Deathline International’s anticipated newest release, Pax Americana, is a nice, comfortabole mid-tempo ride. It never rushes to get where it’s going but you enjoy the journey just the same.
Spin Zone is a strong opener that’s both dark and a party jam at the same time. And I thought the Andy Griffith sample was a nice touch.
In fact, spoken-word samples permeate this whole album, giving it a classic old-school industrial feel. But if anyone has a right to get old-school it’s producer John Fryer. When Fryer wasn’t making seminal electronic music, he was in the room. These throwback elements don’t seem tired and remain fresh in Fryer’s hands.
‘Inside’ has a nice balance between clean and distorted vocals and also has one of the catchier choruses on the record, IMO.
The minimal opening to ‘Lip Service’ harkens back to somewhere between 1990s Depeche Mode and Nine Inch Nails before going into a crunchy power ballad.
‘Born Again’ has the most memorable line with the repeated chanting of, “God loves what you hate.” Also a very catchy chorus.
‘In Deb Staub’ Is the most danceable song of the bunch with smooth synths delivered over a pounding beat, crunchy guitars and an Ogre-esque vocal delivery.
‘Sinking’ is a slow jam with lead vocalist Th3Count doing his best Roger Waters and is a great example of DI’s eclectic style before closing nicely with ‘Quiet’.
Old-school rivetheads will love this record because it’s a nice reminder of what we all love about industrial rock. It’s also a great starting point for newbies who want to dive head first into what’s current.
From deep in the heart of Texas comes SPANKTHENUN, with an inkling for old-school EBM worship. Their previous full-length effort, volume one of The Bunker Tapes, saw production overseen by the legendary Claus Larsen. With a punishing lead single in “Dominate,” the group have put the dark electronic world on notice, and with The Bunker Tapes Vol II, they wage war with vintage weaponry. Invoking memories of Skinny Puppy and the darker, snarlier days of EBM, this collection of nine original tracks, joined by a handful of remixes by acts such as Mirland and Planet Damage, is just about as no-frills as classic industrial gets, even with the modern lens and production standards.
Starting off is the lead single “Off Beatings,” with vocals by the aforementioned Larsen. It’s a mid-tempo, focused dark electro number with a marching beat that burrows and settles in the chest, if only to allow the follow-up, “I Self Me” to let the synths breathe just a bit more. Whereas “Off Beatings” is an icepick to the brain, “I Self Me” is more of a cattle prod jabbed into the side, urging you to move along while inflicting uncontrollable movement with its tubular synth work and low, snarling verse vocals. To that end, “The Smoking Gun” is a blend of the danceable synth work and the stomping grooves seen thus far, with a creeping but simple bass line pushing things forward.
“Right Father” is easily one of my favorite songs from the disc, with its post-punk melody, dancing synth lines, and the reverb-laden snare that evokes memories of the old guard. It lends itself nicely to its successor “Sick Pathos,” with its two-note bassline and samples abound, making for an instrumental dance floor filler that is all killer. The theme of a two-note bass line continues with the schizophrenic “Man on the Moon,” another banger with a certain cyberpunk flare not felt thus far in the album.
Perhaps the most mainstream-ready track is “Industrial Beats,” with a four on the floor groove and a message we all can understand: “Music gives me what I need / I need my industrial beats.” And was that a Bill Moseley sample I heard? At any rate, the bouncy, descending melody of “Lockdown” feels like it would really ramp a crowd up at a live performance, the slow build to the hook growing the anticipation. It’s a droning, burrowing piece with the reminder that we all, in fact, live in the broken machine-ah. We move forward into the mid-90s or so with the last original track “I Am The Fire,” with its slower pace making for more deliberate grooves. The vocals stand out here, a low talk-sung growl that lets things burn all the more brightly.
We then pivot to the remixes with Mirland’s remix of “Off Beatings.” It’s far more percussive than its album version counterpart, with more 808s and less of an overall melody. Next comes Nature of Wires remixing “Right Father,” adding realistic drums (insofar as they sound like they could be live) and taking some of the mud and distortion off of the vocals. Planet Damage’s take on “The Smoking Gun” feels like textbook 90s industrial, with plenty of flare and panache to take it to places the original mix didn’t need to go. We end on the Psychosomatik remix of “I Self Me,” which brings the war with machine-gun percussion, though it does so in a more club-ready fashion.
Sounds and Shadow’s interview with SpanktheNun
My first taste of SPANKTHENUN was Glitch Burn Sin, and I’ve yet to be disappointed by them. Single after single, record after record, this is an act that turns out bangers that hold down the underground. This is a must-listen album for fans of industrial, new, old, and otherwise.
