's Industrial surge, Demonic Electronic group Bile are well overdue a tribute album of their own. And who better to fulfil that than Tribulations. With tribute albums for Skinny Puppy, Ministry and Coil already released the label has quickly built a reputation for putting serious effort into these digital compilations.

The aggressive and experimental fluid nature of Bile's back catalogue offers an untold wealth of potential for covers and the likes of Killchild, Acidrodent, Flesh Eating Foundation, Neo Land, and Cyphier among others are stepping up to the mark to take on the likes of 'Sex Reflex', 'Jerk', 'Teknowhore', 'I Reject', 'In League' and more.

As with the last release the track listing is shorter and tighter than the impressive sprawls of the first two albums in the series. But that isn't a sticking point by any means. Instead the track list is more focused, and there are no repeated covers.

The artists on this tribute not only compliment the sound of Bile, but also each other and the whole album flows really nicely. There are some stylistic shifts between the artists but on the album has been curated in a way to keep any jarring jumps between genres to a minimum and ensure the album progresses smoothly. And once again the result is a strong collection that shifts effortlessly between the idiosyncrasies of each band as they stamp the originals with their own mark.

Once again the album is well mastered to ensure the tracks don't clash and any discrepancies in the various recording processes and styles don't distract from the presentation of the album as a whole.

The series from Tribulations and it's contributing artists deserve praise for consistently creating high-quality free releases that not only pay tribute to some of the most important names in the scenes but allow talented acts show off their abilities to create interesting and original reinterpretations of the source material.

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Review: May May Graves – 'Monsters'

MAY MAY GRAVES
'Monsters'
BLACK PILL RED PILL

Award winning drag performer, burlesque artist, and head queen at the Dallas School of Burlesque unleashes her debut musical outing in the form of 'Monsters', a blend of high-fashion, cyberpunk and 80s slasher menace this EP is like an apocalyptic party. Billed as the "genderfuck of your nightmares", May May quit her job as a Church of Christ preacher in 2011 to be in a punk band... It all goes downhill from there.

'Monsters' is a dance-floor ready blend of throbbing bass, pounding dance beats and filthy modular synths framing seductive and sinister vocals. Evoking UV-drenched party monsters, neon-clad villains and the decadence of a 21^st century Weimar Berlin the EP is a compelling listen.

The opening tracks 'Die Like It's The 80s' and 'Monsters' hit hard and fast with their up-tempo and sing-a-long friendly construction that won't fail to get bodies moving on the dance floor. 'Ghost' then pulls things back into a slower, darker and disorientating direction that maintains it's dance appeal but still gets really interesting. 'My Villain' goes more up-tempo again but this time invoking some very nice Pet Shop Boys style melodies that is carried on through to the final track 'Mermaids'.

The album is rounded-off with some very nice remix contributions from Surgyn, Aberrant Behaviour, Adventu Impar, and Isserley who all do a great job of making the tracks their own. But hidden between them is 'Cantaloupe', another solid dance number that feels a little more straight-forward in it's construction but nonetheless sounds great.

The production has a nice gritty cyberpunk edge to it, and the modular synths really emphasise this. With this being a dance record primarily it's heavy on the beats and bass, but the melodies and vocals always shine through in the mix giving it plenty of sing-a-long potential.

This is a strong fist-outing that hints a a few different directions a full-length release could go in. Hopefully there will be more from May May Graves in the near future.

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Review: Ritual Aesthetic – 'Wound Garden'

RITUAL AESTHETIC

'Wound Garden'
CLEOPATRA RECORDS

Denver's Ritual Aesthetic return with their sophomoric offering 'Wound Garden'. Aiming to build on the strong first step of their 2014 debut 'Decollect', Ritual Aesthetic hit hard and heavy right away with a demonic blend of industrial and metal.

Started by Sean Ragan, formerly the drummer of Dawn Of Ashes and Belhor, the album has a strong rhythmic grounding through which the guitars and synths saw through. Combined with his digitally-augmented growled vocals it's evident that 'Wound Garden' is a darker and heavier affair than it's predecessor, and the end result is utterly compelling.

Opening with the ominous industrial overtones of 'Stasis', followed closely by the scathing synth-driven attack of 'Life Amnesia' the band set up the atmosphere of the album quickly, before dropping in the heavy guitars on the brilliant lead single 'The Analog Flesh'. The likes of 'Divided', 'Dread', and 'Malefaktor' vary things up a little bit between them, but they maintain that core formula of the strong rhythms, sharp synth melodies and blistering guitars.

