EMQ’s With ALMØST HUMAN

Almøst Human Logo

EMQ’s With ALMØST HUMAN

Hi everyone! Welcome to our new EMQ’s interview with Swiss Industrial/Metal band, Almøst Human. Huge thanks to guitarist, Olivier Perdrizat, for taking part.

What is your name, what do you play and can you tell us a little bit about the history of the band?

My name is Olivier and I play guitar in Almøst Human. Rosario (drummer) and I founded the band long before velociraptors walked the Cretaceous ground. We are a rather classical Swiss band: vocals (Ben), bass (Sara), drums (Rosario) and two guitars (Gilles and me).

During spring 2019, We had a dozen concerts and notably won the Greenfield Festival (CH) competition. Our victory allowed us to play at the most important rock and metal music festival in Switzerland alongside Slipknot (USA) and Lamb of God (USA) in June.

Opening for international bands such as Bloodred Hourglass (FIN) or Ultra Vomit (FR), Almøst Human has been selected as a finalist for the Swiss Metal Battle in early 2020. A first place means playing on one of the mythical stages of the Wacken Open Air festival (DE) in 2022!

Two great dates are scheduled for early 2022 with Loudblast (FR) and Triptykon (CH).

How did you come up with your band name?

It was a previous drummer of the band (Pascal Ranzoni), a big Kiss fan, who suggested the name. I immediately found the idea excellent because it allowed us to address a whole series of issues in our songs. Thanks to him!!!

What Country/Region are you from and what is the Metal/Rock scene like there?

We come from the French speaking part of Switzerland. Some of our members have different origins, Swiss or foreign, like the society of our country.

All styles of Metal/Rock are represented in our country by excellent bands, so the musical scene is rich and varied. However, we are not in a country where the choice of a musical career seems to be seen as a real job, with a few exceptions, of course. Our country has four official languages, with German as the main language. Therefore, each linguistic region has its own audience, its own sensitivity, and its own market.

What is your latest release? (Album, EP, Single, Video)

The album “XS2XTC” (Excess to Ecstasy) is our latest release (2019). We self-produced it thanks to the fantastic work of our former guitarist Chris Matthey at Royal Studios in Lausanne (Switzerland).

The cover art of the CD has been awarded as one of the 100 best illustrations in 2019 by the English magazine Heavy Music Artwork. We also received financial support from the city of Yverdon-les-Bains.

‘System Of Beliefs’ (Official Audio)

‘WarPigs’ (Official Audio)

Who have been your greatest influences?

The Beatles… strange??? I always enjoy listening to their compositions. Especially the period covering the years 1967 to 1970.

What first got you into music?

A classmate. We ended up playing together by the way.

If you could collaborate with a current band or musician who would it be?

Alice In Chains, Katatonia, Korn, Meshuggah, Devin Townsend and many others. But in the end, I think I can learn from everyone.

If you could play any festival in the world, which would you choose and why?

I went as a fan to different festivals. Wacken, Hellfest, 70,000 Tons of Metal. So, I would be immensely honoured to be able to sweat it out on stage.

I think every festival is unique, so I will play anywhere if the organizers accept us.

What’s the weirdest gift you have ever received from a fan?

Ahaha…As I am just stardust…nothing special. But if any metal fans produce any culinary specialties, I’m in. Otherwise, no weird stuff that tastes gross.

If you had one message for your fans, what would it be?

The pandemic has taught us that our economic world can quickly come to a standstill. We risk being subjected to profound upheavals, particularly climatic ones.

It is, in my opinion, urgent to develop benevolence and solidarity among ourselves and for all living things.

We must not give in to the temptation of radical and polarized world views. They will only divide us and completely miss the changes we need to make.

If you could bring one rock star back from the dead, who would it be?

Ooops!!! John Lennon, George Harrison…otherwise Mozart, Beethoven. But would they be willing to come back down here? Curious or afraid of the changes since their death?

What do you enjoy the most about being a musician? And what do you hate?

I don’t think I hate something. Hate is a poison that eats away at us from the inside. Composing is what I enjoy most. Searching for sounds, experimenting, arranging. Learning from the experience of other bands as well, regardless of musical style or area of expertise.

If you could change one thing about the music industry, what would it be?

Working hand in hand, not against each other.

Name one of your all-time favourite albums?

Soundgarden – “Superunknown”

What’s best? Vinyl, Cassettes, CD’s or Downloads?

In ecological terms…none, I guess. They are means of musical diffusion. If their sound quality and longevity are unequal, they nevertheless allow to reach audiences with different listening habits.

The most important thing for me is that the music is pirated as little as possible. The survival (I’m not even talking about life) of many artists depends on it.

What’s the best gig that you have played to date?

The one that brought the most pleasure to the people present that day.

If you weren’t a musician, what else would you be doing?

I don’t consider myself a musician or an artist. I don’t think I have accomplished anything to deserve those titles. I am a typographer by trade, so in the graphic arts and I am very interested in everything that touches our functioning as humans. Our conditioning, the way we perceive the world, so human sciences, meditation.

I also love history and cooking. I could also be interested in beekeeping or anything related to the protection of the environment and allow us to eat as healthy as possible.

Which five people would you invite to a dinner party?

Hérodote, Friedrich Wilhelm Nietzsche, Carl Gustav Jung, Nagarjuna, Nelson Mandela. Good mix…???

What’s next for the band?

Write and record new songs. Currently, I’m working on the lyrics and have the chance to collaborate with Catherine Fearns, writer and big metal fan.

I’m looking forward to this opportunity and recommend you read her writing by going to her website: www.catherine-fearns.com/

What Social Media/Website links do you use to get your music out to people?

Here they are:
www.almost-human.ch
www.almosthuman01.bandcamp.com
www.facebook.com/almosthuman.ch
www.instagram.com/almosthuman6/
www.twitter.com/almosthuman01
www.soundcloud.com/humanimals
www.open.spotify.com/artist/2jk4p2YRVzmbfBVJOYOLzg
www.youtube.com/user/humanimals01

Jaffa Cakes? Are they a cake or a biscuit?

