SYD.31 – Machine Ready

Machine Ready Album Cover Art

SYD.31 – Machine Ready
Dys13 Records
Release Date: 02/04/2021
Running Time: 41:15
Review by Beth Jones
9/10

One of my fondest memories, back in the day, was seeing The Prodigy live at The Paleo Festival in Nyon, Switzerland, way back in 1998. I loved their heavy electronic sound, and the way they fused everything with an Industrial Metal edge. Their stage show was out of this world, too. The loss of Keith Flint left a huge hole in the music scene. He, and The Prodigy, were completely unique. I’d never really heard anything like that before, or since. That is until I heard “Machine Ready”, the new album from SYD.31.

This album encapsulates everything I loved about The Prodigy, and more. Pulling from a variety of genres, right from 70’s punk to the techno, garage, and rave scene of the 90’s, it’s a complicated and warped meld of psychotic proportions, but I bloody love it.

Dr Magic, the brains behind SYD.31 sees this as his first ever “truly solo” album, because he’s created the whole thing himself during the isolation of the Covid pandemic. He’s pulled on a variety of influences, recording the bass, guitars and vocals in a definite Punk style (but with influences from the originators of Rock ‘n’ Roll), programming the drums using techniques created by the originators of Hip-Hop, and adding in Techno beats, and the ambience of Dance and Trance. Dr Magic says about the album “If we strip away the guitars and vocals, the album is old school hip-hop, drum ‘n’ bass, and Hacienda era dance music.” It absolutely is. This is a guy who really knows his music, and that’s admirable.

His sound is also, in part, inspired by a book he was given at school in Zimbabwe, at the age of 14. “It was a Christian book warning of the demonic dangers of Punk and Shock Metal. Before I got to listen to any of the bands they mentioned, I had to imagine for years what they would sound like – demonic, unstable, sulphurous punk rock.  I never did find any bands that sounded exactly like what I imagined. So I finally went and created that sound myself.”

Thematically, it explores all that is dark. Depression, fear, vulnerability, crisis, demonisation, and the bottomless pit of realisation. The track descriptions we received to go along with the album are something I’ve found fascinating to read. There are so many thought processes, observations, and memories going on, but I can hear, and visualise them all. This really is art as much as it is music, and I could see it being the soundtrack to an installation exhibition. In fact, I would actually pay good money to see that. It would be one hell of an immersive experience.

So, what does it sound like? Well, each track is different, but the masterfully handled elements of the various genres run through them all. The best I can do is this: It’s angry Keith Flint, shouting at people at an illegal rave, while in the next room The Misfits, Prince, and Chuck Berry, are rocking out together drunk, and breaking stuff, and you’re standing in the doorway between both rooms hearing it all, on a comedown from a bad trip.

There are all sorts of other elements though. Funk bass in ‘Collapsing A New Star’, tribal drums at the beginning of ‘Demon Night’, and a smattering of Death vocals further on in that track, to name but a few. There’s even a classical twist to the ambience that opens, ‘Imitating Art’. There’s so much to explore. If you want to genre it, I suppose Industrial Techno Punk Metal would sort of cover it, but I wouldn’t bother pigeonholing it to be honest. It’s art. It’s rather damn good. And I can’t stop listening to it.

‘Machine Ready’ (Official Video)

TRACKLISTING:
01. Intro (A Night Visitor)
02. Broken Blank
03. It Came To This
04. Imminent Failure
05. As They Let You Down
06. Collapsing New Stars
07. Demon Nigh
08. Imitating Art
09. Disassemble Me
10. Machine Ready
11. We Turned the Lights Out
12. Outro (A Visitor Departs)

LINE-UP:
Dr Magic – All Music and Madness

Chris Oscillate – Mixing and Mastering, Additional Synth on ‘Imminent Failure’, Additional 808 and all additional percussion arrangement

LINKS:

SYD.31 - Dr Magic - Photo by Will Shields
Photo by Will Shields

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.

Skinflick – Self Harm Smiley Face EP

Self Harm Smiley Face EP Cover Art

Skinflick – Self Harm Smiley Face EP
Self-Released
Release Date: 27/03/2021
Running Time: 26:02
Review by Beth Jones
9/10

You know those days where your brain falls into the blackness, and you need a soundtrack to accompany your trip down the rabbit hole. Well, that soundtrack is here, in the shape of another EP from the dangerously seedy uncle of Industrial Electronica, Skinflick. The deprived brainchild of Lullaby for a Unicorn’s frontman, Justin Williams, “Self Harm Smiley Face” is another trip into the night, where the depraved do play. Littered with noises, echoes, and part-whispered, part-growling vocals, it will create an uncomfortable fear in the sane, and manic appreciation in everyone else.

Opening with the title track, this 6 track EP’s ambient sounds and pulsing beats take your mind’s eye on a journey of debauchery and filth. You’ll find yourself instantly transported through a beaded curtain into a musty back room, the air acrid with thick, sickly-sweet smoke, lit only by a malfunctioning pink neon light, with some dubious stains on the wall, and a fraying couch that’s gone even further than seeing better days. It’s a dangerously exciting place, the world of the depraved, right?

Musically, this is by far and away my favourite release from Skinflick to date. It’s catchy, well structured, and ominous. It creates a presence, which melds heavy sounds with floating violins, and ethereal synth, layered with ambient effects, and synth backing vocals that give it an extra chill factor. And, as I’ve now come to expect from Justin’s solo work, it’s very well produced. There’s some brilliant panning early on, which acclimatize you to the new surroundings you find your mind in. And the positioning of each sound gives it a massive depth, which adds to the horror of it. Like staring into the void. It’s clever, and I simply can’t stop listening to it. I’ve had it on repeat for days. Proceed with caution into the world of Skinflick because it’s very addictive.

TRACKLISTING:
01. Self Harm Smiley Face
02. The Thin White Puke
03. Cock Botox
04. Puritanical Satanical
05. Rise Of The Incels
06. Fat Fleshlight

LINE-UP:
Justin Williams – Synths/ Vocals/ Depravity

LINKS:

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.

EMQ’s with ANTIMOZDEBEAST

AnitMozdeBeast Logo

EMQ’s with ANTIMOZDEBEAST

Hi everyone! Welcome to our new EMQ’s interview with Florida, USA based Experimental Electronic/Industrial Metal Project, AntiMozdeBeast. Huge thanks to main man, Gabriel Palacio, 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 Gabriel Palacio. I play the electric and acoustic guitar, I sing and write lyrics, I write every beat as well as play the keyboard and synth. I write, record and produce all the instrumentals for every track under AntiMozdeBeast!

How did you come up with your band name?