Reflecting the construction of the first album the final three tracks are remixes from other artists. While these do play up different elements within the RA sound. They do stunt the pace of the album. The radical overhaul of 'Mechanism Of Desire' by ESA unfortunately stops the momentum of the album dead. While the Seraphim System remix of 'Chemical Weapons' attempts to kick-start things again, before Xentrifuge rounds things out with 'Amnesiac'. It's a shame as the remixes themselves are great, but it feels as though the album needed a few more original tracks.

The production is strong ans shows development from the first album. The heavier sounds and darker atmospheres on the album create a sense of claustrophobia and desperation, but the methodical construction of each track means that this doesn't become a din of noise. Instead the rhythmic foundations allow the gritty guitars and synth melodies to cut through with ease.

This is a strong follow-up that displays a hell of a lot of promise. It's unfairly short, but it is too the point. The dark and unfriendly industrial metal formula feels refined and focussed, and most importantly it's catchy. These are heavy tracks that have dance potential and stick in your mind. The band have definitely found their stride and hopefully they will stride back soon with album number three.

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Review: Lords Of Acid – 'Pretty In Kink'

LORDS OF ACID
'Pretty In Kink'
METROPOLIS RECORDS 

Back once again to give dance floors the world over the rough treatment they deserve. Belgian/American dance legends Lords Of Acid return with their sixth full-length studio album, 'Pretty In Kink'. Another sexy slice of groove-laden dance hits heavy on dirt and depravity, Praga Khhn and his minions are out to dominate in a big way.

Never ones to be pigeon-holed in any one particular style, LOA have always enjoyed mixing in elements from different genres while keeping their trademarked sexy beats and dirty bass at the helm. And 'Pretty In Kink' continues that tradition, whether it be straight-up dance appeal with nods to ‘80s and ‘90s anthems, or down-tempo sleaze and sensuality, or even the borderline pornographic.

Tracks such as 'So Goddamn Good', 'Before the Night is Over', 'My Demons are Inside', 'Sex Cam Girl', and 'What the Fuck!' are undeniable dance hits full-of thumping beats, compelling bass and infectious melodies that grab you in a sexually aggressive way and drag you onto the dance floor. While the likes of 'Androgyny', 'Ma Fille de Joie', and 'Goldfinger' amp up the sensuality of Khan's melodic songwriting ability, even doing his best take on James Bond with 'Goldfinger'. It's a strong track list that display's the full-scope of the LOA sound.

Production-wise, even with quite overt nods to the dance anthems of the '80s and '90s the album doesn't try to replicate them fully. Instead everything is fresh and modern with just hint's of nostalgia included to add a little more depth to the tracks.

This is another strong outing in the LOA catalogue. Sure it plays up their overly sexual side as usual but there is still plenty of innovation on display and the band's ability to keep coming back with fresh and engaging dance music is truly admirable. It may not have the oomph behind it that some of their previous albums have enjoyed, but it is still a very decent offering.

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Review: Axegrinder – 'Satori'

AXEGRINDER

'Satori'

RISE ABOVE RECORDS

With a hiatus between albums that even Tool would find excessive, crustpunks Axegrinder mark 29 years since their debut album 'The Rise Of The Serpent Men', with their sophomoric effort, 'Satori'. It is a familiar story these days with many bands from the 80s and 90s being resurrected and the results are often mixed. However Axegrinder have definitely comeback strong.

A more methodical and mature sound distinguishes the new album from it's predecessor. Elements of Prong, Conflict, Amebix and even Killing Joke rear up from the depths. The album closely mirrors it's predecessor structurally but the cleaner production and modern recording is offset by dirtier guitars and more vitriolic vocals to set it apart from their debut.

The album's opener '61803398875' is a curveball with it's poetic spoken feminine vocals and ambient drones giving way to dirty guitars, and ultimately the chugging chant-a-long 'Halo (Snakes For the Breeding)', which sets the true tone of the album. 'Rain' evokes 'Cleansing' era Prong with it's steady industrial guitars and Paul Raven style groove. While 'The Unthinkable' strays into Killing Joke territory with Trev's maniacal vocal delivery combined with some nice melodies cutting through. It's a formula that serves them well and provides a strong and accessible backbone for the entire album.