Wait a minute, please…I’m calling McVitie & Price Ltd.

Or are you talking about pastries made by the Jaffa, a people originally from the planet Chulak? I didn’t know they had any confectionery skills…could you tell me more?

Thank you for your time. Is there anything else that you would like to add?

Thank you for this opportunity to express myself. Thanks also to all those who will take the time to read me.

Don’t hesitate to send us your impressions and points of view on our music by writing to us at info@almost-human.ch

I wish you, your family and friends the best of health. Stay curious and open-minded.

Olivier

Almøst Human Promo Pic

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Malice Machine – Chemical Violence

Chemical Violence Album Cover Art

Malice Machine – Chemical Violence
Self-Released
Release Date: 16/07/2021
Running Time: 63:44
Review by Dark Juan
8/10

It will no doubt surprise you all mightily, dear readers, to learn that your favourite extreme music enfant terrible sometimes suffers from mental health issues. Whilst I shan’t bother you with the minutiae of it all, there are times where my creativity and my sense of worth suffer and my writing dwindles to nothing, be it the drivel I direct at you all at the behest of my Lord and Master, the formidable (and worryingly imposing) Generalissimo Richard “Just Write Something When You Feel Like It, You Northern Gimboid, Simon Has Written 470,000 Reviews To Your One, So We Aren’t Short Anyway” Tilley (who didn’t really say that and is more than supportive of his team when they aren’t at their best), or the somewhat warped fiction that spews from my diseased imagination that I somehow never get round to tidying up and releasing. Although there are some on Ever-Metal.com. There is a point to all this nonsense. If you are suffering with issues of mental health, or are feeling like the world is better off without you, for the love of Satan go and get some help. The world is a better, more vibrant place with you in it. Write your pain down, make art out of it, use it to drive you, but never succumb. Achieve catharsis. Do whatever you need to do to mitigate your own suffering and you’ll be your own hero or heroine.

This is IMPORTANT. Too many people suffer in silence, and too many people succumb to their own personal horror. And to the friends of people who may be suffering in silence – check up on them. Be their friend in the true meaning of the word. A well-timed word, message or deed could be the difference between your friend/loved one/acquaintance topping themselves or taking the first step on their recovery or their being able to cope with or manage their emotions. Stand by, support them and forgive them if their misery causes you hurt or pain, because it comes from a horrible, black wellspring of awful, uncontrollable shit. Don’t be afraid of challenging it though. I’m perfectly aware that this is supposed to be a record review and it will become one in short order, but there are people suffering who need not be, and even Satanism tells us that love is the law. I won’t apologise for writing this missive and I am sure that Malice Machine will forgive me for proselytising…

The aforementioned Malice Machine are a duo who hail from Pennsylvania, in the jolly old US of A and the music they bring to us is some of the bleakest, arctic industrial music I have heard in a long time. Malice Machine draw influence from some of the industrial greats – I hear Skinny Puppy (especially around the “Cleanse, Fold and Manipulate” era), Front 242, “Mind Is a Terrible Thing To Taste” era Ministry, Front Line Assembly, Wumpscut, slowed down KMFDM without the glossy polish, British techno-metal bruisers Cubanate (especially in the harsher vocal performances) and Nitzer Ebb, and in the more electronic moments I can detect Suicide Commando, Funker Vogt and Christ Analogue. These are absolutely brilliant influences to have in my opinion.

It’s therefore clearly obvious that Malice Machine cover a lot of the territory of industrial music. This means that the music could go one of two ways – either it’s a colossal and messy clusterfuck of influences or it is music that is viable in itself, regardless of the broad church it springs from. Pleasingly, it is the latter. ‘Machine Hate’ references KMFDM with electronic squelches and beeps and dissonant phrasing, yet is much murkier and machinelike in tone than the highly polished, latex-and-feather clad multinational industrial rockers. ‘Nothing’ is an amalgam of Front Line Assembly influenced electronic industrial overlaid with a similar vocal to Cubanate’s Marc Heal in his quieter moments. The more I listen to Malice Machine, the more I am impressed by their melding of some quite disparate influences to form something predatory and newish. Malice Machine’s great strength is not their pure originality. The execution of their music is the overwhelming power of their sound. The band are uncompromising in their delivery and shudderingly violent sounding. Few bands with electronics in their sound are able to project power with them. Glossy and polished this battlewagon isn’t. It’s belching diesel smoke and is pitted and corroded matt black and roaring explosive death from massive cannons three feet away from your unprotected head. Malice Machine conjure up images of heavily armed cyborg warriors with no faces marching in perfect synchronicity over the ruins of the city they have just carpet-bombed, throwing plasma grenades into basements and firing laser rifles at fleeing figures.

However, I do think there is a little too much reliance on mid-tempo speeds. The songs don’t differ enough in tempo or tone. Every tune is blacker than the heart of this reviewer and shot through with rage and pain, but an over-reliance on squelches and buzzy, warped basslines rob the overall work of some of the power it could have had. I can’t fault the production of the record though. Every single sound is represented with perfect, icy clarity. When there is guitar, it sends the music into a new gear, but the guitar is quite sparse throughout the album (“Chemical Violence” being the second offering from these American industrialists) and sometimes the songs suffer from the lack of it. ‘Head’ even lifts the drum sound from NIN’s ‘Closer’ and uses it to advantage as the unifying force behind the whole song.

So, here we have a quandary. I really like this record because industrial is my jam. I love the combination of red raw vocals combined with the purity and machinelike precision of industrial. I love this mid-paced, mechanical violence and power, but not all the time. ‘Techno Pagan’ offers a welcome break from industrial marching music and speeds things up a bit though and throws us a curveball in the middle eight in the form of a massive techno break that manages to sound very like Cubanate at the same time. Another thing I am not keen on (although I can’t really count it as a demerit because you’re getting a lot of music for your money) is the fact that the record has fourteen songs, and that makes it a bit of a chore to listen to. You have to set aside considerable time to listen to it in one go.

