Null Cell – Nemesis

Nemesis Album Cover Art

Null Cell – Nemesis
Machineman Records
Release Date: 31.12.21
Running Time: 47:05
Review by Dark Juan


Hello, dear friends. It is I, Dark Juan, and you may be very surprised to know that I am feeling somewhat subdued. Normally I am to be found bursting with explosive bonhomie, and replete with witty bon mots and all round cheerful good humour. Instead I feel like shite and can’t even rouse myself to masturbate furiously over a picture of Euronymous burning down a church. That’s death’s door kind of business. Fuck knows what’s wrong with me, because all the tests I am doing for COLIN-19 appear to be negative. Mrs Dark Juan is currently sparked out on the sofa with two Smellhounds and I have a gently snoring (and extremely flatulent) General Sir Zeusington Zeus KCVG, VC, DFC and bar, Croix de Guerre and Order Of The Red Banner next to me whilst I contemplate my mortality, and what the response from Mrs Dark Juan would be if I woke her to demand tea. As the second point would probably directly influence the first, I feel it would be beneficial to my lifespan if I just went and fetched my own cup of tea.

I don’t even feel like drinking, even though I know there’s a very acceptable bottle of 15-year-old single malt Scotch whisky in the kitchen with my name on it. Is this what old age and senescence is?

Also, it’s near Christmas, and I promised Mrs Dark Juan I wouldn’t ruin it for her this year by being miserable. However, seeing as she has no control over the vitriolic vomiting of my metaphorical pen (he sez as he types this on Word) I can confidently share with you the fact that I despise Christmas with a passion. I hate all the false bonhomie, the commercial shitstorm that starts in fucking SEPTEMBER, the awful music, and most of all the fact that I am OBLIGED to like it for the sake of society as a whole. Why? Why the fuck should I accept the Christians (fucking imported Middle Eastern death cults do my fucking head in too) having stolen a perfectly acceptable pagan festival, and their capitalist lackeys using it as an excuse to drag ever more profit out of our miserable and increasingly less well-off lives? And more to the point, swallow it all down like a good little boy for the sake of other people’s happiness? Commercial shitstorms do my fucking head in. Next the supermarkets will have fucking Easter eggs in in February. Right after the supermarkets try to relieve me of money and increase my already beyond Catholic levels of assumed guilt with Valentine’s Day and all the pink frothy bullshit that comes with it. Mrs Dark Juan would fucking adore it if I bought her a raven, not a fucking lovebird, you money grabbing twats…

You might be wondering just what the fuck I am listening to that has caused me to rant in such a disgracefully self-indulgent fashion. It’s “Christmas Time (Don’t Let The Bells End)” by The Darkness.

No, it isn’t. I’m lying to you again. By kind permission of Machineman Records, I have in my sweated and greasy hands an advance copy of Nebraska native Isabella Chains’ latest offering as Null Cell – “Nemesis”.

You will no doubt, as regular readers of this gobbledegook masquerading as factual information, know that I am something of a Null Cell fan, having reviewed the debut album (, if you’re interested) and found the listening experience not unlike being incarcerated in an industrial meat packing plant populated by heavily armed sadists who all have anger management issues and severe inferiority complexes. You will be pleased to note that “Nemesis” is considerably more schizophrenic, ‘Chemical Haze’ having a bizarre, calliope like carnival quality, and a vocal that for some outré (and probably drug-fuelled) reason has me thinking of the tongue in cheek humour and delivery of Lux Interior, with a strange middle and end section of spoken word parts that also remind me of Satanic doo-wop titans Twin Temple. A very strange and engaging mix of psychobilly and industrial… This having exploded out of the end of a rather more industrial piece of noise called ‘The Void’, which spasmodically jerks from a droning electronic noise to the sound of orgasm over pounding sequenced drums.

In general, though, the sound of Null Cell is still an amalgam of Skinny Puppy, early Ministry, KMFDM, Die Krupps and Front Line Assembly. Chopped up guitars underpin machine-made, pounding beats and vocals that still remind me of a mightily pissed off Nivek Ogre. All good on the influence front then, eh? 

Fear not, because “Nemesis” has more variety than “Eternally Ill” did. Isabella Chains has increased her musical influences and a distinct hip-hop vibe has crept into the music – ‘South-O Sleaze’ having hip-hop beats fused with choppy metal guitars and a Trent Reznor-channeling vocal and lyrical performance, and ‘Psychic Slave’ enjoying more rap beats and a sample from 90s R&B superstars En Vogue (don’t think I didn’t notice, you cheeky little monkey!), as well as it being the most removed song from Null Cell’s actual grinding, percussive assault upon the senses.

