Category: Industrial

Bandcamp Friday August 2026 Part 1

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I haven’t done a Bandcamp Friday review in a minute. I still really appreciate that Bandcamp as a company still cares enough about supporting musicians to waive their fee one Friday a month. Already it is the best way for new up and coming artists to get their albums into the hands of fans in the modern era. So today I did a post in the Sounds and Shadows group asking for some new releases and I will fire through several and give my impressions. If you see value in learning about my favorite new Darkscene music releases, Interviews, and Updates. Please follow us on Facebook/Instragram/ SoundsandShadows.com and consider following our Patreon to support. $1 a month helps me out and I deeply appreciate the support.

Sounds and Shadows | Music Reviews, Interviews, Videocast Connecting the Darkscene | Patreon

Lilac Lament – Margot – Haunting old-school 90’s flavored goth from Chicago. A real throwback to Sunshine Blind/Switchblade Symphony with this eerie atmospheric crushed velvet textures. I heard about this band from Dani Ashes and they are always a voice in what to look for in goth. This single is the only one I found for them so far, but I was an instant fan. Vocalist Moth Del has a dark and haunting voice that drips with star power.

▶︎ Margot | Lilac Lament

released May 1, 2026
Tary Rolfe, Trevor Slabaugh, Coit Dolhover, Moth Del, Jafet Mendoza

THE DISCUSSION – She Said (Lost Tapes Remix) – La based artist I had the absolute pleasure of seeing open for and then play with Bootblacks last year. Awesome driving dark Chrissie Hynde energy with wicked guitar chops. This remix single whips the tempo of the snare to the limit and really cooks this perfect getaway drive track for a midnight jewel heist. On Artoffact Records and heading out on tour soon. DO NOT MISS THEM LIVE

She Said (Lost Tapes Remix) | THE DISCUSSION

The Sad Hour – Dead Nor Alive – Detroit Death rockers fronted by Charles Urban with a new single that utilizes that pageantry and glam ethos they do so well with blue collar rock romantism. The combination blends into a poetic lyric dream with shades of Bright Eyes. The Sad hour is always showing me something new and beautiful.

▶︎ Dead Nor Alive | The Sad Hour

released May 22, 2026
Written and Performed by The Sad Hour
Luke Hodorek – Guitar/backing vocals
Charles Urban – Vocals
Charles Venditto – Bass/backing vocals
—————————————————-
Justin Dulecki – Drums/Production
Jordan Compton – Synthesizer

Sorrow Stories – So Sick [with Christopher Hall] – UK based Tina Forlorn with a flickering violet new single with aid from the master of angst croon himself Christopher Hall (Stabbing Westward). Loving this recent trend of 90s gothdustrial throwback. It was a too often overlooked time in music so it is wonderful to hear an homage blended with modern beats and production. Three great Remixes by Stabbed By Prongs, Violet Wanda, Adoration Destroyed.

▶︎ So Sick [with Christopher Hall] | Sorrow Stories

You said never goodbye
It was just another lie
In sickness, in health
No heaven, only hell

So much for what we had
If it means nothing to you
All the time that I’ve lost
Giving everything to you

I’m so sick…
and you’re so sick of me
I’m so sick
and I’m so sick of me

released August 7, 2026

‘So Sick’ by Sorrow Stories [with Christopher Hall]
Music & Production, Vox & Lyrics by Sorrow Stories
Guitar, Post-Production & Mixing by Christopher Hall
Remixes by artists as stated
Artwork & Digital Booklet by Sorrow Stories
Mastering by Sorrow Stories

Decomposition by Choke Chain

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Decomposition | Choke Chain

released July 10, 2026

Written and produced by Mark Trueman in La Crosse/Milwaukee, WI
Vocals recorded at Subspace HQ in Milwaukee, WI
Mastered by Eric Oehler and Grant Richardson
Art by negativemeditation and VIOLENCE.PARANOIA
Layout by Sam Stoxen
Photography by Carlos Azuara
Thanks to: My friends and family for existing, Negative Gain, Phage Tapes, Everyone at OmenMilwaukee’s Choke Chain serve up Decomposition, some unapologetic old-school style industrial noise for your earhole.

It’s aggressive, grating, abrasive and brutal. It’ll piss off your parents, your neighbors and your dog.

In short, it’s everything that makes industrial music great!