The Patented Dark Juan Blood Splat Rating System has made a decision. Malice Machine are awarded 8/10 for a very good record indeed, with two minor flaws – it’s overly long and there’s too many mid-tempo stompalongs. An improvement in quality control would pay dividends because Malice Machine have a lot going for them and I want a lot more!

Oh, and I managed to only swear twice in this review, thereby proving that I don’t have a gob like a potty all the time.

‘Restrict’ (Video)

TRACKLISTING:
01. Prototype
02. Restrict
03. Corpse Painter
04. Dead Circuit
05. Lament Box
06. Machine Hate
07. Nothing
08. Decay
09. Synthetic Slave
10. Ruin
11. Head
12. Techno Pagan
13. Winter’s Dark
14. Down In The Park

LINE-UP:
Syn Thetic – Vocals, Synths, Guitar, Programming, Bass, Mixing, Production, Anger
Ammo – Drums, Percussion, Programming, Tech, chaos

LINKS:

Malice Machine Promo Pic

Disclaimer: This review is solely the property of ‘Dark Juan’ and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

IN Veil – Lunatic EP

Lunatic EP Cover Art

IN Veil – Lunatic EP
Self-Released
Release Date: 06/08/2021
Running Time: 20:27
Review by Dark Juan
10/10

Greetings from a subdued Dark Juan, ladies and germs. I am subdued for several reasons – absinthe consumption has left me in doubt of my own sanity, Air Vice Marshal Sir Zeusington Zeus VC, KCVG, MM, DFC and Bar has been shitting through the eye of a needle (generally indoors) for two weeks, on the hour, every hour (it is a running joke in my household that Zeus periodically has the “70 quid shit” and then is reet for another 4 months), Mrs. Dark Juan continues to scare the living shit out of me and any visitors to Dark Juan Terrace with her creations (although she has been to chosen to EXHIBIT the damned things at the North Lincolnshire Museum in October with a commendable (or shocking, depending on your point of view) lack of foresight or restraint from the authorities there) and the wipers on the Mighty Gothikpanzer have packed up so I have to drive it when it’s dry. If you have ever experienced a British summer, you’ll immediately understand why this is somewhat annoying. Especially as I am running out of alcohol. However, in a classic case of swings and roundabouts, I found Cluedo for £2.50 and Mrs. Dark Juan has been conveyed to IKEA in Leeds with her daughter, so I am at liberty to bring to you my thoughts about the considerably unhinged In Veil, and their EP, “Lunatic”.

A preamble under three hundred words. Magnificent. Which is also a term perfectly suited to describe the madness of In Veil, being a duo composed of a Transylvanian and a Cuban, who met in the underbelly of Toronto, Canada and subsequently married. One can only imagine the devastation at the reception. Synth-heavy gothic industrial rock is the order of the day here, and you’ll notice that the previous sentence contained two of my favourite genres, so In Veil had better be worth my time, because I am feeling rather misanthropic and am likely to be quite rude if I don’t like them. “Lunatic” is In Veil’s debut EP…

…And rather splendid it is too! Opening tune “Salome” sets the tone for an album that is equal parts Zombie Girl, KMFDM, Rob Zombie and Snake River Conspiracy. Haysi Veil’s vocal performance reminds this half-drunk Northern herbert of a very engaging mix of ZG’s Renee Cooper and Tobey Torres, being seductive tones wedded to blank-eyed little girl squeals and the kind of random nonsense you’d imagine Harley Quinn babbling while she bashed your brains out. If you could imagine the sense of humour of Dead Coyote, Zombie Girl and Talking Heads with a rather more dangerous, gothic edge you’re getting the idea of just what kind of beautiful monster I’m trying to describe.

The whole record has a palpable, throbbing sense of brightly lit, technicolour peril running through it. It’s a carnival of brightly coloured tents with smiling, beautiful faces inviting you to come inside. As you pass them, you see the greying, diseased skin beneath the greasepaint and makeup, and the grins take on a slightly vulpine aspect and you glimpse sharpened incisors as the wildly gyrating lights and overpoweringly loud and speedy calliopes playing carnival music entice you further within. Within, to a hall of mirrors surrounding a chamber of horrors of eviscerated townspeople, grinning, clown-faced lunatics, whirling blades, spraying arterial blood and severed limbs with a soundtrack of screaming, giggling and carnival music. In short, fucking ideal party music for the more extreme music fan.

In Veil are not going to win any awards for power, speed or heaviness, rather more relying on that rarest of things to convey themselves – atmosphere. ‘Daddy’ is particularly schizophrenic, crunchy guitars underpinning simple piano lines that change into swirly gothic keyboards and merry go round music and a vocal that switches from school girlishly excited to ominous warning several times in the same song. ‘Slow Lane’ carries an obvious hip-hop vibe throughout the whole song, but somehow, mixing an almost-rap vocal style with Rob Zombie-lite music just fucking WORKS and I have no idea how Haysi and Ady have made this happen. All I can say is that this album is pretty much the soundtrack to what the inside of my head looks like – all grimdark, bleak horror, depersonalisation and dismemberment but easily distracted by multi-coloured neon and flashing lights and suffused with the kind of peculiar joy that only comes from discovering something wonderful.

In Veil are something wonderful. Again (and I appear to say this a lot these days), purists are going to fucking hate them, but the combination of deranged electronic fuckery, heavy metal guitars, dark lyrics and the kind of madness that normally earns you a lifelong stay at Rampton Hospital makes for a super fun listening experience. Album closer ‘Spider’ is the standout tune on the album – keyboards that would normally underpin a scene of a brave (or foolhardy) adventurer entering a mad bastard’s laboratory are ably assisted by growling bass, serrated guitar and Haysi singing about you getting in her bed and her cutting off your head while simultaneously chanting “Chick-a chick chick, chicka-chicka boom boom!” in a very strange register indeed. I’d still get in her bed though.