Null Cell still have the same “problem” as they did with their debut record. It might not be metal enough for a metal fan to truly enjoy. Whilst, I, as a massive fan of EBM and Futurepop and Aggrotech and Synthwave and Power Electronics and especially Industrial, can find much to enjoy and to appreciate the coldness and the alienation that Null Cell’s music conjures up in my poor abused brain, a metal fan unwilling to be convinced by the righteous path of Industrial might consider it lightweight poppy bollocks. However, I am prepared to ignore this when I score the record because I think it’s fucking brilliant. My favourite song is ‘Mechanesia’, which has an emotional, scarred vocal overlaid by closely tracked guitars and keyboards and a real feeling of melancholy attached to it.

Being a one-person project means absolutely no need to compromise on your musical vision, and Isabella Chains is to be praised for forging her own Industrial path and creating another fine album that is a reflection of her personality. It mirrors my own obsidian take on the universe, and the lyrical content relates stories of losing control of yourself, and going through depression and possibly failing to come back out of it again unscarred, or (and this, with you all knowing I wrangle young gentlemen in the care of local authorities for an actual living when I am not deflowering the children of religion, and frequently the followers of them makes it DEEPLY personal) the abuse suffered by young people in all its forms. This song (‘Blade’s Edge’) is a deeply unpleasant listening experience for me in that regard, but is relevant, timely and sharper than a rapier thrust to the eyeball.

The Patented Dark Juan Blood Splat Rating System (they speak a strange and bastardised version of English over in them there United States of America, so no amusingly incorrect translations into foreign languages today) awards Null Cell 9/10, because their cyberpunk mix of Skinny Puppy, Front 242 and Ministry with added metal is right up my perverted little alley.

01. The Return To Oz
02. Nemesis
03. Breaking The Code
04. Dream Emulator
05. Over The Top
06. Psychic Slave
07. Blade’s Edge
08. The Void
09. Chemical Haze
10. Judgement Pays (Good Cop)
11. South-O Sleaze
12. Twitching Alive
13. Mechanesia


Isabella Chains – Vocals, synths, programming, guitar, production and all instrumentation where noted. There’s no need for this level of talent. No need at all!


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.

Fleischkrieg – Herzblut

Herzblut Album Cover Art

Fleischkrieg – Herzblut
Release Date: 05.11.21
Running Time: 39:30
Review by Dark Juan

I greet thee, my faithful ones. May you be blessed in everything you do and be delighted in everything from the opening of a spring flower to the frantic scramble of succeeding in your panic buying for the upcoming festive time and your ungrateful offspring. May you be blessed with the Sacred Gravy Jug of Valhalla (which is a real thing, just ask Kids In Cages’ Fin Davey, being as he and I are Brothers in this august arrangement) and also with the Hallowed Potent Bottle Of Spirits Granting Sweet Oblivion In The Mid-Afternoon. I mean I would be trolleyed right now as there is champers and whisky in the house and I am not in work, but I’m still feeling rough as a bird’s arse.  Tis the season to be fucked up, clearly, and not in the way I would prefer to be either…

Still, there’s booze in the house which is always a bonus.

In the meantime, I have retired into the world of music because a) I haven’t written anything for almost three weeks, b) the Smellhounds are being more irritating than usual, and c) Mrs Dark Juan is watching a short man with an amusingly shaped head and even more hilarious haircut talk about building his own house and composting toilet. I happened to look up and the strange Hobbit like being was standing next to a small shed of his own scratch construction, and as I am not very well and not paying total attention, I asked Mrs Dark Juan whether that was his house. 

Cue much laughter.  Mrs Dark Juan has not yet stopped taking the piss out of me. Several hours have passed. I want a drink.