Production-wise the album is fresh and modern, with the guitars and vocals giving it the brunt of it's crustiness. But the more methodical approach and the grooves and industrial tones give it more depth beyond it's metallic-crust roots. And ultimately a broader appeal.

It may have been a near thirty year wait between albums, but this is one of those cases where it was worth the wait. The sound has picked up from where it left off certainly, but it progresses nicely as well. It is relevant, pissed-off and catchy throughout, and hopefully signals the start of a lot more activity from the band as 'Satori' is a strong (re)starting point.

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Review: Guillotine Dream – 'A War On The Passage Of Time'

GUILLOTINE DREAM

'A War On The Passage Of Time'
GOTHIC MUSIC RECORDS

Out of a dense fog of dry ice emerges the mysterious trio known as Guillotine Dream dragging with them a monolithic slab of old school gothic rock in the form of their full-length debut album 'A War On The Passage Of Time'. Taking their cues from early Fields Of The Nephilim, 13 Candles and the heyday of 80s gothic rock in general there is a familiarity to their haunting style, yet the band are accomplished and unique in their execution.

Atmospheric and bass-driven the band counterpoint the gravelly McCoy-esque vocal delivery with violins in the style of The Eden House to add a haunting melodramatic tone above they jangling guitars. Songs such as 'Primitive', 'Succubus Sigh', 'A War On The Passage Of Time', 'Darkling Rooms', and 'Number Sixteen' Give the album it's most classic anthemic gothic rock cuts 'Lemuria'. Whereas the likes of 'Signs' and 'Lemuria' add a more metallic edge that recalls early Anathema to an extent, whereas the sumptuous 'Dead Genius' features a slow doomy pace that heightens the album's melancholic atmosphere to its zenith.

In terms of production, as with their debut EP, 'A War On The Passage Of Time' has a very unashamed retro feel that owes a lot to 'The Nephilim' era FOTN. But that doesn't harm it in anyway. Instead this doesn't fell like an album trying to replicate a certain sound, but instead a band that are of that sound to start with.

This is a charming and addictive debut album overflowing with old school goth appeal. The strong bass lines and Nephilim-esque vocals would be enough to please most casual fans of gothic rock. But the atmospheres and drama from the violin at work make this a compelling listen.

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Review: Berlyn Trilogy – 'Flowers Fall'

BERLYN TRILOGY

'Flowers Fall'

SELF-RELEASED

Wakefield's Berlyn Trilogy return with a new EP of dark synthpop meets gritty post-punk. Evoking the likes of Ultravox, Editors, Ladytron and Wolfsheim the band's dark dance sensibilities create compelling and stylish tunes that combine icy cold synths and steady dance beats.

Their new EP features three new tracks and three remixes, and considering the strength of talent that was on display on their debut it's a bit of a puzzle as to why this isn't on a label, when it should be. But such peculiarities aside, the three new tracks 'Domus Aurea', 'Rain', and 'Simone (Nicole) are heavy with 'Vienna' era Ultravox atmosphere, dark and romantic but permeated with Depeche Mode style dance beats and basslines recalling Editors.

The remixes add a little more dance appeal to the tracks but the dark cinematic atmospheres of the originals always remain quite prominent. That being said the tracks from Natures Of Wires, Destination, and Parralox are particularly strong in their reworking of the source tracks.

In terms of production the band balance the dark romance of the songs with an accessible and dance-friendly core. As with their debut, it is richly layered, and methodical in letting every synth line and the bass have as much room as possible in the mix to give it a cinematic quality.

This is another strong release from Berlyn Trilogy that blend beats, melodies and atmospheres with great effect. Hopefully another full-length outing is not too far away, and hopefully they'll be picked up by a suitable label in the meantime.

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Review: Hanzel Und Gretyl – 'Satanik Germanik'

HANZEL UND GRETYL

'Satanik Germanik'
METROPOLIS RECORDS

Four years after the darkest and heaviest album in the band's back catalogue, pseudo-teutonic metal duo Hanzel Und Gretyl return with another black and death metal-tinged release in the form of 'Satanik Germanik'. With 2014's 'Black Forest Metal' the band's trademark tongue-in-cheek themes and industrial elements take a back seat to relentless riffs and a more Satanic theme. And this is where their latest offering picks up.