Did I actually say that out loud? Clearly decapitation holds no fear for me and dangerous, and possibly homicidal girls make life interesting.

There is a massive problem with this record though. And that is that it is only six songs long and that is entirely unacceptable considering how much of a rabid In Veil fan I have become over the past twenty-odd minutes or so. I am unhappy about this. It needs three more songs to slake my thirst!

I am ready to render my judgement using The Patented Dark Juan Blood Splat Rating System. It’s a full on 10/10. It’s fucking claret everywhere. It’s ten-foot-tall displays of arterial spray on the walls of a killing room. It’s pools of congealing blood around raggedly detached limbs. Cheered me right up, that record has. I fucking love In Veil!

‘Lunatic’ feat. Sam Astaroth (Official Video)

TRACKLISTING:
01. Salome
02. Lunatic (featuring Sam Astaroth)
03. Daddy
04. Slow Lane
05. Whatcha Got I Want
06. Spider

LINE-UP:
Haysi Veil – Vocals
Ady Cernea – Instruments

LINKS:

In Veil Promo Pic

Disclaimer: This review is solely the property of ‘Dark Juan’ and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s with FLEISCHKRIEG

FleischKrieg Logo

EMQ’s with FLEISCHKRIEG

Hi everyone! Welcome to our new EMQ’s interview, with Los Angeles, California based Industrial Metal band, FleischKrieg. Huge thanks to lead vocalist/songwriter Richard Cranor, for taking part.

What is your name, what do you play and can you tell us a little bit about the history of the band?

My name is Richard Cranor, I’m the lead singer and chief songwriter. I met our guitarist (Thomas Crawford) while I was an uber driver in Seattle. I had just started FleischKrieg as a solo project and asked Thomas to contribute guitars. When he realized the songs I was demoing were half-decent, he invited me down to LA to write and record an actual album.

How did you come up with your band name?

“Fleisch Krieg” literally means Flesh War in German. Every day on this planet we’re fighting a war of self-preservation and personal sovereignty. Our body, mind, and soul are under constant attack from the descendants of Mesopotamian gods. It’s a daily battle.

What region/country are you from and what is the Metal/Rock scene like there?

USA…it’s growing stronger all the time.

What is your latest release? (Album, EP, Single, Video)

We’re about to release our debut album in the fall entitled “Herzblut”. We’ve released two singles from that album, ‘Fool’s Folly’, and more recently ‘Reach’, both of which have music videos. They both give listeners a taste of what’s to come both sonically and visually. We’re going to release one more single in September. It’s a cover of Frankie Goes To Hollywood’s ‘Relax’. It’s definitely a heavier take on the 80’s classic that won’t disappoint.

‘Reach’ (Official Video)

‘Fool’s Folly (Official Video)

Who have been your greatest influences?

Definitely Rammstein, Die Krupps, and Depeche Mode. So much metal and electronic beauty in all those bands.

What first got you into music?

Girls. Just kidding. A really cool stoner guy gave me an SG rip off guitar for free. I learned some Black Sabbath/Metallica riffs and before you know it, I was addicted.

If you could collaborate with a current band or musician who would it be?

I think it would be fun to jam with Dee Snider personally. He was such a big influence of mine when I was a kid growing up.

If you could play any festival in the world, which would you choose and why?

It would have to be any of the large goth-industrial festivals in Germany; M’era Luna, Wav-Gotik-Treffen, Wacken. They’re true believers over there.

What’s the weirdest gift you have ever received from a fan?

Amateur gay porn clips in my DM on Instagram. Very up close and personal. Amazing technique…

If you had one message for your fans, what would it be?

Gay porn is fine but I would appreciate it if you sent me some straight porn every now and then too.

If you could bring one rock star back from the dead, who would it be?

Bob Marley. Because one night while peaking high on a pot brownie a Satanist gave me…Bob Marley came to me in a vision and let me know a little secret: Bob Marley and Jesus Christ were the same person. So, by all means, let’s get Bob Marley back.

What do you enjoy the most about being a musician? And what do you hate?

Being a singer in an industrial metal band is the only thing I can say I honestly can’t trump. There’s nothing else on this planet I think I could be doing that’s a better use of my time, my energy. It just feels like the thing I should be doing. I hate the financial and other costs involved with trying to keep things going.

If you could change one thing about the music industry, what would it be?

I guess a better way for undiscovered artists to get compensated better, in order to give it their best go in the beginning.

Name one of your all-time favourite albums?

“Pretty Hate Machine” by NIN. It pretty much opened the door to all things industrial.

What’s best? Vinyl, Cassettes, CD’s or Downloads?

Honestly, I love buying cassettes these days. They’re nostalgic and adorable. Vinyls are great for listening to and artwork.

What’s the best gig that you have played to date?

I think my favourite gig was when we were filming ‘Reach’. We set up in an alley in North Hollywood, no permits. Our manager stepped in human poop. We rocked out with cars driving by and nobody stopped us. Kind of cool.

If you weren’t a musician, what else would you be doing?

Hollywood stuntman.

Which five people would you invite to a dinner party?

Miss Venezuela and 4 of her hottest friends.

What’s next for the band?

More live shows, and EP. We’ve all got cabin fever and can’t wait to get out and start sharing more of our stuff with the world.

What Social Media/Website links do you use to get your music out to people?

www.FleischKrieg.com is a great place to start.

Jaffa Cakes? Are they a cake or a biscuit?

Not sure but either tastes good going down my pie hole.

Thank you for your time. Is there anything else that you would like to add?