Well to make a long story short. My mother was a nun, and I was born on June 6th. So, growing up especially in my teenage years, I thought I was going to be the Antichrist. Hence Anti. I believe that Mozart is the core foundation and fundamentals of Metal. Hence Moz. And I could not name my project AntiMoz alone because I sounds like I’m literally anti Mozart (or Moz), so I decided to add DeBeast. For the devil sends the beast with wrath for he knows the time is short.

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

I am from Florida, United States. The metal scene is pretty lively down here especially in Lake Worth.

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

My latest EP release will be “The Ritual” which will release on April 23rd.

‘Masquerade Of Death’ (Audio)

Who have been your greatest influences?

My greatest all-time influences include Bob Dylan, Radiohead, Pink Floyd, My Dying Bride, Windir, Satyricon, Nine Inch Nails, Skinny Puppy, Rob Zombie, Metallica, and CygnosiC.

What first got you into music?

I had an older brother that played guitar and he showed me the principles of guitar like chord theory and chord structure.

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

I would definitely collaborate with Maynard, Trent Reznor, or Thom Yorke.

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

I would play KnotFest. Because it has my kinds of people.

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

The weirdest gift I ever received from a supporter would be a hit off their homer Simpson 6-foot bong.

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

I thank you all for all the support and continued enthusiasm in AntiMozdeBeast. Without any of you listening I would not be able to continue making music. Thank You.

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

I would bring back…Robert Johnson.

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

I enjoy creating music the most as a musician. The only flaw of being a musician that I detest is trying to solve issues with other band members. This is why I now work alone.

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

Copyright Infringement (to an extent). If music is being sold and the band is making money. I don’t see why another musician can’t sample the music without fear of lawsuit or losing their rights to the song.

Name one of your all-time favourite albums?

Bob Dylan – “Love And Theft”.

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

Vinyl.

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

Just local bars and venues nothing spectacular (So far).

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

Nothing probably be homeless and/or possibly dead.

Which five people would you invite to a dinner party?

Any Five people? That’s simple. Christ, Judas, God, Satan, and Myself.

What’s next for you?

Keep making music!!!

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

www.linktr.ee/AntiMozdeBeast

Jaffa Cakes! Are they a cake or a biscuit?

I actually don’t even know what Jaffa Cakes are, so I assume they got to technically be cakes.

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

Thank you for featuring AntiMozdeBeast.

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.

Lament Cityscape – The Old Wet EP

The Old Wet EP Cover Art

Lament Cityscape – The Old Wet EP
Self-Released
Release Date: 21/12/2020
Running Time: 16:43
Review by Dark Juan
9/10

Good evening, you fine people out there. I trust you are all well and not tearing at each other’s flesh with nails and knives because your significant other has been breathing too loudly and in a deliberately antagonistic fashion? Well, if the annoying bastard or bitch you married has ceased their foul respiration, I request and require that you remove your teeth from the ragged, reddened ruin that is the remains of their throat and go and give your face a bit of a wash. You might wanna brush your teeth too. You look like you’ve been eating raw beefburgers and there are dangly bits of flesh between them and it is a singularly unattractive look. Flossing after using your organic mouth knives to remove voiceboxes is vitally important for good oral health.

After that extremely timely public information message I wish to share with you my views about Buffalo, Wyoming, USA based industrialists Lament Cityscape. “The Old Wet” is the last in a three EP cycle, comprised of “The New Wet” and “The Pulsing Wet” and is the record that that accepts change is occurring and that fighting against it is futile, when the previous two EPs in this adventurous concept cycle examined the fight against change and transformation. This is a three track EP, so because it’s so short I’ll briefly describe each musical piece (there is a good reason I haven’t used the word song…)

The first track is entitled ‘A Rusting Moth’ and encompasses a slowly and malignantly building soundscape from a deceptively simple and gentle sounding piano riff before there feeds in a heavily distorted and engineered animalistic roar and the biggest drums I have ever heard – all supremely destructive bass drum and floor toms rattling my skull, with a bassline that has been transformed by distortion and fuzz into some kind of sinuously weaving poisonous killing machine and keyboards, guitar, bass and voice combining into one massively unstoppable juggernaut of pure sound that is aimed squarely between your immobilized, staring eyes. There are lyrics to this, but I’m fucked if I can hear them through the industrial degeneracy on display here. Rather splendid, actually.

The second piece is called ‘Among The Dead’ and is the most song-like entity on this recording, being as there are discernible lyrics and vocals among the utterly dour electronic sounds and drums used in exactly the same way Godflesh used to use them, not as rhythm instruments, but as the base propulsive force for the madness to build and for the music to assail your senses. Fucking hell, I have missed this style of industrial so bad – the style that sits squarely between metal and electronic music, gleefully raking in influences with both greedy robotic arms and shoving it into the titanium edged maw of its furnace and smelting and recasting them both into something that is shiny and new and ever closer to machinelike perfection. Hang on. The Borg. Lament Cityscape are the fucking Borg. You can’t fool me; you bunch of half-human drone scunners. I’ve set my weapons on a rotating modular frequency. Where’s your disturbingly pale and slippery yet still worryingly desirable Queen?

The final track is called ‘Coagulant’ and immediately reminds this jaded old hack and pretend music journalist of Nine Inch Nails as it combines more electronically enhanced vocal jabbering over a simplistic keyboard line (quite reminiscent of ‘La Mer’ by Trent and his bunch of strangely coiffed misfits, and the drums reminded me somewhat of “Industrial Complex”-era Nitzer Ebb) that repeats throughout the entire song overlaid with more of those propulsive, martial, organic drums and the seemingly omnipresent wall of sound that skirts the absolute edge of what could be considered music.

This EP is an extremely  truncated Very Good Thing. I feel cheated because the three pieces on the EP are so fucking good I need more and I am prepared to open my fucking veins to make it happen. Musically, I detect Nine Inch Nails (very obviously the version of NIN around “The Downward Spiral” when Reznor was at his most drug-fuelled, insane and violent) mixed with the sheer percussive overload and power of Godflesh in their “Streetcleaner” incarnation, fused with the avant-garde drone of Swans and finally combined with the hard-edged version of “Land Of Rape And Honey”-era Ministry.

This record is not electronic industrial. It is not industrial rock. It is not industrial metal. It is not industrial mixed with anything. It is simply INDUSTRIAL. It is pure and it is fucking good and I am literally signing off this review and going on Lament Cityscape’s Bandcamp and buying all their records within the next twenty fucking seconds.

The Patented Dark Juan Blood Splat Rating System has picked its jaw back up off the floor and wired the fucker shut. It also awards Lament Cityscape 9/10 for a bloody good EP, although a mark is deducted simply because there was not enough music on the record to sate my desire for their industrial aural hellscapes. That’ll teach ‘em to give me more next time. Ha!