I am consoling myself with the latest album from Fleischkrieg (Fleshwar or Meatwar in jolly old German) who are surprisingly not from Germany. Neither are they Swiss, Austrian, or from that tiny part of Belgium that speaks German. Or from Liechtenstein (where they also speak Schweizerdeutsch). Fleischkrieg are American, and more specifically from Los Angeles, California and they play what they call brutalwave. I can detect Neue Deutsche Härte with a larger than normal electronic component, a smattering of Neue Deutsche Todeskunst, a nod towards the cinematics of the current synthwave explosion and English language lyrics. In fact, with the extremely production heavy values of the whole album, the effect is not unlike Rammstein, Megaherz, Eisbrecher and Oomph! forcing themselves on Garbage and Evanescence (two bands who share the same almost overly produced ideal. I’ll explain later). Otherwise, Fleischkreig share the same martial industrial ideal of pounding mid tempos (just right to march to), extremely thick and forward in the mix guitars underpinned by lots and lots of keyboards and electronics with the German NDH vanguard and then we have the schizophrenic vocal stylings of Der Eismann himself, Richard Cranor, a man who, according to the EMQs segment he was a part of in 2020 does not know what a Jaffa Cake is. The shame, Richard. The unrelenting shame… ( should you choose to peruse it) 

“If Hell hosted a dance party – Fleischkrieg would be the headliner.”

Bold claim from your own blurb, gentlemen and lady. Let us see whether it holds any water, or whether or not I’m going to have to be unkind to you all.

So what do you get for your hard-earned? You get 11 tracks of punishing, super heavy gothic industrial, in the highly polished, highly produced American style. The record opens with a haunting gothic electronic intro and a very polite guten tag, before launching into waves of building industrial electronics from Kaylie Cortez (Nuda) on ‘Doros’, until the guitar of Thomas Crawford (Ceraphym) crunches in. His sound is extremely heavily produced and is meaty as fuck, mate. The drums of Nick Mason (Living Dead Drummer, also, no. Not that one) are rather further back in the mix than I would like, whereas his cymbals are far too far forward for my august tastes. When I say the sound of the vocals are somewhat schizophrenic, ‘Brawler’ is a classic example. Richard starts off with all lascivious, mirror shaded, sinuous Andrew Eldritch inspired baritone crooning, before switching to visceral, sweat and adrenaline fuelled mid-pitched roaring. On my first listen I found it jarring as fuck but as I got used to it on repeated spins, I found that it fitted the music rather well and added a rather human quality to a very technology driven record, which could have become a very very robotic record quite easily. The rawness of the vocal adds to the experience and gives the record depth and interest. Richard’s voice reminds me on occasion of Andy LaPlegua, when he’s doing his Panzer AG and Icon Of Coil stuff rather than Combichrist. ‘Parasite’ melds speedy metal drumming, shimmering keyboards and some seriously choppy riffing. In fact, the drumming on the record is a pretty neat amalgam of nu-metal and industrial technique, and to be fair the more I listen the more I become beguiled. ‘Owllight’ switches between baritone muttering, shouting, and impassioned howling over supremely heavy guitars and the kind of power noise that Combichrist employ to such devastating effect.

To explain the production values – everything is so heavily produced it sounds artificial. This is not really a demerit for this style of metal though. This is what it shares with Garbage (the band, not actual rubbish), and Evanescence’s first album – their music was never an organic sounding beast. Everything was produced to the nth degree, down to individual cymbal strikes, the guitar sound sequenced to within an inch of its life, and the only truly human sounding element being the voice. It is the same with Fleischkrieg on “Herzblut”. Again I will point out that this is not necessarily a criticism, because if you’re doing a Metal /Gothic Industrial/ Electronic Industrial/ Synthwave chimera it HAS to sound machinelike and precise.

Hey, Fleischkrieg! Maschinenklang would be a better descriptor for your style of music! Just thought I’d tell you. You can thank me later!

I have to mention that there is a cover version here, too. I’m not telling you what it is, but it is a bit of a belter, as long as you have a sense of fun, and turns a gay anthem right on it’s head.

Everything about Fleischkrieg warms my twisted little black heart. This album, man. It has power, it has feeling, it has that indefinable je ne sais quoi that changes a great band into a superb one. It has a subtle sense of humour running throughout it, an engaging and amusing frontman and it melds two of my favourite forms of extreme music to devastating effect. It will be blowing the fuck out of the speakers in the Schweres Gothikpanzer on the way to work on Saturday!

I think I’m in love.

The Patented Dark Juan Blood Splat Rating System is being a picky bastard tonight. It awards these American Industrial madheads 9/10, deducting one mark for a production job that has put the drums too far in the mix. Otherwise, a magnificent beastie and one that will be being played to death. I’ll be humming this fucker in my grave.

01. G-M-D-H
02. Doros
03. Brawler
04. Bloody Prophets
05. Parasite
06. Owllight
07. Reach
08. Gib Mir Deine Herzblut
09. Saunting Eyes
10. Fool’s Folly
11. Relax

Richard “Der Eismann” Cranor – Vocals
Thomas “Ceraphym” Crawford – Guitars
Kaylie “Nuda” Cortez – Synths
Nick “Living Dead Drummer” Mason – Drums. No, not THAT Nick Mason. No, he doesn’t play for Saucerful Of Secrets or Pink Floyd.