What the hell is a Jaffa Cake lol…

FleischKrieg

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Warm Gadget – Rituals EP

Rituals EP Cover Art

Warm Gadget – Rituals EP
Self-Released
Release Date: 08/04/2021
Running Time: 28:12
Review by Beth Jones
8/10

I’m a simple girl, brought up staunchly on classical music, in a house where technology was shunned, Amish style. The very mention of anything that didn’t use ‘real’ instruments to make sound was enough to send my dad into an apoplectic rant about ‘proper music’ vs ‘modern rubbish’. So, by rights, Industrial Electronica shouldn’t appeal to me. Luckily, I always was the rebellious kind, allowing my mind to welcome any music. And, of all the discovery I went through in my teens, still one of the sounds that appeals to me the most is the metallic automaton of Industrial Metal. So, I’m always happy to discover new bands in this genre.

Today’s new name is Oregon, USA based Industrial/Alterative Metal band, Warm Gadget, and their latest EP, “Rituals”. Warm Gadget originally started making music together in 2009 but have been on hiatus for the last few years, with this being their comeback. The EP is made up of five main tracks, followed by a couple of remixes, and a live track.

Driven by some superb heavy synth, this EP packs a punch from the start. It’s got hints of Nine Inch Nails, Ministry, and The Prodigy (“Fat Of The Land” era) and reminds me a lot of another recent favourite of mine, Jayce Lewis. The ambient sounds and chunky basslines give it huge depth and expansiveness, the beats are metronomic, and the fuzzy guitars and vocals give it a dark and sleazy edge, which draws you in.

Opening with ‘New Industry’, the EP kicks into heavy synth and riffing guitars from the start, with angry vocals delivering punchy lyrics fit for the nightmarish dystopian reality of modern life. This sound conjures up images of destruction and demise; Visions of deserted city streets, strewn with litter and decay following some sort of catastrophic event, playing out in stilted jerks, with washed out colours, and lots of forced perspective. I don’t know whether that’s the music, or just my warped mind at play, but it works!

‘If Only I Could’ is a hell of a track. NIN meets The Prodigy in style. It’s the heaviest track on the EP, and has a massive drop section in it, which would be some real fun in an incredibly violent pit. Damn shame I’m too old and broken to pit now. I would’ve been well involved back in the day!

‘Symptoms’ is another great track. Here, the synth plays second fiddle to some crushing guitar riffage in the verses. It does thrust back, full force, in the chorus though, and vocally we get some cleaner vocals in the mix, too. Nice. When it comes to the additional remixes of this track that also feature on the EP, the Witch Eyes remix wins for me!

All in all, this is a tasty EP. It doesn’t reinvent the wheel, but it does what it sets out to do, and is produced superbly too, making it a crisp and satisfying listen. I don’t think it needed the live track though, because the sound quality isn’t as clear, making it stick out from the rest, not in a good way. But a very enjoyable listen none the less. I will certainly be keeping an eye on these guys in the future, to provide a new name to my collection of ‘soundtracks for a dystopian nightmare’!

‘If Only I Could’ (Official Video)

TRACKLISTING:
01. New Industry
02. Full Of It
03. If Only I Could
04. Symptoms
05. Dead To Me
06. Symptoms – Witch Eyes RMX
07. Symptoms – Snowbeasts RMX
08. Just When I Was Doing Something Good (Live)

LINE-UP:
Austin Williams – Bas
Colten Williams – Guitar, Synths, Programming, Production
Tim Vester – Vocals

LINKS:

Warm Gadget Promo Pic

Disclaimer: This review is solely the property of Beth Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Parrilla – Femme Fatale: Ensnared By Venus EP

Femme Fatale: Ensnared By Venus EP Cover Art

Parrilla – Femme Fatale: Ensnared By Venus EP
Self-Released
Release Date: 31/07/2021
Running Time: 27:04
Review by Wallace Magri
9.5/10

According to the press release: “Ensnared by Venus is the first part of the Femme Fatale trilogy of EP’s from Parrilla – an industrial metal force of nature, unafraid to detonate reckless sonic devices beneath the boundaries of the genre and dance amongst the wreckage”.

I don’t usually copy any of the press release, because I am here to give MY impressions on the albums, not THE BAND’S ONE, with all due respect. But that one line helped me with the introduction paragraph this time, especially because I loved the expression ‘dance amongst the wreckage’, that represents exactly what I think about Industrial Metal Music!

It is funny, because I was chatting with a friend of mine, Claudio Borges, a Brazilian DJ, record store owner that also co-host of the Youtube Heavy Metal Channel, called Resenhando Rock (check it out!), and, as we were talking about Nine Inch Nails’ influence on Metal Music in the 90’s, he introduced me to a Danzig album that I had never heard before (“Danzig 4”), and that is a hell of a album, with a good taste of goth and industrial elements within.

To me It felt pretty similar to what I heard on “Feme Fatale: Ensnared by Venus”, which is very aggressive – thanks to the heavy and dirty guitar riffs heard on ‘Law Of Texas’ and ‘Bleed, Cry, Pray, Die’, for instance – and it is danceable as well. The first song captures a Ministry vibe, while the second one is a little more Dark-Gothic influenced.

‘Show Me’, the first single taken from the EP (released on 31st of July), is a Dark-Electro piece of dystopic dance and I really enjoyed Dani Messmer vocals – as I enjoyed Danzig’s vocals on the aforementioned album, “Danzig 4” – because it is spooky and a little melodic sometimes. Highlights are the great programming and keyboards that stand out with gloomy ambience, giving the song a nice Harsh Industrial element.

All six songs on the EP are worth listening to. ‘Mannequin Complex’ is halfway between Gothic Rock and Neue Deutsche Harte, that reminded me of Eisbrecher with New Metal screaming vocal lines in the arrangement, which is unusual, at least for that kind of musical style. ‘Desire’ goes in that same direction, with, maybe, a little more of a Rammstein-like approach, with a bit of post-punk to reinforce the heavy conduction of the song.