Opening with the Wagnerian pomp of 'Golden Dämmerung' as a nice nod to their long-running Germanic obsession, the band soon drop a heavy riff and half-growled vocal with the head-banging 'We Rise As Demons' to open up a ferocious track list. Hard riffs, symphonic elements, snarling vocals and bludgeoning drums recall the likes of 'Puritanical Euphoric Misanthropia' by Dimmu Borgir and 'Volcano' by Satyricon with a hint of their previous NDH style occasionally sticking it's head above the parapet.

Tracks such as 'We Rise As Demons', 'Black Six Order', 'Weisseswald', 'Hellfire Und Grimmstone', 'Sonnenkreuz', 'Unter Alles, '13 Moons', and 'Kinamreg Kinatas' give the album it's solid back-bone of symphonic/industrial edged black metal tracks. Characterised by slow sludgy riffs, and thunderous drums it's as focussed and serious as the band have ever sounded.

There are a couple of respites from the grim and gritty nature of the album with 'I Am Bad Luck' providing a slow, bass-heavy relief that strips the album's sound back a little. There's also 'Trinken Mit Der Kaizer (Die Bierz From Hell)', the most overtly tongue-in-cheek title of the album and the one track where they most cut loose and get a little crazy.

In terms of production the album feels sharp and focussed. The symphonic and industrial embellishments are still there but there is a more guitar-centred approach which gives the album a much heavier sound than before.

'Satanik Germanik' is a solid statement from Hanzel Und Gretyl. Heavy, strong and captivating from start to finish the album is a standout in their back catalogue, while long-time fans may lament the silliness of older material and the minimising of the electronic elements, this album still has enough to appeal to them. And while black metal may be a predominant influence the band's Germanic obsession still means that a good pun is still never too far away.

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Review: Mortiis – 'Perfectly Defect'

MORTIIS

'Perfectly Defect'
OMNIPRESENCE PRODUCTIONS 

With Mortiis' scathing last outing 'The Great Deceiver' having run it's promotional course the man behind the troll, Håvard Ellefsen, has been in a nostalgic mood it seems with a big re-evaluation and revisiting of the 'Era I' section of his discography, but also in the re-release of the download-only album 'Perfectly Defect' that was released before the band's short hiatus.

Unlike the 'Era I' material which has been receiving a lot of well-overdue praise and attention especially for it's influence in what has come to be known as Dungeon Synth music, 'Perfectly Defect' at the time of it's release received a mixed reception. Stylistically it's a continuation of the 'Era III' sound that included 'The Grudge', but many viewed it as a purely stop-gap effort. However in this revised and expanded version, the album becomes a more rounded affair that warrants another listen.

Tracks such as 'Closer To The End', 'Perfectly Defect', 'Sensation Of Guilt', 'Thieving Bastards', and 'This Absolution' from the original release power the track list along, and see the industrial rock of 'Era III' reach a mournful and downbeat conclusion. The vocals more pained and twisted, and the atmospheres more claustrophobic, and the menacing yet ambient industrial sounds are pushed to the fore.

The new additions to the track list 'The Sphere', 'The Punished', 'Hermaphro Superior', and 'Contrition' are primarily instrumentals (with 'The Punished' featuring vocals towards the end) and while many criticisms levelled at the album in the past were that there were too many instrumental and remix sounding tracks, the inclusion of these four shifts the balance and gives the album a more soundtrack-like feel. This may not be to everyone's taste and while initially sceptical of 'This Absolution' no longer rounding off the album, the light airy strains of 'Contrition' is arguably more effective.

There are some great tracks in the original release of 'Perfectly Defect' and the new inclusions sit well within the original framework. It's hard to understand why all of these tracks weren't used on the original release, but thankfully they're included now. Still a bit of an oddity in the Mortiis back catalogue, especially considering 'The Grudge' and 'The Great Deceiver' sit alongside it, but definitely one worthy of listening too again.

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Review: AlterRed – 'Trauma: Trauma Reinforcement'

ALTERRED

'Trauma: Trauma Reinforcement'

WTII RECORDS

The curtain rises once again on the electro-creepshow as London's AlterRed unveil their fifth full-length studio album 'Trauma: Trauma Reinforcement'. Picking up where 2015's 'In The Land Of The Blind' Left off, the band continue to evolve a heavier and darker sound that leaves the cabaret-tinged electro rock style of their first three albums behind.