“The Old Wet” (Full EP)

TRACKLISTING:
01. A Rusting Moth
02. Among The Dead
03. Coagulant

LINE-UP FOR THIS RECORDING:

Mike McClatchey
Seanan McCullough
David Small
Peter Layman
Lee Bartow
Live Drums, Additional Percussion And Additional Vocals by Ben Hirschfield

LINKS:

Lament Cityscape 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.

Null Cell – Eternally Ill

Eternally Ill Cover Art

Null Cell – Eternally Ill
Machine Man Records
Release Date: 08/12/2020
Running Time: 33:02
Review by Dark Juan
9/10

Hello. This is Dark Juan and I exhort thee to listen to my Gospel. There is no God, there is only the Dread Lord Satan and you are all going to be consigned to an endless fiery hell unless you seek His redemption through service to the Dark Master via the means of preaching his twisted faith. Then, and only then will you get to attend the Lounge Bar in Hell where the One That Walks Backwards has kindly assembled the greatest band there has ever been – comprising Robert Johnson and Randy Rhoads on guitar, Keith Moon on drums, John Entwistle on bass and the incomparable Ronnie James Dio on vocals with backups from Amy Winehouse and Layne Staley. Now, I don’t know about you, but I’d fucking sell my testicles to see that line up playing…

None of which has, as usual, a damned thing to do with what I am actually doing, which is being wired on French blend coffee, and slowly suffocating to death under a wall of canine flesh, composed of Air Chief Marshal Sir Zeusington Zeus KCVG, VC, MM, DFC and bar, Croix De Guerre and the Dread Lord Igor Egbert Bryan Clown-Shoe Cleavage-Hoover, where they have decided that I am warmer than the frigid environs of West Yorkshire and I don’t actually need to breathe. Thereby, in their mad doggy heads I fulfil two requirements for their survival – warmth until I expire from the gentle releases of poison gas (mainly Igor) and then I will be a viable supplementary food source after my untimely death. Mrs Dark Juan is currently laughing at my lack of comfort and cheerfully inviting me to try and do her fucking job when she is under a pile of silly dogs. But she’s an artist and doesn’t need a comfortably situated computer to write nonsense on.

Again, I digress. It’s the caffeine. I can’t type fast enough to get the thoughts out of my head. You are actually reading this babble so you can be informed about the latest platter of splatter I am listening to, being Null Cell’s “Eternally Ill” album, released last December through Machine Man Records. Null Cell is a one-person project encompassing the sounds of metal, industrial and EBM (Electronic Body Music, if you don’t already know, fact fans) composed of the very annoyingly talented Isabella Chains of Omaha, Nebraska. Now, listening to this music, it makes me think that Omaha, Nebraska (never been there, I’m British and the furthest I ever got was Iceland. Wonderful place and lifelong friends made) is an arctically cold, industrialised wasteland in the arse end of America, filled with slaughterhouses and meat-packing plants and endless production lines, manned by grey skinned, emaciated drones carrying out endless robotic tasks until they drop and are replaced by equally grey faced and clearly defeated humans. Yep, industrial music speaks to me in a manner which a lot of music doesn’t, and as far as I am concerned, it is the musical accompaniment to the machine apocalypse which is going to kill us all…

The album opens with ‘The Rabbit Hole’ which is a distorted and percussive assault on your senses, somewhat akin to being attacked with an automatic and rapidly firing 40mm grenade launcher – mercifully short but goosebump inducing before there is a short pause and then the first track proper kicks in, ‘Texas Chainsaw’ which blends slamming industrial beats with super distorted, chopped up blues rock guitar and screaming, slowly building into an impenetrable wall of sound with heavy as fuck industrial keyboards until the fade. Think ZZ Top being anally violated by Terminators playing Suicide Commando albums. I shall leave you with that mental image. You’re welcome.

Null Cell have successfully gained my attention.

Now, I know I am writing for a primarily metal audience here, but I have to recommend Null Cell to your attention too. Electronic music can be just as heavy as metal and this is not so much an album as an atmosphere with musical additions. Null Cell’s sound on this release could best be described as Skinny Puppy’s pure electronic industrial output combined with Ministry around their “Mind Is A Terrible Thing To Taste” era output, where the guitars and the more metal elements began to creep through. Add this to “Pretty Hate Machine” and “The Downward Spiral” Nine Inch Nails beeps and squelches and you have a rough idea of what this record sounds like. It is rather more electronic industrial than metal, however, relying more on stabbing, shiny keyboards than slashing guitars and dementedly howling vocals. Isabella employs a harsh, almost spoken word style of vocal, which comes across almost like a particularly demented preacher exhorting his flock to follow the right path lest they all perish in storms of fire and brimstone. This level of controlled aggression makes for something rather scarier than some long-haired Herbert hitting notes that cause bats to crash into trees on a regular basis and is somewhat reminiscent of Nivek Ogre in delivery. In fact, the more I listen to Null Cell, the more I find myself comparing “Eternally Ill” to Skinny Puppy’s “Too Dark Park”, “VIVIsectVI” and “Rabies”. This, you will be utterly unsurprised to note, is a Very Good Thing. Especially if you like late 80s electronic industrial music. Track three, ‘Thrashing Creature’ is a particularly virulent song, mixing elements of the sounds of Belgian industrialist pioneers Front 242 and Cabaret Voltaire with the muscular guitar driven industrial metal of Die Krupps. It’s fair to say I haven’t heard a single person’s musical project this virulent since I first heard Unter Null’s “The Failure Epiphany”.

And here we have the usual quandary we face whenever Dark Juan goes screamingly off-piste with his choices from the ever-metal.com review list. I am reviewing this record for a heavy metal website and what I am listening to, although it is very extreme music, isn’t really heavy metal, and I am faced with the question of whether I should score it entirely on the merit of the music, which is fucking kick ass killer industrial EBM with plenty to interest the passing metaller if they can get past the fact it is predominantly electronic music, or whether I mark it down for not being metal. The thing is, this album shares the sheer power that metal has and the same sense of not belonging to the mainstream and being alternative. My views on alternative cultures sticking together are well known to you all.

A decision has been made by The Patented Dark Juan Blood Splat Rating System because frankly it got fucking bored of listening to the writer gibbering to himself and awards Null Cell a thoroughly flagellant 9/10 for an album of music suitable to flog your submissive to vigorously and at some length. An album for the more adventurous fan of extreme music.