FleischKrieg 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.

Skinflick – We Could Have Reached…

We Could Have Reached... Album Cover Art

Skinflick – We Could Have Reached For The Stars But We Reached For Our Dicks
Release Date: 31/10/2021
Running Time: 34:29
Review by Beth Jones

Greetings again music lovers, from a somewhat frosty North Wales! It’s Monday morning and we’re on day 6 of the youngest having the Rona, so technically I don’t need to be up yet, seeing as none of us are going anywhere. But I am, so what better way to spend my 8am than with a quick review! This is one I was aiming to get written by the end of October, but, as always, things didn’t go quite to plan!

Now, as you know, I’m a wholesome girl who likes wholesome things… mostly… usually… ok sometimes… it’s beside the point – but I do love a bit of depravity in my life every now and again. And what better way is there to get that than in the form of the new album from my favourite musical alchemist for the perverse, Skinflick. His latest offering, “We Could Have Reached For The Stars But We Reached For Our Dicks”, is suitably lodged in the realms of debauchery for this time on a Monday, and I love it.

It’s sleazy Industrial EDM, with all the allure of an ether-fueled experience on stained mattress wedged against the big bins in a red-light district alley. It’s dirty, it’s grimy, it’s smutty, and it’s desolate… It is very nearly perfection!

Starting out with the title track, this album takes us through 35 ish minutes of pure synth porn, with heavy beats, distorted whispered vocals, and ambience that would chill any soul. It’s full of delights such as ‘Urinal Cake’, ‘Cum Tsunami’, and ‘Moist’, all of which are suitably depraved lyrically, and musically.

My only criticism, and it really is nit-picking, is that a couple of the songs sound a bit samey… But, if I was off my tits on Whiskey and drugs, that wouldn’t even cross my mind! Alas, it isn’t beer o’clock yet…

If you’re looking for something to spin at your Granny’s church coffee morning, this probably isn’t the record for you… But if you desire a soundtrack to illustrate the hellish dystopian nightmare of human existence, then step right in and devour this baby. Another great offering.

01. We Could Have Reached…
02. Slung Low
03. Spluregenfest
04. Urinal Cake
05. The Chaos Theory
06. Cum Tsunami
07. Moist
08. Moon Money Shot


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.

Dark Sky Burial – Vincit Qui Se Vincit

Vincit Qui Se Vincit Album Cover Art

Dark Sky Burial – Vincit Qui Se Vincit
Extrinsic Recordings
Release Date: 06/08/2021
Running Time: 39:25
Review by Dark Juan

“To conquer is to conquer oneself”. Words to live by and no mistake. And also the title to the record I am now listening to. Although to be honest I have always preferred large calibre superior firepower to mow down the myriad of enemies I have amassed during the course of my life. Preferably automatic and explosive…

Hello, my precious cabal of Nightbreed and Cenobites, it is I, Dark Juan. Are you all sated after a weekend of debauchery and rampant sexual exploits with the people whose set of genitals you prefer? And are you now back at work ruing a weekend lost to alcohol, drugs and wild and carefree abandon as you return to the grey existence of a shirt and tie and a desk full of boredom and ennui? Even though you saw Sandra from Accounts with her tongue halfway down the throat of Dave from Sales when you were out in Slough and you were appalled, yet strangely aroused as his hand crept up her skirt and you saw an enticing flash of stocking top, but concealed the thought from yourself by downing another pint, saying something banal about football to your mates and denying the evidence of your own eyes? Yes?

Ha, I don’t have to start work again till Wednesday, so I can continue to debauch myself, and more importantly, teach nubile young followers of the False God to do it to themselves and others, as their impotent god weeps bitter tears in a riven Heaven as His word is subsumed in sweaty, ecstatic, overdriven flesh locked together in orgasm and I am striding around, laughing my Satanic arse off and liberally distributing illegal doses of Viagra to any young chap that looks like he is faltering in his duty, watching as a man takes a young woman over the altar of a ruined church, grinding her against the beard of a crucified Christ laid on the desecrated altar with every thrust… (I really do wonder which gate of hell you crawled out of – Rick 😊)