This excellent EP’s last song, ‘Femme Fatale’ proves that Parrilla got it right in the press release description of their musical style because, even though it was possible for me to realize all the musical references that I have mentioned in this review, the band has its own identity, which is “an industrial metal force of nature, unafraid to detonate reckless sonic devices beneath the boundaries of the genre and dance amongst the wreckage”, indeed.

So, enjoy it Industrial Metalheads because it doesn’t get better than this!

‘Show Me’ (Lyric Video)

TRACKLISTING:
01. The Law Of Texas
02. Bleed, Cry, Pray, Die
03. Show Me
04. Mannequin Complex
05. Desire
06. Femme Fatale

LINE-UP:
Dani Messmer – Vocals & Guitars
Luke Megran – Guitars & Backing Vocals
Chris Howell – Bass & Backing Vocals
David Page – Drums

LINKS:

Parrilla Promo Pic

Disclaimer: This review is solely the property of Wallace Magri and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Rubicon – Demonstar

Demonstar Album Cover Art

Rubicon – Demonstar
Rock City Music Label
Release Date: 16/07/2021
Running Time: 59:53
Review by Simon Black
8/10

We don’t get too many things to listen to from Russia. A quick look at the major contributors to the genre over there quickly reveals part of the reason why…English is not widely used as a language within the community so many bands seem to stick to their native tongue. Although that should not be a barrier to international recognition (Rammstein being the most notable example of what happens when you stick to your guns regardless), international record labels might think otherwise and without them it’s damn hard to self-produce and promote outside of your native market. Consequently, Russia is still something of a closed Metal shop about which the rest of the world hears far too little. What’s also not helped is the few, that have crossed my desk in recent years, have suffered somewhat from production values that leave something to be desired. If Metal bands themselves are thin on the ground in a given market, then it follows that producers and studios with the right equipment and experience to bring the best out of their music are even more so. Which is what makes this record so refreshing to listen to.

Although Rubicon have been banging their particular blast beat driven drum since the year 2000 it took until 2018 and three years of recording effort for them to get an album released (“Welcome To Wasteland”), making this sophomore piece seem positively exuberant in its haste to follow on. First off, this record shows their twenty years of experience really clearly, even if studio recording is a relatively recent extension to their repertoire. You wouldn’t know to listen to it – as this sounds rich, professional and thoroughly well-crafted…and yes, it’s in English!

The sound is a mixture of Modern Metal, with elements of Power and some quite Industrial motes in the harmonics. Contributory to this, no doubt, is that their bassist Dmitry “Belf” Safronov is an established producer in his own right, which is clearly visible in the amount of pre-production to the arrangements that have gone into this. Not to mention that with a French guitarist and an American session musician in the mix, this really is an international project which has added much more to the richness.

And rich it definitely is, with almost a full hour’s worth of brutally efficient and powerfully delivered Metal that rushes you along like a small, helpless mammal strapped to a white water raft. That pace and momentum isn’t all about brevity and three minute wonders either, as over half the tracks clock in at five plus minutes, showing a maturity and technical ease to the song-writing and structures that hold the attention, peppered as they are with carefully restrained instrumental virtuosity. Pulling off these sorts of long and complex arrangements is a challenge to many bands, who usually save that for ‘obligatory epic album closer’ but Rubicon achieve it at least three times on this record without sounding boring or repetitive.

In guitarist Bob Saliba, Rubicon, have a highly skilled player, who can power the riffs, shred the solos with breath-taking ease and who also finds moments to deliver some beautifully delivered Spanish acoustic guitar that add depth and variety, counterpointing perfectly Safronov’s orchestrations (which presumably will involve a full blown keyboard player when they come to do this all live). Front and foremost in the mix however are Ivan “Ian” Bulankov’s roaring and dark, yet soaring and engaging vocals. As the driving force behind the band, he clearly has a robust vision in his mind, but his delivery is powerful, broad and thoroughly charismatic with a really good range. This is rich and layered but has a surface appeal that easily engages the listener from the get-go. One to watch…

‘Demonstar’ (Official Lyric Video)

TRACKLISTING:
01. Demonstar
02. Neon Gladiators
03. Last Floor Of Hell
04. Down The Darkness
05. Speed Of Night
06. Snake King
07. If It Bleeds
08. The Darkness Machine~
09. Robot God
10. I, Immortal
11. Line Of Dreams

LINE-UP:
Ivan “Ian” Bulankov – Vocals
Bob Saliba – Lead & Acoustic Guitars
Dmitry “Belf” Safronov – Bass, Arrangements
Katerina Pobedinskaya – Keys

LINKS:

Rubicon Promo Pic

Disclaimer: This review is solely the property of Simon Black and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s with MERCIC

Mercic Logo

EMQ’s with MERCIC

Hi everyone! Welcome to our new EMQ’s interview with Grândola, South of Portugal based Industrial Metal/Rock project, Mercic. Huge thanks to Carlos Maldito, for taking part.

What is your name, what do you play and can you tell us a little bit about the history of the band?

Hello, I’m Carlos “Maldito”, I’m the musician behind the name MERCIC. This project was created in 2015 and brings together several musical genres always immersed in an industrial environment. It focuses on releasing long-lasting albums, has no promotional video clips or commercial radio singles.

How did you come up with your band name?

MERCIC is MERCIC!

What Country/Region are you from and what is the Metal/Rock scene like there?

MERCIC comes from the south of Portugal from a paradise by the sea called Grândola. The music scene in Portugal is small; the circuit has few spaces and is often reigned by the same ones as always. Rock is not dead but is dying, metal is always underground but has the faithful support of fans. The cult bands have been the same since the 80’s / 90’s and the new bands appearing are acclaimed and disappear shortly afterwards. Life runs too fast without the necessary calm to taste the art that is made from the heart.

What is your latest release? (Album, EP, Single, Video)

The most recent release was a double album, released on the 4th of June divided into “MERCIC_7” and “MERCIC_8” in collaboration with UNP music.

‘Batalha de Egos’ (Audio) from “MERCIC_7”.