TRACKLISTING:
01. The Rabbit Hole
02. Texas Chainsaw
03. Thrashing Creature
04. Wonderland
05. Dead Skin
06. The Ceremony
07. Hardware
08. Cruel
09. Missing Moments
10. Boiling Point

LINE-UP:

Isabella Chains – Fucking everything on this record including the production, mate. Multi-talented people get right on my tits because I can’t even do writing right! Bet Isabella is spectacularly good looking as well just to REALLY rub it in. No head like an amusingly shaped ice cube for Isabella, I bet…

LINKS:

Null Cell 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 STEALTH

Stealth Logo

EMQ’s with STEALTH

Hi everyone! Welcome to our new EMQ’s interview with Corridonia, Italy based Industrial/Nu-Metal band, Stealth. Huge thanks to guitarist, Lorenzo Pimpini, 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?

Hi Folks, my name is Lorenzo and I’m the guitar player of STEALTH. The band was founded in 1997 after the meeting between me, Ivan (vocals and rhythm guitar) and Daniele (Bass player). We started as a Metallica tribute band, but we immediately started producing our own music after some months.

How did you come up with your band name?

I’ve chosen that moniker! One of the reason was the name born from STEALTH fighter plane in 1997 during the war in Middle East. We liked this name ’cause that plane was struggled and incisive like our metal sound!

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

We come from Italy, more precisely from a little city in the centre east of the country called Corridonia. The Rock/Metal scene here was (and actually is) very poor with few venues to play. This is the reason why we played a lot abroad.

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

“Live For Your Faith” is our latest live album released on 31st December 2020. Together with the original album and the remix one is a special concept trilogy: Live from London and other foreign places, ‘disco-metal music’ remix album “Fight For Your Fate” released in 2018 and original album “Fight For Your Faith” released in 2014. Now we are working on a new single with 2 songs that we will release shortly.

‘Perpetual War’ (Official Video)

‘Inner Land’ (Official Video)

Who have been your greatest influences?

I think that the power of STEALTH arrived from different influences between us. I like prog metal and epic cinematic sound; Ivan likes industrial and nu-metal while Daniele is into prog metal and hard rock/old school stuff.

What first got you into music?

When I was 8 years old my mother brought me playing piano. I remember I learned fractional time (4/4, 6/8…) with my music teacher before learning that to school. It was amazing!

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

I really don’t know. I think that every band is special ’cause every band speaks its own language. This is the power of music!

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

I think that WACKEN OPEN AIR would be perfect for the style of music we play with STEALTH.

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

Actually, was a gift…I did. It was an autograph on the tits of a wonderful girl! So maybe I gave her a weird gift…

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

We love you and I hope we’ll start to play live again and that we’ll hug together as soon as possible.

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

Randy Rhoads on guitar, Cliff Burton on bass, Vinnie Paul on drums and Ronnie James Dio on vocals. What an amazing band that could be!

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

We love creating something that lasts over time, something that creates an emotion. I don’t know if we can, but we try and we play, first of all, for us.

I hate the poor consideration of musicians in general.

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

The reality music show. Now your fame lasts as long as a song. There is no longer the desire to search for bands that last over time!

Name one of your all-time favourite albums?

Dream Theater’s “Awake”.

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

Everything is cool! The most important thing is to pay even a little for these music ‘devices’ otherwise the music will die.

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

It was 11 years ago in Kiev, Ukraine at Route 66 pub. It’s been an unforgettable show.

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

Luckily, I am also a cardiologist!

Which five people would you invite to a dinner party?

It will be great to invite for a dinner party the other guys that played with us in the past and creating just for a night a great STEALTH band with 4 drummers and 3 guitar players!

What’s next for the band?

We are working on new material. We are gonna to release a new single with 2 new brand songs next spring.

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

We mostly use our official website www.stealthattack.it but we are also on all the other social media like Facebook, Instagram, You Tube…

www.facebook.com/stealthattack.it
www.youtube.com/user/stealthattack1997

Jaffa Cakes! Are they a cake or a biscuit?

I don’t know, I think it’s a cake cause the name sounds like it…???

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

Stay connected with us and I send a big hug to everyone out there. We’ll see you quickly!

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.

The Machinist – I Am Void

The Machinist – I Am Void
Self-Released
Release Date: 04/12/2020
Running Time: 52:36
Review by Dark Juan
10/10

Greetings, my followers of the Horned God and keepers of my twisted gospel. It is I, Dark Juan, fresh from going full Jonathan Pie at the television and having had a stern telling off from Mrs. Dark Juan. Whereupon I have retired to my bedchamber in what can only be described as a magnificent sulk and stuck on the first record that came up on my electronic magic box of tricks (otherwise known as an elderly and temperamental Acer Aspire laptop that has been telling me for at least two years that there’s no memory left) which happened to be from The Machinist, who are a bunch of clearly insane and phenomenally dangerous psychotic Mancunians, which means they are entirely normal for denizens of the city of my birth. However, we are here for my thoughts on “I Am Void”, being their debut album, and the question is, if these mad, MAD Mancs have released a perfect peach or a pile of diseased, foetid arse?

Let us find out together.

First things first, you, dear readers, have to know that the blurb that came with this record was an out and out damned lie. It described the music as “A fusion of blasting black metal and machine driven death metal.”

What it should have actually said was, “HOLY FUCK WHAT HAS HAPPENED TO MY FACE AND WHAT IS THAT ABSOLUTELY UNHOLY AND BLASPHEMOUS SONIC WARFARE COMING THROUGH MY HEADPHONES AND TURNING MY MOTHERFUCKING BRAINS TO SOUP?!?”

You know how I’m ALWAYS banging on about The Berzerker and they hold the record for the most brutal and intense record ever made in their debut self-titled album? Well, hold on to your fucking trousers (and your underwear, because you’re going to be blown clear out of the fuckers), boys and girls and all other genders, tonight we celebrate the new kings of sonic violence, because our longstanding me(n)tal monarch Luke Kenny has been bested. Yes, not even our magnificently demented Aussie friend can stand in the way of The fucking Machinist. The sex wee quotient is explosive. There’s flashing red lights and klaxons everywhere and Alaska has declared a state of emergency because the sex wee storage tanks off the coast are in danger of catastrophic failure from sex wee overpressure…

Fucking JESUS, this record is savage. It’s all blades, heavy calibre machine guns and flamethrowers and artillery all rolled into one. Take the love child (for love child read absolutely murdering bastard fucking killing machine chimera of hatred) of The Berzerker, Akercocke and Anaal Nathrakh and try

to imagine that sound. Got it? Nah, mate, you aren’t even fucking close! There’s distorted kick drums, the kind of drumming that can only be accomplished by killer robots with heavily engineered pistons for arms, razorwire riffs that are not so much music as simple vessels for murdering entire rooms full of people in one go and vocals that bear no resemblance to any noise made by a human larynx ever before. I don’t even know how to describe the howling madness and predatory growls to an acceptable standard. There hasn’t been words yet invented to describe what I’m listening to. This is literally murder in musical form. It’s wide eyed, blood flecked, spittle drooling homicidal madness rampaging round at supersonic speed, roaring and shrieking sheer batshit insanity at extreme and inhuman volumes two inches away from your face. It will be no surprise to any of you to learn that I fucking love The Machinist now.