A dark mournful piano intro opens the album providing a stylistic link back to their earlier material, but the inclusion of the sample over the top hints at the darker more industrial material which is subsequently revealed by the first track proper the frantic and grinding 'Speed Test'. The guitars are louder and nastier, the beats are harder and faster, the synths more scathing and sharp and Mikey's vocals take or a distinctive snarl.

The album maintains a hard rocking angsty backbone with tracks such as 'Wait For The Recoil', 'Mad Dogs', 'Breaking News', 'PS Fuck You', 'You Get Nothing', and 'Bohemian Class' providing plenty of opportunities to wreck your neck. But there is also playfully disturbed edge that incorporates the dramatic flair of their previous work with tracks such as 'Dead & Cold', 'Only Way Is Down', and the inspired cover of 'Wild Boys' bringing some variety to the fast tempo rage.

This is the band's heaviest work too date and while there are still nods to the sound pioneered on their early work, this is a much darker and grittier production. More raucous and punk rock in it's spirit and industrial in it's outlook. Not quite electro-punk and nor quite industrial rock, but rather an intelligent take on both. They've nicely balanced their melodic avant-garde charms with with violent incorporation of heavier elements well. It continues to show that AlterRed have a lot more versatility to their sound than they have previously shown.

'Trauma: Trauma Reinforcement' is a strong, pissed-off album that grabs you by the ears and forces you to follow it to the end. AlterRed have hit their stride with this album and it is sure to attract fans of the heavier end of the electro rock/industrial rock scene but it still does enough to keep the interest of long-term fans. The band's continued musical evolution sees them stronger than ever.

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Review: Suffering For Kisses – 'Forever Waiting'

SUFFERING FOR KISSES

'Forever Waiting'

SELF-RELEASED

With a name like Suffering For Kisses, the expectation for some classic melodramatic goth is pretty high, and it is something that is thankfully delivered in droves. SFK is the brainchild of Tony D'Oporto aka The Gnome, also known for his projects Gnomes of Kush, Gnome & Spybey (w/ Mark Spybey of Dead Voices On Air / Download) and Crisis Actor (w/ David Thrussell of Snog).

With a strong new wave meets darkwave core and a slow methodical delivery, the projects debut album 'Forever Waiting' channels the sombre dancefloors of the 1980s and transposes them into 2018. Tracks such as 'Touch', 'The Waiting', 'Beautifully Dark', 'In The Night', 'Lust', and 'The Only One' blend steady drums, classic gothic bass and clean new wave synths and jangling guitars with lots of delay to conjure up images of dark clubs full of dry ice and back-combed hair. There isn't much variety in terms of pace to the album though the track 'Interlude' adds a shot of melancholic cabaret to the proceedings.

The production is clean and simple. Perhaps a little too simple though. It has a cold synthetic edge that would suit it more if there were more layered electronics. But otherwise makes it sound a little too nostalgic.

It's an interesting first release that is heavy on atmosphere and retains a lot of dance appeal that will find favour with fans of the traditional goth sound. It could use a little more variation in the pacing of the album and a thicker, warmer sound as well. But otherwise its a catchy offering that draws you in and delivers a classic slice of goth to get your teeth into.

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Review: Nine Inch Nails – 'Bad Witch'

NINE INCH NAILS

'Bad Witch'
THE NULL CORPORATION

The third instalment of the EP trilogy that began in 2016, 'Bad Witch' finally emerges. Though classed as an LP by Trent Reznor the album is still of comparable EP length featuring a total of six tracks which is only one more that the previous two.

NIN's post 'Year Zero' output has often been criticised of being a bit safe and samey despite of its prowess. With that in mind this trilogy has been really refreshing with each offering possessing a frantic unfinished and raw energy that is at odds with the perfectionism that coloured his 90s and early 2000s output. The album has the noisy, low-fi edges of 'Not The Actual Events' and the analogue synth playfulness of 'Add Violence', and throws in overt saxophones that gives the album a hint of 'Outside' and 'Earthling' era Bowie. But most importantly out of the albums in the trilogy this one feels the most complete and well-rounded.