Never mind the niceties. This is raw naked aggression served up in a handy five-song EP.

Two additional remixes give DJs ammo for the dance floor as well.

The Joy Thieves ” Apocalypse Pending”

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Chicago Industrial Supergroup The Joy Thieves on Armalyte Industries in 2018 has a brand-new album just in time for the steady decay of the post Capitalist society. Drum Daddy Dan Milligan started this project in 2018 blending a love of live punk rock power, and industrial electronic expertise. A chance meeting through his wife with Chicago Industrial Supergroup legend Martin Atkins (Pigface) led to Milligan compiling a talent packed armada to rival any group in the genre that includes current, former, and touring members of bands such as Ministry, Stabbing Westward, Rollins Band, Killing Joke, Pigface, RevCo, PIG, David Bowie, Blue October, Machines of Loving Grace, Depeche Mode, Nine Inch Nails, KMFDM, Naked Raygun, Foetus, My Life With the Thrill Kill Kult, Pegboy, Nitzer Ebb, and more. I’m proud to say the “more” even includes me.

The Joy Thieves – Apocalypse Pending – Lyrics by Chris Connelly (Yes that Chris Connelly)

Additional production by:

Derek Christopher –Penfield Studios
Mark Pistel -Room 5 Studios

Jeff Harris -JH Studios

Steven Archer -House of Wolves

Dee J Nelson -DJN Music Studio

Jane Jensen -Autozen Music

DJ Darryl Hell -HellLab Studios




Mastered by James Scott at Populist Recording + Mastering
Art direction by Destiny Justic Scott

Original artwork by Charlie Athanas for Burning City

2022 Sounds and Shadows Interview with The Joy Thieves

The world has steadily progressed into a pea green soup skied nightmare of political confrontation, media overload, and wealth disparity which has us all terrified for the future. Enter the sonic baseball bat with nails driven through it to fight back against the dumpster fire that is “Apocalypse Pending“. From the funky bashing buildup of 52 second title track intro (Milligan/DJ Darryl Hell) into the first single “No Anchor” (Connelly/Milligan) we are thrust into a desperate crumbling world which the Thieves immediately start beating the piss out of until it releases the sweet juice of hope.

“Why am I desperate to have no anchor? To prowl just like a panther? I can’t remain for anyone Why is it frostbite in July? So strange the time flies I can’t remain for anyone I will not stay, I’m not wanted I’m neither living, nor haunted Beauty has no anchor, don’t forget you’re here “

Things that really stand out above the pack in 2026. 1) The drums here (As expected by Drum Daddy Dan Milligan) are absolutely electric. Every track to tight, clean, but always feels like it is rattling off the tracks. It never does but the sense of anxiety created by controlled chaos releases your adrenaline. 2) This is peak Chris Connelly, not that he ever goes wrong but I think Dan and company are huge fans that really understand the pocket to create for one of the best ever to do Industrial vocals to let him shine. He snarls, croons, spits, and breathes with perfect intuitive timing. 3) The lyrics are the self-aware directed anger that this era is screaming for given voice. I just don’t spend enough time reading along with the lyrics sheet while listening to music these days, but that’s exactly what this record had me doing. 4) The guitar tones here a DIALED in, they are crunching and cooking just beating you over the head while you stomp.

Favorite Tracks: Honestly all of them. This is a hit play and let them cook album. That is a cop out answer though so here we go.

“The Wrong End Of Your Rifle” – What a flow this track has. It is so real with 90s Industrial homage and Public Enemy political intelligence.

“Not one to clash with my investors
More like cardiac arresters
Menace, ignorance
And heavily armed court jesters

Blamin’ it all
Menace becomes investor
Pay to win
Corporate branding on your sin of sins
You came to blame
And nothing will keep you stifled
Menacing
At the wrong end of your rifle”

“Knife Fight Nihilism” – Jensen and Connelly do a beautiful vocal volley in a slam poetry full of razor wit and funky beats. I love the old school record scratching effect and slippery phrasing.

I’m kind of warming up to you
And your consistent fight
To make it true
A knife fight in a garden
Close to paradise
A royal pardon
Look what’s branding us with heavy shields!
And mortal stuff we can’t reveal
You spilled your guts out
And the dogs prepared to feast
A knife fight honors every carnivore and every beast
Unlikely bloodstains make a pattern
Like a jigsaw on the lam
Unlikely jetties rid the sea of bodies
Dead serious, or just another dead man?