Although the music is primarily a hyperspeed amalgam of the most primal and martial black metal and the unrelenting brutality of death metal, that isn’t to say there are not subtleties at work here. Oh no, like a psychopath experiencing fleeting moments of clarity, The Machinist dial back the lunatic speed and blastpower and slow down to be like the most evil of serial killers to whisper in your trembling ear exactly what horrors they are going to perpetrate upon your helpless corpus. ‘Departure’ is the most notable example of this, as is album closer ‘Schwarzschild Radius’, both songs having the kind of power electronics found on Whitehouse records, and for all the speed and sheer madness these Mancunian sonic serial killers employ, they are surprisingly technical musicians, with multiple tempo and pattern changes throughout songs and different movements therein also. The keyboards employed throughout the record are never intrusive and at times remind me of when Emperor used then on ‘Anthems To The Welkin At Dusk’ and they add a gothic and often futuristic element to the sound of the Machinist that gives them the gravitas and grandeur that was missing from The Berzerker (who had opted for ultraviolence and gabba techno) and much more like Emperor mixed with the complete uberaggression of Anaal Nathrakh with added industrial precision. The industrial element of this record cannot be ignored, for it is this that lifts it up from contemporaries and gives it the je ne sais quoi to make this album truly, TRULY special.

I’ve run out of superlatives. Wait…. what? This is their DEBUT album? THIS IS A FUCKING DEBUT RECORD? HOW IS THIS POSSIBLE? Jesus fucking Christ, how are this bunch of howling mad bastards going to top this one? It is not possible. It will cause a massive rupture in spacetime and destroy the universe as we know it if they get any faster or heavier…

Ah, I’m on to you, you fuckers. Nothing less than total musical apocalypse is your plan. Where do I sign up to join, our kid?

So yeah, this is the Holy fucking Grail, ladies, gents, and gentlepersons. It is rarer than rocking horse shit. It is a perfect debut album. I never thought it would ever happen but this is a fucking perfect debut album. I know I’m repeating myself. My brains are liquid and running out of my nostrils thanks to The fucking Machinist.

Right then, The Patented Dark Juan Blood Splat Rating System is utterly fucked beyond repair. The Machinist have broken it. It’s a 10/10 from it (it’s a googleplex out of ten as far as I’m concerned, but Rick has a scoring system and he has decreed that we use it properly for he is possessed of considerably more wisdom than I, who has literally frothed maniacally for over a thousand words during this review) and I wish I’d fucking heard this before I submitted my top ten records of the year because this should be in there. At the top. IT IS THAT GOOD.

EDIT: I changed my top ten list. So at least you know what I think is the best release of 2020 already…

TRACKLISTING:
01. Extinction Event
02. Skin Is Not Enough
03. The Sky Has Opened
04. Approach
05. Bleak Affirmations
06. Depopulate
07. Death Cults of Abraham
08. Magnificent Desolation
09. Departure
10. Schwarzschild Radius

LINE-UP:
John T – Synths, Drum Programming, Vocals
T – Guitar
Scott W – Vocals
K. Mackinnon – Guitar

LINKS:

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.

INTERVIEW WITH PROGRAMMABLE ANIMAL

INTERVIEW WITH PROGRAMMABLE ANIMAL
‘One Step To Hell’
By Stephanie Stevens

Press play to the album “ONE STEP TO HELL” from Chicago’s…

PROGRAMMABLE ANIMAL and you get submersed into the emotional and raw personal stories that have been seen by the eyes and felt by the heart of founder and frontman Drepsea. The loss of a loved one, a tale of drug addiction and the overwhelming effects of Narcissistic souls that creep into our lives sometimes. This band has the sound that captivates me due to the industrial and metal soundscapes, but it was how the lyrical content, and the way it was delivered, pierced my soul and made emotions awake in my heart. That really drove me to fall in love with this album from start to finish.

The band has a way of intertwining chaos and beauty on tracks like ‘ONE STEP TO HELL’ but then can delicately mesmerize you with a track like the beautiful n dark ‘AS ABOVE, SO BELOW’ and then firing you up with the sultry yet heavy ‘QUEEN OF FIENDS’. Beauty, anger and compassion is what this band is made of and it is truly an epic listening journey.

The past  is also something of notability for this band! After getting a taste of this album I went backwards into the discography. One thing to be said is the band has stayed true to the “sound”, but you can instantly appreciate the growth, the developing and the honesty which has stayed intact. Older albums like “END OF THE TAIL” and “DREPSEA” are just as influential as the new one. The way they bend genres to manipulate it into a sound all their own is tantalizing as they have made it into a unique, expressive and relentless journey of madness and beauty.

The storm of truth not only bleeds out of Drepsea on this newest disc “ONE STEP TO HELL” but made its way into this interview which I had the honour of having with him. I am elated that now I am ‘in the know’ of PROGRAMMABLE ANIMAL and I hope you all enjoy this truly impeccable album and chat with this amazing artist.

Q:PROGRAMMABLE ANIMAL has been around for a few years now. Can you give us a quick synopsis of how this band formed?

Drepsea: The band was started years ago as a solo project. Music gave me a sense of identity, soul, and purpose. Programmable Animal was a creative outlet for me to express my views.

Q: You go by the name DREPSEA which was an album of yours back in 2014. What made you take on that persona and do you feel you are creating another form of yourself when you create for the band?

Drepsea: The album “Drepsea” was the cultivation of this character. I would say this persona expresses my truth. Within the music and lyrics, I’m telling exactly how I feel. On an everyday basis we portray a version of ourselves that is socially acceptable, and that can be a multitude of different versions given the situation. The idea of Drepsea isn’t that…it’s my truth.

Q: Your music definitely has the mix of industrial, dark aura and at times could sound chaotic and insane (in a good way) especially listening to your last disc “END OF THE TAIL”. How does the band set the tone when you start writing for new albums etc?

Drepsea: It primarily revolves around the situations I’m dealing with at the time. “End of the Tail” was an end of a particular “tale” in my life that was dark, yet a turning point. Due to the circumstances at that time, I started making poor decisions, I was engulfed by bitterness, and delved into chaotic situations. I realized the path I was going down was purely destructive. “One Step to Hell”, fundamentally acted as a means to pull myself out of my own hell. I wanted to take a more empowering approach that no matter what kind of hell we face, we can break the spell. It can start with incremental steps, whether that be associating with the right people, overcoming our vices, or pursuing our passions, etc.