The Bowie influence is at its most overt on the brilliantly tense and frenetic 'God Break Down The Door' which sees Trent break out his best croon for the occasion. Tracks such as 'Shit Mirror', '
Ahead Of Ourselves', and 'Play The Goddamned Part' are a little less-user-friendly and employ more of the noise rock vibe from the first EP. However, there's a sudden turn with 'I'm Not From This World' with it's gritty and dissonant synths over a throbbing rhythmic bass line to create a haunting industrial instrumental before the album finishes on the which once again returns to Bowie territory with a nod to his late hero's final album 'Blackstar'.

The production maintains the raw and gritty atmosphere of the previous two outings. It's unpolished and almost live in its energy. But still crafted and mixed with a masterful hand and certainly doesn't feel rushed. Just honest and urgent.

'Bad Witch' pushes out from the safety of classic NIN. There is a cosmic anxiousness at play here, a sense of existential tension that permeates the tracks with discomfort and subversion. Out of the three releases in this trilogy it certainly stands apart as a stronger and more rounded release.

The trilogy as a whole, has led to a more revitalised NIN sound that raises the question that had these songs featured on one album, would the effect have been similar? Also, will we see the staggered format from Reznor and Ross again in the future? Time will tell.

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Review: Poptone – 'Poptone LP'

POPTONE
'Poptone LP'
CLEOPATRA RECORDS

The reunion of former Bauhaus, Tones on Tail, Love and Rockets, and The Bubblemen founders Daniel Ash and Kevin Haskins can only be a good thing. Even if their new incarnation as Poptone (also featuring Kevin's daughter Diva Dompé on bass) is more of a resurrection for old material. But considering that material leans heavily on their Tones on Tail output, which hasn't been performed live for over 30 years, it's nevertheless a welcome return.

With this heavy lean on the ToT material, and the fact that Dompé faithfully reproduces the performances of Glenn Campling you could be forgiven for thinking this is just Tones 2.0 and an exercise in nostalgia. Yet the band's debut EP is a raw and energetic re-appropriation of that old material. The songs feel fresh and exciting and are performed with passion to bring out different nuances from the classic recordings.

In particular tracks such as 'Mirror People', 'Movement of Fear', 'No Big Deal', 'Lions', 'Christian Says', 'Ball of Confusion', 'Go!', and 'Slice of Life' sound great. Dirty distortion, fresh electronics, and a real zest to forge a new identity are ever present elements that cement the Poptone sound as a new and exciting. The only time it doesn't work is on the albums opener 'Heartbreak Hotel', which while a stripped-back and psychedelic garage style cover just feels a little clumsy and lumbering for an opening track.

With the songs originally recorded for a recent Part Time Punks session on KXLU there is a raw live energy that is akin to the early Bauhaus Peel Sessions. It's a strong approximation of what is undoubtedly a tight live sound that plays well to their post-punk origins.

It's great to hear this material get an airing again, Tones on Tail may have been a blip in their career but it still yielded great material. It may be nostalgic at heart but there is so much promise here that it would be a crime if a future release didn't yield some new songs or revisit some lost demos. One can hope. In the meantime this should create more buzz for their live shows.

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Review: Pig – 'Risen'

PIG
'Risen'
ARMALYTE INDUSTRIES / METROPOLIS RECORDS 

The years spent in the wasteland of creative inactivity are well and truly behind Raymond Watts as we get another hot slice of pork a mere 2 years after the last. Pig's latest full-length studio offing 'Risen' sees the lord of lard Watts continue his creative fervour that was kicked off in 2015 with the 'Compound Eye' sessions with Marc Heal and has continued across several releases in the intervening years. But has this rapid creativity left the well dry?

No. It hasn't. 'Risen' picks up where 'The Gospel' left off with slow grooves and heavy riffs blending industrial electronics, alternative rock while Watts takes on the mantel of an apocalyptic preacher with his chant-a-long lyrics and seedy vocal delivery. Tracks such as 'The Chosen Few', 'Morphine Machine', 'The Revelation', 'Rise & Repent', 'Leather Pig', 'Prey & Obey', and 'Hard Machine' give the album it's hard industrial rock backbone. While the likes of 'Loud, Lawless & Lost', 'When I', and 'Ecstasy & Exorcism' get a bit weirder and more playful in the way that Watts has always had a penchant for.