This album is a must have and an early contender for my album of the year.

Caustic – “FIEND I”

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There are a lot of things that make Industrial Music, Industrial Music. Intensity, absurd sounds, samples of movies everyone should stop sampling (I’m looking at you Full Metal Jacket). One of the others at the top of the list is authenticity. True industrial music is a gory high fidelity pulsing vein of truth that lays an artist bare spread eagle on a sun dial at high noon with a metal pole bursting through their chest for all to see. That is who Matt Fanale is. That is what this record is.

FIEND I | Caustic

released August 20, 2025

All songs by Caustic/Matt Fanale, except Thirsty Dog, lyrics by Nick Cave

No AI went into the making of this. Don’t be a hack.

Why do we love Madison Wisconsin Industropunk Caustic? The punk rock ethos? The intelligent political vinegar? Is it the fact that Matt loves bad ass beats as much as you do and dedicates his life and time to making sure your fuking bones quake when his bassline drops? Pick an answer. One truth remains, for 1.5 decades now Caustic has been giving you both barrels of fearless phosphorus dragon round industrial music and the Fiend dual albums leave it all on the floor.

Favorite tracks:

“I Love You Matt, but fuck off” – Pure Industrial bare boned self-flagellation. It’s mean, it’s fearless, it’s beats are thrashed within an inch of their life. I love the craft, I love the energy. This the sound a 16 year old me screamed at the moon for.

“Pushing Rope” Part of the amazing beauty of Caustic is to scream rusty nail anger while tearing yourself down a peg. It is real, it is relatable, it is staring at your own mortality how fuking dare you universe.

“I‘ll Throw A Mountain At You” – “When you’ve got nothing to lose I’ll throw a mountain at you” Unhinged aggression with glitchy beats relatable in the modern times. I love the classic growling cadence and exposed emotion.

FIEND I | Caustic

Rather you are talking Caustic, DaddyBear, or Klack, Matt Fanale is a geyser of propelled emotion and boot stomping beats. There is a Part II of Feind out and I look forward to reviewing it too. Matt is one of the real ones, Caustic is a legend.

The Squirrelly Years Revisted by Ministry

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“The Ministry album “The Squirrely Years Revisited” is called that because it compiles re-recorded versions of songs from the band’s early, synth-pop-influenced “squirrely” era in the 1980s. Al Jourgensen reportedly disliked these early works, and “The Squirrely Years Revisited” represents a revisiting and re-evaluation of that material. The title also reflects the band’s journey from their initial synth-pop sound to their later, more industrial metal sound.”

That’s how the overview reads and that pretty much nails it on the head.

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If you’re like me, you had fond memories of those days when Ministry was the catchy, synth-heavy ear worm that was always a fun four-minute ride on the radio.

Sadly, the album Twitch wasn’t on my radar for several reasons. So I was completely unprepared when MTV’s 120 Minutes debuted the then new single, Stigmata.

At first I was confused. “Did I hear the name right?” “Is this the same Ministry?” “What the hell did I just watch?!?” These, among others, were the thoughts that ran through my junior year mind. This would take some digesting.

A few short years later, I was working at my college radio station when I finally got the whole story: Jourgensen got a raw deal from his record label and made With Sympathy, an album that was well-received but if Jourgensen had his druthers, would have sounded differently.

By this point, The Mind Is A Terrible Thing To Taste and In Case You Didn’t Feel Like Showing Up were on our shelves. This would, in my mind, forever cement their sound and lead to a decades-long love affair with aggressive guitars, pounding drums, and growled vocals.

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Those who are familiar with the early material (including myself) probably cannot help but compare these new versions to the originals. But, to be fair, Al Jorgensen and Co. didn’t try to reinvent the wheel on these songs. They just gave them a little extra “oomph!”. Beefed up guitars and a heavier-hitting drums reign prominently throughout the album. But the likes of the revised Work For Love or All Day maintain their danceable qualities. Jourgensen does, however, take some chances with the vocals, employing the distorted treatments that would prominent on later albums such as The Land of Rape and Honey.

All of the classics are represented on this record like Every Day Is Halloween and Revenge. Fans should have a very satisfying experience listening to these classics being given a fresh coat of paint.

https://music.apple.com/us/album/the-squirrely-years-revisited/1794406730