Q: Making art from pain and heartache usually makes for brilliant work. Your new disc “ONE STEP TO HELL”, defines that. For you what were the pros and cons of getting your emotion out as lyrics?

Drepsea: I 100% view it as cathartic and therapeutic. Anytime we express our truth, it’s always a pro. Bottling up our feelings inside can make someone go mad.

Q: Growing up who were the artists that formed your appreciation for music and what you believe as a performer, who adapted to your way of making music?

Drepsea: There are so many, but two come to mind. KoRn because of Jonathan Davis’ lyrics. It was clear that he was hurt, the music was just raw and powerful.

Also, Nine Inch Nails. The first time I heard “Closer” I was in awe because it had such a unique sound. I was maybe like 5, I didn’t know what the hell the lyrics meant haha, but the sounds were nothing like anything I’ve ever heard before.

Q: Have you ever done theatre or acting and is it something you might venture into if you haven’t already?

Drepsea: I honestly haven’t besides for our music videos. I appreciate the art behind it, though who knows what the future holds.

Q: On the new disc you talk about almost losing someone to drug addiction and dealing with the passing of a loved one. These topics resonated with me. 5 years ago, I lost my mom then 6 months later lost my boyfriend to drugs n alcohol. My question is two parts

1. How do you deal with loss and what would you tell fans who are having hard times with that aspect?

2. Do you feel that people dealing with the disease of drugs n alcohol can eventually become stronger than the demons that are courting them to these deadly substances or its always going to temp them?

Drepsea: I’m sorry to hear.

Art and music were a means for me to reflect. Personally, with my recent loss, having spiritual beliefs helped mitigate certain feelings. Dealing with loss will be different for each person though. It does take time to heal. For fans, try to look at the brighter side of the life that the person lived and remember the good they brought into the world. Loss can be a reminder to us to make sure we treat others the best we can. Most importantly, try to enjoy the moments we have with them.

Absolutely, we can overcome our demons. I’ve been around many people with drug issues. One situation I found myself in was having to perform CPR on someone close to me in order to save them due to a heroin overdose. That person is doing a lot better now, no recent episodes. We are all capable of ridding ourselves of addictions / similar issues. Again, it’s forward thinking, start making small changes, eventually it starts to make “hell” less severe. Yes, the voice lingers but only if we allow it. Try to surround yourself in a better environment and reassure yourself you are capable of overcoming it. When in doubt, reach out to someone.

Q: You worked with two producers who have worked with some giants in the industry. How much did you learn from both of them about magnifying your songs and also anything they said to you vocally to expand or focus more on, since the album is a more personal storyline for you?

Drepsea: Both definitely guided me into the right direction. There were things that I didn’t think of that they pointed out and through that, it made the songs better. We did some of the recording with Chuck Macak at his studio. After, I took the individual parts and recorded a bit more at mine. Eventually bringing them to Sean Beavan. It was simpatico, he would send me a mix and it was right each time. I wanted to take the listener elsewhere, to create the personification of flesh in battle with the soul. Hence, the industrial sounds contesting against ambience. Sean nailed this approach; he is a sound genius and understood the project fully. Very glad we crossed paths. In terms of lyrics, there was no suggestion on anything. I wanted to stay true to me, that’s important for me as an artist.

Q: Another step for the band is having Negative Gain behind this record. How did that partnership happen and what is the most important thing for you when beginning a relationship like this?

Drepsea: Negative Gain noticed Programmable Animal back in 2018 with our release, “End of the Tail.” At that time, I was playing guitar as well for a couple of well-known acts in the industrial scene: Hate Dept. & Project 44. I met Micah Skaritka from NGP at Cyberfest in Chicago, my intuition was telling me I will probably be speaking with them again lol. Over time we all chatted, and I also worked with Christian Bankes who runs Fade In PR. He’s another person who I respect and really believed in this project. He helped pitch the record to Roger Jarvis and Micah at the label. The rest is history. The most important aspect is trust, I trust them. This goes with everything in life, find people who are good and who you trust.

Q: What advice would you give a new band looking to do something off course of the norm for music but hesitant about not being accepted?

Drepsea: Persistence is key. Doing something different is a good thing, that’s how some of the most prominent musicians came to be. They pioneered a new sound. Of course, you want to relate in some regard to the audience, music is communal. If you love and are passionate about what you’re doing though, odds are someone else in the world will be too, you just have to find them.

Q: Where can people support your band and music, and do you see any plans in 2021 for a tour?

Drepsea: Our album “One Step to Hell” is on Spotify, Bandcamp, etc. You can also find us on Facebook, Instagram, YouTube, Twitter, etc.

www.linktr.ee/programmableanimal – Links to everything Programmable Animal.

We are optimistic about 2021 and touring / playing, though we will see what happens with the pandemic. Most important, we want our fans to feel safe.

Q: Empower another artists and tell us why they inspire you?

Drepsea: The artist that inspired me the most would be Trent Reznor of Nine Inch Nails. Apart from the unique sound, what intrigued me the most was one person composing each part in a song. It was the same approach Prince had; I fell in love with this idea. It led me into learning multiple instruments, eventually making my own songs.

The End

CONNECT WITH THE BAND:

‘One Step to Hell’ (Official Video)

Disclaimer: This interview is solely the property of Stephanie Stevens and East Coast Romper, and has been released to Ever Metal on this basis. 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.

INTERVIEW WITH KISSING CANDICE

INTERVIEW WITH KISSING CANDICE
‘The New Chapter Of HORROR’
By Stephanie Stevens

Impacting the music world with their brand of metal/industrial music; The demented, chaotic, abstract horror visuals from the bands look to the videos and live stage presence they have brought to stages, Long Island, NY’s KISSING CANDICE is one band you are very unlikely to ever forget.

The band is opening the real gates of Hell with new single/video ‘Tapeworm’. With a refined sound and musical growth, you can hear on their newest track, I believe it’s just the tip of the iceberg of what is to come out of the bands 2nd full-length album!

This is the next chapter into the wonderfully psycho, creepy aggressive world of KISSING CANDICE.

I had a chance to chat with Joey Simpson AKA Aunt Donna, the vocalist and founding member of Kissing Candice. Tom Sciro aka DREAMER, the original guitarist and 2nd vocalist of the band and Mike Grippo aka GRIP the original bassist of the band as we talked more about the evolving growth of the Masks, the growth of the music, the 5 year anniversary of the bands 1st full length album “BLIND UNTIL WE BURN” and so much more

Q: I love talking to you guys because not only do I love your music I adore the creative side you have for the visuals. With that being said I want to jump into the new mask’s look. You guys worked with a few different special effects people. Was this the next level of creating the masks or had you worked with others before to make your older ones?