Production-wise the album maintains a nice balance between it's gritty industrial rock core and more experimental embellishments that have always coloured his work. It's hard to say the album conforms to the “classic” Pig sound, as it has always been an esoteric entity. However the classical elements and more playful electronic experimentation come to the fore quite often which will please long-time fans.

'Watts and co. have been on a creative role for the past three years and it shows no sign of stopping anytime soon. 'Risen' is another great industrial rock album that is well-rounded, expertly crafted and captivating. Watts may be a veteran but he can still bring new ideas to the table and that's exactly what the industrial rock scene needs.

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Review: Scandroid – 'New York City Nights'

SCANDROID
'New York City Nights'
FIXT

Celldweller's Klayton reveals the 2^nd single from the forthcoming third album from his synthwave side project, Scandroid. Both of the previous Scandroid albums – the eponymous debut and 2017's follow-up 'Monochrome' – were well received and if 'New York City Nights' is anything to go by, then album number three 'The Darkness And The Light' looks set to be another solid outing.

Full of retro synths, smooth vocals and nostalgic melodies, 'New York City Lights' is a classic slice of synthwave that keeps it's originality intact while simultaneously playing with those familiar 80s elements that are permanently engraved onto the pop culture soundtrack of the era.

The great thing about the Scandroid albums thus far is that they have the feel of a movie/TV soundtrack from the era, as if any of the tracks could be on the opening or end credits, or even in some neon-drenched club scene. And 'New York City Nights' definitely fits into this.

The production, as you'd expect from a talented electronic music veteran such as Klayton is impeccable. It has a warm analogue sound but isn't derivative of the recording style of the time. It's still quite modern, but the retro sounds give it that nostalgic appeal without sacrificing quality.

This is another strong single under the Scandroid moniker and definitely whets the appetite for the full-length release.

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Review: Raizer – 'Free'

RAIZER

'Free'

FIXT

Hailing from Eastern Europe, Raizer return with their new single 'Free'. With their frenetic blend of electro-rock, drum 'n' bass, cyberpunk and synthwave intact from their debut album 'We Are The Future' they launch things into the stratosphere in anthemic fashion.

Big beats, big guitars, soaring vocals, and plenty of melodic synths to get your teeth into the song should be a no-brainer with it's high-energy anime meets computer game soundtrack vibe heavy bass being bang-on trend.

But after the impact of the first minute it begins to feel a little flat and cheesy. This isn't helped by the ill-advised bridge at the 2:30 minute kills the initial momentum in a way that just doesn't fit the rest of the song. It's a shame as the song has some really strong elements to it. But it just seems to unravel and rely to heavily on the chorus.

Production-wise the song is top-quality. It's got the feel of a mainstram hard-dance track and still maintains a strong balance with the heavy guitars and rock vocals. It's still the move into the bridge that seems to undo things with the vocals in particular sounding out of place.

There's a lot to like here, but it doesn't quite hold it together and breaks apart on re-entry. That being said there's no doubt Raizer still have plenty more left in their fuel tanks and will undoubtedly be aiming for the moon with another track soon.

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Review: KPT – 'Fluid Bonded / Disarm'

KPT

'Fluid Bonded / Disarm'
SELF-RELEASED

US electronic producer KPT (Kept) returns with a surprise new single in the form of 'Fluid Bonded / Disarm', a double a-side release that blends minimal techno with darker ambient electronics and industrial for a haunting and atmospheric pair of tracks to chill and unnerve.

It's been a couple of years now since KPT's full-length debut which showed off an innovative blend of edm, techno, darkwave, industrial and ebm that was reminiscent of acts such as Diamond Version, Aphex Twin and Blush Response.

With this latest single it's easy to hear the progression in KPT's sound – those elements are still there but the slow and methodical 'Fluid Bonded' shows a more overt step towards minimalism and dark ambience. Whereas 'Disarm', while still linking in with the atmosphere of the previous track, has a more up-tempo beat and therefore a more subversive dance feel to it.

As with previous releases the production quality remains top-shelf. Even with darker experimentation and heavier ambience the tracks keep a melodic appeal that, especially in the case of disarm, translates nicely into a dance-friendly direction akin to Juno Reactor.

This is another strong release from KPT that raises a lot of questions regarding the potential direction of the next full-length album. It may be a far more atmospheric and experimental work than his last outing... or this may be a brilliant curve-ball. Either way 'Fluid Bonded / Disarm' is a solid single.

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