That will teach me to nap in the afternoon after a fuckton of Manchego cheese before I start writing stuff. Quite how it went from standard office gossip fodder to full on religious defilement I’m not quite sure, but this is just how my mind works. Utter gutter filth. I have a pornogrind record to review in the near future. I’d better lay off the cheese and napping for that one and hit the ruby port to calm myself the fuck down before writing ANYTHING about it…

…All of which has absolutely FUCK ALL to do with the record I am currently listening to, being the legendary Shane Embury’s (if you don’t know who Shane Embury is and you claim you’re into metal, let’s face it, you are NO true metalhead. For all of you young people who are only just discovering metal [hello, you’re fucked!] and haven’t yet learned about it, he is the bass player of Napalm fucking Death) third release (which is part of a quadrilogy) as Dark Sky Burial, which, (not surprisingly, if you know Shane’s musical output, which is diverse to say the least, and downright musically promiscuous full stop – I give you his work with Brujeria, Meathook Seed and Napalm Death itself as evidence) is not metal at all. It is sweeping electronic soundscapes and industrial noise with ambient undertones. Moments of sheer ethereal beauty contrast with thundering basslines – ‘I Slept With Faith And Found A Corpse In My Arms’ being a prime example of just how far Shane is ranging musically with Dark Sky Burial, with Eastern influenced electronics overlaying a pounding industrial drumbeat and a smooth, deep bassline forming a luscious backdrop to the kino music. ‘Abraxas’ is harder edged, with a swirly, echoey vocal leading into a much more industrial sound. Forbidding keyboards sound like the grinding of gears as the percussive beat of Satanically fast machines assembling disturbing things festooned with blades and flails resounds around you. As the record progresses a palpable sense of menace begins to permeate it – ‘Beware Your Subconscious Destroyer’ is more ambient than industrial, reminding me of Scorn with added Shane Embury on angry bass. It is a tune that relies on atmospherics rather than musicality but can be read as a disturbing paean into the sheer effort it takes to maintain your own mental equilibrium in a world and especially a United Kingdom that is becoming an increasingly cruel and unkind place, where you are just a cog in a vast Capitalist machine, where people who don’t conform to the norm are vilified and ridiculed and harmed grievously. ‘Chains Of Delusion’ could be the soundtrack to the hallucinations caused by a bad trip – somber piano and guitars engineered out of all semblance to a musical instrument increase your paranoia and you start to realise that even the walls of the room you are in have fangs and are venomous and they are coming closer and closer to you, even as you stand motionless in the centre of the room, touching nothing but the floor, yet then something happens in the trip and you’re suffused with a sense of hope with white light surrounding you. Feeling joyful, until you look down and see that the floor has become a churning mess of viscous, clinging and acidic semi-liquid and you are slowly sinking, inch by excruciating inch into it and you’re helpless, terrified yet strangely unaffected by your imminent demise until it closes over your head and you know only ecstasy as you fade away…

I do love it when music creates images in my head.

Yeah. It’s safe to say I’m a fan, but then I have always been a fan of Shane and his music. If you like the kind of softer edged, gothic industrial that the likes of Blutengel play, melded with the moody electronic atmospherics of Scorn and chiminess and personality of Air, you’ll love it. If you don’t, you’ll probably be shouting at Shane to fucking play some Napalm Death or something, instead of wasting his time with this tinkly-bonk bollocks.

The Patented Dark Juan Blood Splat Rating System awards Dark Sky Burial 9/10 for an excellent record to listen to in the dark, full of menace and generally akin to the horror of machinekind steaming through a devastated world to wipe out what’s left of humankind. You’ll regret the internet of things when your toaster tries to toast your face off, or your internet capable fridge orders the ingredients for a phosphate bomb, won’t you?

‘Beware Your Subconscious Destroyer’ (Official Video)

01. Vincit Qui Se Vincit
02. Beware Your Subconscious Destroyer
03. Scars Have The Power (To Remind Us The Past Was Real)
04. A Union Of Opposites
05. The Last Gift To The Universe
06. Embrace The Shadow
07. I Slept With Faith And Found A Corpse In My Arms (then you should be more careful with young ladies called Faith, Shane.)
08. Abraxas
09. Chains Of Delusion

Shane fucking Embury!


Dark Sky Burial (Shane Embury) 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.

CHAOS DOCTRINE – ‘HARLOT’ Visualiser Video Premiere


CHAOS DOCTRINE Unleash Visualiser Video For New Track ‘HARLOT’, Taken From Upcoming New Album “AND IN THE BEGINNING…THEY LIED”, Releasing on Friday 25th June!