Grip: Dreamer and myself worked with Jeff Koncor on our masks. He also did Suffront’s, the transition masks, and fan masks! Also, thanks for having us again, it’s always a pleasure!

Joey: I had the honour to work with special effects legend Tom Savini  and his partner, special effects mastermind Jason Baker. They brought the new Aunt Donna look to an entire new level.

Q: How have the masks evolved since last time?

Grip: They’ve only gotten crazier and more intense. But it’s still an evolution. (Shout out to Jeff Koncor who did my mask. Dreamer’s, and the transition masks!) You can still look at us and know who we are.

Joey: With new music comes new masks, new faces , a new sound, a new message. For Aunt Donna, she’s only gotten more weird, more hungry for the bizarre.

Dreamer: The new masks are an evolution of the character we each have built. We just tried to focus on certain aspects that we wanted to showcase in them.

Q: Do you feel the masks are your inner personality to a tee, and if so, does it change your mindset when they are on and you’re performing?

Grip: We kind of like to think of it as a reflection of our dark side…Those sides are the ones that are in control during the performances.

Joey: Absolutely. When the mask goes on the world shuts down and things that matter take a time out (I like to think of it that way). It’s show time. It’s time to do what Aunt Donna wants, what she desires.

Dreamer: For me, it’s definitely some parts of my personality, but not my day to day. It’s super visceral, so it absolutely contributes to when you have it on and how you act.

Q: ‘TAPEWORM’ your newest single creates that signature sound the band has come to be known for. When you started writing the new songs was there any particular part of songwriting you wanted to redefine or focus and how did that process go?

Grip: We believe that on ‘Safe Word’ we found “our” sound. On this one we wanted to hone in on it and refine it while also expanding it with some out of the box ideas. Zach Jones has been a game changer for our sound.

Joey: The band flew out to a house in Vegas for 3 weeks along with our producer Zach Jones. In that time frame writing was amazing, It was such a creative experience in so many different ways. Things I can’t even describe unless you were in that room. So different than any other studio time we have had. The only thing I will say is, it all came together the way it was supposed to!

Dreamer: The recording process was one of my favourite experiences in being in this band. Totally open minds, some ideas, head time and living in the studio for a month. It was a super creative and fulfilling experience and I was able to just go to all the places I’ve heard in my head, whenever I wanted. We wanted to just make a unique, honest and raw record that we loved. We did just that.

Q: Your 2nd full-length is on the verge of coming out and with the chaos of 2020, you had some extra time to really perfect everything. Did you change anything drastically or swap out any songs for others when you went back and listened to the album?

Grip: We were really happy with how the album came out. This time has given us the opportunity to seek out some guest vocalists to add (a first for us), have Maor Applebaum master the album, and focus on creating more visuals for the release. It was really just slight refinements that make a huge difference. Nothing was cut or added…just made a little bit better.

Dreamer: No, it was pretty much smooth sailing on that front. We messed with mixes and mastering, but like I said before…we made a record that we love.

Q: I know you guys love pushing the limits and love evoking emotion, especially in a visual way. With the ‘TAPEWORM’ video did you guys have to pull back the reigns of the horror/gore aspect at any time because of the fear of being censored?

Grip: There have been times we’ve stepped back and been like “WHOA, this is too much to put anywhere on the internet without having it pulled down”. But that wasn’t the case with ‘Tapeworm’. We knew the song was dark and we needed visuals that represented it. I’m much more worried about our next music video being censored!

Joey: YES!! Some of the original shots I wanted to do would have been censored for sure. It’s very hard to market something over the top gore HAH!

Dreamer: Not at all. We don’t care lol. Just went for it. If we like it, we do it.

Q: How hard was it shooting the video because of all the policies, rules, etc due to Covid and if you shot in NY?

Grip: We shot at The Meat Locker in NJ…and hey…we’ve been wearing masks for years!

Joey: Lucky for us it was a small, closed set with the band crew and some close friends that helped make this video possible.

Dreamer: It’s always a hassle for video stuff in general, we just had a few extra steps. But I genuinely thank everyone that was a part of it to allow it to happen!

Q: 2015 was the last time you put out a full album. In between, there have been EP’s and singles to keep your fans full of your amazing music. What made you feel it was time for another full-length?

Grip: It’s been way too long. We’ve wanted to do this for a long time but have been in between record labels. We finally decided we don’t care, and we will crowdfund it and pull the rest of the money out of our own pockets to see it happen.

Joey: We just knew it. It was time to shed the old masks. Shed the old sound and release the beast.

Dreamer: We had been wanting to do one for a while, but things just kept coming up. We were definitely long overdue.

Q: Along with new masks is the storyline for the new album anything conceptual or does it have a common thread to each of the tracks and does the music incorporate what your masks mean to you?

Grip: There are a lot of different concepts on the album. This is us exploring what we can do with our sound and vision. We just wrote what felt best with Zach and then recorded it.

Joey: I’ve been saying from the beginning of making this album, it’s really not an “album“. It’s more like a horror movie. I can’t explain. But when you hear it front to back you will understand !

Dreamer: The new album is just a mouthpiece of things happening today.

Q: 2020, you are celebrating the 5-year anniversary of your 1st full-length “Blind Until We Burn”, is there anything you are doing to commemorate it?

Grip: Yeah! When the album originally released, the samples had to be cut, the artwork changed, and a song removed. So, we are doing a super limited 5-year anniversary edition strictly pressed to vinyl and cassette!

Q: Have you guys had any plans on releasing a live stream show for your fans and what is your view on these as we all know touring is off limits at the moment?

Grip: We’ve kicked the idea around but with everyone living in a different state at the moment it’s hard to pull off with all the restrictions.

Joey: The live music world is on a hard pause, for how long no one has a real answer. A live stream? Hmmm you’ll have to wait and see.

Dreamer: We are still considering that for something in the future.

Q: In the past have you guys auctioned off your older masks or stage clothing for fans? Any funny stories about that?

Grip: Yep, I have sold off all my old stage gear and masks. It doesn’t mean a whole lot to me to keep it on a shelf in my bedroom, I would rather use the money from that to move the band forward. Also, there are fans out there who cherish it way more than I do, and it means a lot to me they are able to own a piece of something they are so passionate about! Funny stories? I sold 20 of my bloody BUWB era V-Necks to one person in bulk for super cheap haha!

Joey: My buddy Austin has bought every Aunt Donna mask I have ever worn. It’s amazing he now owns more OG masks then I currently own haha. Also, Gavin & Johnny have this amazing place called the KC Kave. Look it up. I can’t even begin to describe it.

Dreamer: Someone owns Grippo’s stockings. Lol.

Q: If you could sum up 2020 in one sentence what would it be?