‘The Crown Belongs To Johnny’ (Audio) from “MERCIC_8”.

Who have been your greatest influences?

The biggest influences for me are several and of different styles but I will name the ones where I have their complete discography and I continue to buy all the new albums that come out; Sepultura, Gary Numan, Marilyn Manson, NIN, Orgy, Emika, Depeche Mode and Bizarra Locomotiva (the best Portuguese band for me).

What first got you into music?

Marilyn Manson with “Beautiful People”, I always liked drummer Ginger Fish and it was looking at his videos that I learned to play the drums.

If you could collaborate with a current band or musician, who would it be?

Producer Ade Fenton and Trent Reznor.

If you could play any festival in the world, which would you choose and why?

MERA LUNA in Germany because it is the one that best fits my musical taste.

What’s the weirdest gift you have ever received from a fan?

MERCIC has no fans, but friends who support my music and I feel very happy about it. The gifts I received were always beers and good wine.

If you had one message for your fans, what would it be?

I reiterate that there are no MERCIC fans. But a message; be more basic and live life instead of hiding behind the opinions of others or shitty fashions that often have nothing to do with you and just follow them because others follow. Be true to yourself there is nothing more pure than that.

If you could bring one rock star back from the dead, who would it be?

David Bowie.

What do you enjoy the most about being a musician? And what do you hate?

I love being able to express my deepest thoughts through music and I love it when there are people who feel embraced and involved in the MERCIC songs, making them theirs too. I hate the lack of critical awareness that musicians generally have. The small pubs that ask the musician to play for free and in return say that he should still thank the opportunity to promote himself and the public that takes out entire albums for free without giving a penny to the artist and without worrying about it.

If you could change one thing about the music industry, what would it be?

Exactly what I mentioned in the previous answer.

Name one of your all-time favourite albums?

“The Fragile“ by Nine Inch Nails.

What’s best? Vinyl, Cassettes, CD’s or Downloads?

Anything that allows people to listen to music and through this experience they can feel good.

What’s the best gig that you have played to date?

With MERCIC we only played once because the project was only for the studio and when we started playing live the pandemic arrived, so our first show is still our best show today.

If you weren’t a musician, what else would you be doing?

Something related to music.

Which five people would you invite to a dinner party?

Trent Reznor, James Hetfield, Dave Grohl, Andreas Kisser and Eddie Vedder.

What’s next for the band?

Launch the new album and play live if possible.

What Social Media/Website links do you use to get your music out to people?

www.open.spotify.com/artist/4FVgsPzqO3p2gspmkhxakf
www.facebook.com/groups/1012004925676903/
www.facebook.com/MERCICmusic
www.instagram.com/mercic_official/
www.store.undergroundnproud.com/category/mercic
www.youtube.com/channel/UCx74JJAezgGY8xyEaBZWyXg

Jaffa Cakes? Are they a cake or a biscuit?

I have no idea. I do not care.

Thank you for your time. Is there anything else that you would like to add?

Many thanks to Wallace for his support.

Mercic Promo Pic

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

CHAOS DOCTRINE – Enjoy The Silence VIDEO PREMIERE

Chaos Doctrine Video Premiere - Enjoy The Silence

CHAOS DOCTRINE Unleash New Lyric Video, A Sweltering, Industrial Metal Cover Version Of Depeche Mode’s ‘ENJOY THE SILENCE

Ever Metal is very proud to premiere ‘Enjoy The Silence’ the new lyric video from South African Industrial Thrash/Death machine Chaos Doctrine. This is their version of the Depeche Mode classic from 1990!

Spawned in their renowned domain (Gemini AD Studios), Chaos Doctrine has taken this epic track and solidly stamped their unique brand of Industrial Thrash onto this classic, duly delivering an intense interpretation exclusively available for free on Bandcamp (From Friday7th May). The Lyric Video pays supplementary homage to the iconic imagery that saw ‘Enjoy The Silence’ and ‘Violator’ propel the band into international stardom in 1990.

Note: Best played on full blast, with a high likelihood of singing along!

EXCLUSIVE EVER METAL PREMIERE

CREDITS:
Written by Martin L Gore
Original Produced by Flood & Depeche Mode
Original Performed by Depeche Mode
Cover Performed by Chaos Doctrine
Cover Produced, Mixed & Mastered by Alec Surridge at Gemini AD Studios

LYRICS
Words like violence
Break the silence
Come crashing in
Into my little world
Painful to me
Pierce right through me
Can’t you understand?
Oh, my little girl

All I ever wanted
All I ever needed
Is here in my arms
Words are very unnecessary
They can only do harm

Vows are spoken
To be broken
Feelings are intense
Words are trivial
Pleasures remain
So does the pain
Words are meaningless
And forgettable

All I ever wanted
All I ever needed
Is here in my arms
Words are very unnecessary
They can only do harm

UPCOMING ALBUM
Chaos Doctrine came down on the metal world like the hammer of Thor in February this year with a shredding track called ‘Black Friday Bedlam’ featuring Swedish Metal Legend Jörgen Sandström on vocals (Entombed, Grave, Torture Division, Krux, The Project Hate). If you watched the Lyric Video, you would have caught a peek at the title and artwork of the band’s much anticipated second album ‘And In The Beginning… They Lied’, set for release on 25 June 2021. More information on this upcoming release will be made available on the Chaos Doctrine Socials in coming weeks!

And In The Beginning... They Lied Album Cover Art

ABOUT CHAOS DOCTRINE
Chaos Doctrine brings a unique and modern metal assault by blending old school thrash and death with aggressive industrial metal. Originally formed in 2011 in Johannesburg, South Africa by vocalist Dr D (Bedlam, Malachi, DedX), the band line up is completed by veteran guitarist and band producer Alec Surridge (Sacraphyx, The Warinsane), bass guitarist, backing vocalist and band visual artist Phil Carstens (DedX), and explosive drummer Rory Townes (Forsaking Fate).