It has been a tough few months. A Lot of stress, but also a lot of exciting news. Sounds and Shadows keeps finding new ways to grow like last months S & S Darkscene Chart. I did Bandcamp Friday reviews last week, but I wanted to write a few tonight and just spend some time with new music. As always reach out to me or one of our other reviewers if you have something you want to hear us write about.
Machines With Human Skin – Transience – Brand new album from Chicago Industrial artist Adrian Halo. I’ve been spinning a bootleg CD copy of this Adrian handed me at Coldwaves festival. I’ve really loved watching his growth and progression. As a songwriter and producer I hear continual learning with every release. Such an underrated aspect or organic growth. I love how this album uses the power of a whisper. The power and anger comes forth, but not with exploding bass, ear splitting guitars, and screams. When you deliver lyrics with a breathy and melodic intensity it makes you lean in to listen. Makes you want to be inside the circle and absorb the emotion. The bounce of these basslines really create movement and give the wispy chant a vehicle. This is my favorite work MWHS have put out to date, it is effortless, soulful, and the mix really sits in the pocket without forcing the intent.
Hey look, It’s Adrian and I in the Post Punk Industrial Museum
Favorite Track: Invisible – This song really struck me in part for the clean and focused tone. In part for the raw and exposed aspect of the lyrics. It’s glitchy with a high energy pace and curled lip defiance. A firehose of pressure and political discourse fired with crystal cool water and builds.
Recorded at Maynott Studios, Chicago, IL Mastered by Jules Seifert at Epic Audio Media, London, UK Artwork: Jim Marcus
Sequential Zero – Second Sequence – Some of the great Australian goth talent teams up with Orcus Nullify axe master Bruce Nullify. Ant Banister of Sounds Like Winter provides a haunted, emotive delivery on vocals. The dark disco style Lenn drums create an abstract Cabaret Voltaire openness. The tracks are gripping hands of tension, holding the mind and forcing introspection. This release really excites me for the future of the project. So many talented voices finding a space together and lifting each other up.
Helix – Bad Dream – It surprises me I don’t think I have reviewed the powerhouse team up that is Mari Kattman and Tom Shear (Helix). I will rectify that now. Bright, bold, and teaming with energy. Mari has an elegance to her voice that feels like a bird of prey gliding on an air current. This is music that makes my legs pump with a desire to concur the world. I’m genuinely mad at myself I haven’t listened to them more before now. Track 2 Slip has a gorgeous triphop backbeat that captures the idea of movement on ice. I love the subtle changes in the vocals cadence, everything happening in the same volume and range, yet creating movement with tiny variations. Masterful songwriting and execution.
Favorite Track: Run (Hallowed Hearts Remix) – These tracks have all really impressed me. This one though managed to take that same beaming energy and fire it through a violet lens of darkness. The shadowy tones open up even more space for Mari’s vocals to shine. I put this track up for the S & S Darkscene charts. These layered guitar leads add a whole other level.
daddybear – Hypnotic (feat grabyourface) – It seems whenever Matt Fanale (Caustic/Klack) and Marie Dragontown (Grabyourface) team up glory ensues. This beat is grinding dance floor magic. Marie’s vocals are sensual and terrifying. The whole song is a promise of ill intent which remains tantalizing while communicating destruction. After a few collaborations anytime I see this team put out a new song, it is an automatic buy. I have been requesting it in every Twitch Dj stream I jump into.
Goth Professor – Swamp Gothic (Halloween Single) – Unnerving atmospheric horror trance from Florida’s Goth Professor . I really didn’t know what to expect wadding into these swampy waters. If you want to invite 9 guests to a mansion, feed them delicacies, then commit a murder everyone remaining is left to solve. This is the soundtrack you need.
The newest offering from Stoneburner now on COP International is now available and Steven Archer keeps finding ways to ferociously raise the bar in modern industrial music. Teaming with COP International and adding in a legendary producer like John Fryer [NIN, DM, Cocteau Twins, etc] pushed the precision and clarity of message. To create an album full of ruckus noise and chaos which focused on lyrical message about a giant wolf god reigning apocalypse on a world that had lost it’s way. The metaphor tackles hard truth in everything from feminism to mental health. Crushing percussion and uncharacteristic pop hooks combined with wry wit to sling shade at the industry from within.
We got to interview Stoneburner in Hamtramck MI backstage
In true Steven fashion there is also a mystery to solve within the album:
We offer the physical as well as a digital version of this album and tried to figure out what could entice you the unsuspecting fan to get the actual CD. So Steven came up with an elaborate scheme. Within the artwork of the CD version is a hidden puzzle. Solve the mystery and get eternal bragging rights! You will also get a secret email address. If you are the first person to crack the riddle you will receive the original piece of cover art.