Grip: Do I really even need to shower?

Joey: “FUCK THIS SHIT” – Super Humman.

Dreamer: Garbage.

Q: What is the biggest misconception people have about the band KISSING CANDICE?

Grip: That because we wear masks, we are like every other band with masks. We are different. Or we do it because we think a gimmick will help sell it. It’s a way of conveying emotion.

Joey: Everything.

Dreamer: We aren’t Slipknot or Mushroomhead.

Q: What is the best way right now fans and music lovers can support your band?

Grip: STREAM ‘TAPEWORM’ ON SPOTIFY ALL DAY! Also, join us on Community where you can directly text with the band and we do a ton of free giveaways. The first 2 texts are automated sign up texts but from then out it’s all us! You can get in on that by just shooting a text to,

+1 631-206-5808

or going to
www.my.community.com/kissingcandice

Also! You can pick up the limited edition 5-year anniversary of BUWB here!
www.kissingcandice.com/store?category=BUWB+5+Year

Joey: www.kissingcandice.com/ – music , Merch and more!

Dreamer: Buy merch, buy music, anything that links back to us.

Q: Empower another artist and tell us why they inspire you?

Grip: Trent Reznor. I don’t think he needs empowerment because he just got inducted into the Rock & Roll Hall of Fame. However, his inspiration on me has been enormous since I was a child. He is so progressive with how the industry works and is insanely creative. Definitely my musical idol…also he brought us Marilyn Manson…and then a feud with Marilyn Manson!

Joey: Honestly Post Malone. He started out at the bottom. Everyone gave him shit, talked shit, looked down on him. He never gave up and didn’t let anything stand in his way. Now he is one of the biggest names in music.

Dreamer: Scythe Gang 666, because Zabb is the softest in the game.

The End

CONNECT WITH THE BAND:

‘Tapeworm’ (Official Music Video)

Disclaimer: This interview is solely the property of Stephanie Stevens and East Coast Romper, and has been released to Ever Metal on this basis. 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.

Monolith – Sentience

Monolith – Sentience
Self-Released
Release Date: 13/11/2020
Running Time: 53:10
Review by Beth Jones
7/10

Hands up who likes Progressive/Tech/Djent/Industrial/Electro Metal??!!! Ah good!! Me too! Well I’ve got a little something you might like.

Monolith is a one-man project that’s got all that and more. It’s the brainchild of multi-instrumentalist, and an old friend of mine, Nathan Hughes. And his debut album, “Sentience” has just landed. Formed as a project for his university degree in 2018, Monolith has grown into his ‘passion project’, culminating in this release. It’s a meld of everything, like one big metal caravan filled with whatever the hell you want, ready to set off on a trek to wherever the hell you want, down all the twisty and turny A roads and dirt tracks you can find! Metaphorically speaking!

The album explores a myriad of soundscapes, infusing synth effects with more traditional metal instrumentation. It starts with ‘Sentience I – Awakening’. The opening couple of bars sound like ‘2001: A Space Odyssey’, which I thought was pretty fitting for the direction this album is aiming to take. But it quickly becomes a guitar and drum driven track full of darkness and intrigue, as well as a myriad of complex rhythms and interlocking sections. A great start.

‘Lucid’ is up next. Groove funk central!! It starts off with drums and some pretty nifty bass licks, and then tumbles into groove laden guitar. But don’t get too comfortable, as some crazy synth then drills into your brain followed by a ridiculously complex rhythm section, then some full-on thrash! It’s impossible not to move to, but do NOT try to bang you’re head, as you will either a) get annoyed at yourself for going off beat, or b) look like you’re having some kind of episode.

‘Departure’ takes you on a much floatier and more calming journey to start with. Massive reverb on a solo guitar, with wave sound effects in the background, lead into bass synths, and a Pink Floyd style guitar solo that’s indulgent, but not to the point of it becoming tacky. It’s just peaceful. I likey. ‘Skyline’ comes next. This takes the crazy djent prog madness of the first two tracks, and the mellowness of ‘Departure’, and chucks them both together, purely because it can. It also has synth sax, again, because it can. Although, I’m a bit of an old fuddy duddy when it comes to wind instruments, because I was brought up in a house full of very proficient sax players, and synth versions of them grind my gears. They just sound corny. Sorry.

Anyway, moving on! In the middle of the album, at track 6, ‘The Elusion’ we’re introduced to some more new sounds. An almost 90’s grunge feel, cloaking, but not completely obscuring, the crazy proggy madness that we have been gifted with so far. Given the point in the album, and the track name, I think this is very cleverly thought out bit of placement. Possibly a metaphor for the ‘more socially acceptable’ version of ourselves that a lot of us over here in metal corner have to create in our day to day lives, in order to be accepted within ‘normal’ circles.

The next tracks, starting with ‘The Price Of Reality’, are a much darker journey. Slower than what has gone before, and with more trepidation. ‘The Price Of Reality’ using sludgy doom inspired sections, and ‘Lost’ making use of a minor key, an altogether slower tempo, and synth strings, giving it a stark and overarching feeling of sadness. Being a melancholy soul, this is my favourite track on the album. The musicality in the instrumentation really is superb here, and the progressions and cadences almost send it into the realms of a classical composition.

‘Cmd_Shutd0wn’ sees us heading swiftly back into Electro/Djent, and is hugely Gojira inspired. It’s only a small track, but it’s no less technical. It also marks the beginning of the reverse, which will bring us full circle to the sounds that opened this album. This is more noticeable however in the penultimate track, ‘Transcend’ which draws influence from everything that has already been introduced, and neatly packages it into a little under 4 minutes. ‘Sentience II – The Neon Dreamscape’, closes the album in much the same way, ending with the same synth sounds that we were first met with in the opening bars of the album.

Musically, this album displays the undeniable talents that Nathan has, as both a musician and a composer. It’s also superbly mixed and mastered, given that the sound is huge, but was basically put together in his bedroom. But, there is a fairly large elephant in the room, that I haven’t addressed as yet. This album, in its current form, is purely instrumental, and is crying out for vocals. While every track is masterfully constructed and played, there is a vocal shaped hole in them all, that needs filling to take this album to the next level. Maybe I’m biased as vocals are my thing, but for me, with vocals, this album would be a solid 10.

That said, if you like any of the aforementioned musical styles, you really should check out “Sentience”. With Monolith, and this release, Nathan has taken a really great step onto the metal project ladder.

TRACKLISTING:
01. Sentience I – Awakening
02. Lucid
03. Departure
04. Skyline
05. Overseer
06. The Elusion
07. The Price of Reality
08. Lost
09. Cmd_Shutd0wn
10. Transcend
11. Sentience II – The Neon Dreamscape

LINKS:

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.