For its members, Chaos Doctrine is more than a band: it is a comprehensive sensory experience and a brand. Everything the band produces conveys this – the band name itself, their aggressive sonic releases, explosive live shows, dystopic visual products, and stabbing lyrical content. Chaos Doctrine explores the shadow of the human condition; hatred, brutality, decay. Their approach is unrelenting, fuelled by rage and void of apology.

This is aggression. This is Chaos Doctrine!

Chaos Doctrine Promo Pic Photo by David Devo Oosthuizen (Devographic)
Photo by David Devo Oosthuizen (Devographic)

LINE-UP:
Daniel Burger “Dr D” (Vocals)
Rory Townes (Drums)
Phil Carstens (Bass & Backing Vocals)
Alec Surridge (Guitar)

CHAOS DOCTRINE ONLINE:

Disclaimer: This article is solely the property of Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Skold – Dies Irae

Dies Irae Album Cover Art

Skold – Dies Irae
Cleopatra Records
Release Date: 05/03/2021
Running Time: 38:18
Review by Wallace Magri
9.5/10

Tim Skold is well known as a multi-instrumentalist, synth programmer plus a highly requested composer and music producer. His first musical journey was around 1987 with the Swedish Glam/Sleaze Metal band Shotgun Messiah, that recorded three albums and, by the way, the last Shotgun Messiah’s release, “Violent New Breed” (1993), was one of the very first Industrial Glam/Rock albums to date. After splitting Shotgun Messiah, Tim Skold launched himself into a solo career, releasing “Skold” in 1996, and right after that, he was invited to join KMFDM.

For those who are not that familiar with Industrial Rock/Metal Music, KMFDM is an institution in that genre. They were one of the pioneers on turning the noisy-non-commercial Industrial’s original proposal (search for Throbbing Gristle on google) into a more electronic Heavy Oriented sound, once they realized that it would be a cool idea to sample really extreme heavy guitar riffs and repeat them to the limit, until it becomes a wall of sound that fit just fine with the Industrial noisy beats and raging vocal performances.

Tim Skold collaborated on KMFDM’s 1997 album “Symbols” and remained in the band for “Adios”, released in 1999. After leaving KMFDM he started to produce and compose with Marilyn Manson and ended up playing bass guitar on “The Golden Age Of Grotesque” (2003) and also composed all the songs, programmed the samples and produced Marilyn Manson’s 2007 underrated album “Eat Me, Drink Me”. On that album there were lots of good guitar licks and solos, performed by Tim Skold. On ‘Evidence’ I heard the best guitar solo ever, on a Manson album (I am sorry, John 5…).

Anyway, after being fired from Marilyn Manson, Tim Skold went back to his solo career for good, releasing “Anomie” (2011), “The Undoing” (2016) and “Never is Now” (2019). On those albums, Skold flirted a lot with Electro Synth Industrial and relegated the live guitar element to a second place role.

“Dies Irae”, on the other hand, is another kind of monster. “So let me start from the beginning, because that will help you understand”*. Skold’s fifth album is mostly built over ferocious live guitar riffs, as heard right in the first song, ‘Dirty Horizon’. That reminded me of Mercyful Fate’s ‘Don’t Break The Oath’ NWOBHM Satanic Music (which was my favourite bedtime nightmare music, in my messed up childhood back in the 80’s).If you enjoy those kind of guitar oriented Metal songs, but also accept some dark-electro ambience in the seasoning, just listen to ‘This Is The Way’, and tell me what you think about that kick ass guitar solo in the middle. On ‘Unspoken’ Tim Skold has, arguably, performed his best guitar solo to date (* By the way, I’ve taken the first verse of the ‘Unspoken’ lyrics to help me to introduce my impressions on the album)

After listening to “Dies Irae” a bunch of times, it felt like Tim Skold is in his best shape ever, delivering the kind of music that he helped to create along with KMFDM and mostly in the Marilyn Manson years, from whom he inherited that peculiar singing technique. So, beware, because Tim Skold’s vocals are something that the listeners need to get used to. Don’t expect something like King Diamond here because he sings in a constant growling and distorted style, for the purpose of expressing his feelings through his viscera.

On ‘Terrified’, Skold explores in its perfection that sort of “singing technique” and it really gives me Goosebumps, especially while he sings the melancholic chorus: “I am not afraid of dying/I am fucking terrified”. Follow that by listening to the post-electro-punk ‘Love Is A Disease’ and keep going with ‘As Above so Below’ and ‘Kill Yourself’.

On ‘Silicon Dreams’ he invocates his best David Bowie’s melodramatic approach in the pre-chorus, that fit just fine with Industrial Rock/Metal music. I am afraid to say that David Bowie ruled the crazy minds of all those “cyberpunks and crypto-anarchists”, such as Skold, Trent Reznor and Marilyn Manson, allowing them, in silicon dreams, be kings and queens, through their noisy machines, while worshipping Baphomet (*adapted from the ‘Silicon Dreams’ lyrics and listening to Bowie’s “Black Tie White Noise”, from 1993, right now).

The fact is that “Dies Irae” has many exciting moments and shows that Skold is delivering the goods to keep his relevance in the growing EMB/Gothic/Industrial scene. If you enjoy this kind of music, just push the play button and I am sure that you are going to enjoy the guitar work, the production, mixing and the excellent choices of programming and layers of noise that provides the songs a good taste of gloomy ambience that defines the general aesthetic of the album.

‘Dirty Horizon’ (Official Video)

TRACKLISTING:
01. Dirty Horizon
02. Unspoken
03. The End Is Near
04. Terrified
05. Love Is A Disease
06. This Is The Way
07. Silicon Dreams
08. As Above So Bellow
09. Kill Yourself
10. Goodbye

LINE-UP:

Tim Skold – Guitars, Vocals and Programming

LINKS:

Skold Promo Pic

Disclaimer: This review is solely the property of Wallace Magri and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.