Photo by Jen Jeffery including Nathanial and Hemlock
Currently on a must see tour to support. Find Stoneburner passing through your city:
10/15 Fallout, Richmond VA10/21 Darkotica, Cincinnati OH10/22 Small’s Bar, Detroit MI10/29 Mr Small’s Funhouse, Pittsburgh PA10/30 Dracula’s Ball w The Crystal Method @ Underground Arts, Philadelphia PA10/31 Ivy City, Washington DC11/3 Red Sea, Minneapolis MN11/4 Liar’s Club, Chicago IL11/5 X-Ray Arcade, Milwaukee WI11/6 Black Circle Brewing Co,Indianapolis IN11/7 The Crack Fox, St Louis MO11/12- 11/14 Unconvention (also w Ego Likeness), Iselin NJ
Currently #3 on the Sounds and Shadows Darkscene Chart !
No Light No Spark – I just adore the brutal tank tread juggernaut feel of this track against the melodic chanting. A vibrant explosion of energy against a desolate darkness.
Spectrum – Sharp striking dance track addressing the neurotypical and expanding understanding of brainwaves in the current world. Donna adds vocals here to add shining blade contrast and light.
Photo by Jen Jeffery
Overall: This is Steven taken off the chain and turned to 11. Unapologetic making industrial music of wild machines and wires. Spewed forth with venom to a world without a concern to how it will land. This is the true punk rock ethos driving giant steam punk construction vehicles. This is the industrial that Joe Strummer prepared us for.
It is 10:30pm on a Saturday and I am 3am drunk. Let us stumble through bandcamp and seek out what is sparking joy on this fine October night.
COMPACTOR – Tension Crucible – Brand new album from New York City artist. They have a unique creativity to both his music and the formats he releases it in. I am always astounded by his out of the box thinking for the delivery system of his tracks. People use the term Industrial music, but I feel like Compactor really embraces the blue collar concept of found machinery recorded, converted, and repurposed into true Electronic music meant to infuse with the human body. There are no words. This is not poetry. This is working music. Rhythmic, grinding, sparks flying from sheet metal destroyed with power tools. This is grease and grime with clean streaks of sweat. It’s music of inspiration to drive yourself until you can’t do more. To complete the task. Seldom do I review an album with such a clear purpose.
Favorite Track: War of 1312 – I’m not sure what the reference is to. The marching beat, the syncopation, the metal on metal tension building in aggression and machine precision is unnerving as it is powerful. A perfect summary of the tightening of the muscles this album creates. (I learned later this was a reference to the Code 1=A 3 = C 1 = A 2 = B in regards to the street clashes between BLM protesters and police) Added a whole new layer.
unitcode:machine – Themes for a Collapsing Empire – Dallas TX Industrial artist has been on my radar for a while. This new album hits a whole new gear. I remember being at Cold Waves this year and hearing person after person in the know say “Holy shit have you heard this album”. This is a masterclass in marble statue precision craftsmanship in electronic music. The vocals are melodic and driven in a way that haunts your head. I love how clearly the poetry of the lyrics rings out beyond music that fills every wall of a dance club. It follows the template of classical industrial while finding a tone distinctly it’s own. People need to know about this, it needs to be appreciated.
Favorite Track: Falling Down/Drift Away – It’s so hard to choose, because while Falling down is the zenith of everything i just described that makes me love this album. So Eric. Drift away brings in Emileigh Rohn of CHIASM with her fusion reactor bright burn voice over a slower deeper musical concept to break up the runaway freight train of the other tracks.
Slighter – Void – LA electronic songsmith producer with another powerful release. Colin Cameron is an absolute maestro of riding the razors edge between drifting spaceship on the edge of the known galaxy and that hook that gets stuck in your mind for days. The true modern day composer commanding a symphony of expression at the tips of his keyboard. The aptly named Void is a lost soundtrack of space horror like Event Horizon. Cameron has a sexy whisper voice that leads you like a siren into the unexplored darkness. Brilliant use of guest talent like Vocals on “Spill Blood” by R.A. Desilets. Proving again to be at the top of the game while drawing far outside the lines.
Tigersquawk vs. COP International – I love Compilations, I love Tigersquawk, I love COP International. One low price for 36 badass tracks to put you in the know of some of the best EDM Industrial in the world. This is wide in it’s scope. It is mixed and mastered by Slam, with wicked art by Greg Rolfes. So much value in one place where I guarantee you will find 7+ bands that you will immediately follow. The level of quality and diversity here is staggering.
Favorite Track: Ok normally this would be near impossible because there is so much good here. The Batavia is a undisputable jam. In fact everything i hear from them is pure gold. However one track did absolutely destroy me. Gasoline Invertebrate feat: Chris Connelly remixed by Ivardensphere “Scarlet Slip” was a dream team too powerful to overcome. It had Brian’s leg day industrial with Connelly spitting highspeed pew pew poetry and buzzing bass beats. It’s absolutely captivating. One of those tracks you didn’t know you needed until you couldn’t live without it.