Ever Metal is immensely proud to Premiere ‘Harlot’, the new visualiser video from South African Industrial Thrash/Death machine Chaos Doctrine.

It is taken from their blistering new album “And In The Beginning…They Lied”, which is being released on Friday 25th June 2021.

‘Harlot’ kicks off a fantastic week of online activity and premieres for Chaos Doctrine leading up to the album release on Friday so keep your eyes peeled!

Huge Thanks to the band and Devographic Music Media for the opportunity.

Turn up the volume and play it loud!


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 (Entombed, Grave, Torture Division, Krux, The Project Hate) on vocals. 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, set for release on 25 June 2021. It is called ‘And in the Beginning… They Lied’, and the cover looks like this:

Chaos Doctrine  Album Cover

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)

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



Disclaimer: This article is solely the property of Ever Metal. It is strictly forbidden to copy any part of this article, 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.


Aleksander Susi Logo


Hi everyone! Welcome to our new EMQ’s interview with Finnish based Industrial, Alternative Rock/Metal Solo Artist, Aleksander Susi. Huge thanks to Aleksander 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?

Aleksander Susi (a.k.a. Aleksi Susi). I sing, play guitar, bass, keys and program music. Nowadays a solo artist.

Founder of ”ALEXANRED”, ”A:S:Örchestra” and ”a.s.andtheloudorchestra”. Founder and ex-member of ”2 Wolves”. Ex-member of ”Scent of Flesh”. Also associated with various other bands and projects.

How did you come up with your band name?

It’s my given name.

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

I live in Finland. I do not follow the local scene anymore at all, so I am the wrong person to answer that.

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

“Transformations”, Album, released in March.

‘The Gates With Two Suns’ (Audio)

‘Children Of The 80’s’ (Audio)

Who have been your greatest influences?

Rammstein, Linkin Park, Type O Negative, Lacuna Coil.

What first got you into music?

I guess rock music and movies when I was a child. Beatles, Scorpions, Queen. I started with piano school then played classical music.

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

Probably with no one at this point.

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

Obscene Extreme looks nice and fun and that there’s nice people. Even though my solo artist music would not fit the musical style of the happening.

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

I don´t have fans.

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

I don´t have fans.

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

Peter Steele.

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

When my music is heard by people. Moments, when your work is vain.

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

More real talent. In many cases the industry should stop feeding and normalizing the stupid product that they are forcing people to listen/watch, making people also really dumb.

Name one of your all-time favourite albums?

“Hybrid Theory” by Linkin Park

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

I love CD’s the most.

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

Rock to the River, Imatra. Long time ago, over 15 years probably. I was playing in Scent of Flesh back then. There were many cool artists playing there at the same festival, including one of my favourite band, Helloween.

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

I really do not know now. Hard to say. Maybe a painter or an architect.

Which five people would you invite to a dinner party?

My family.

What’s next for the band?

Promoting. For long time.

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

Jaffa Cakes! Are they a cake or a biscuit?

Biscuit. Definitely.

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

Stay safe, take care of yourselves and your friends and families.

Aleksander Susi Profile 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.

mvsic2mvrder2 – BlakGoD EP

BlakGod EP Cover Art

mvsic2mvrder2 – BlakGoD EP
Released On 22/02/2021
Running Time: 14:40
Review By Dark Juan

Hello, ladies, gentlemen, gentlepersons of all other genders and germ-free adolescents! It is I, Dark Juan and I have returned from my bed of pain and suffering to bring you this freshly minted piece of absolute nonsense masquerading as knowledgeable writing! Age appears to be catching up with your favourite pseudo-Satanic metal hack and I have been laid up with a spasming back. Now, it’s fun when you have applied a bullwhip to the back of some whimpering Neophyte for a considerable and tiring length of time and you watch their blood soaked back twitching and spasming in anticipation of another lick or two, but not so much when your old assed back cries enough when you have mainly been sat down swilling gallons of Yorkshire tea and barking orders at your “pack” (I use the term loosely as far as my bunch of misshapen misfits goes) of dogs. Except in the case of the Dread Lord Sir Igor Egbert Bryan Clown-Shoe Cleavage-Hoover, who appears to be trans-species, seeing as he variously barks, meows, moos and on one memorable occasion chirped. He is one confused creature. Anyhow, I have mainly been mainlining diazepam and reclining on my chaise longue in my Fourth Incantation Robes (Spring Weight) and being fed vegetarian burgers by the estimable and formidable Mrs. Dark Juan, who has finally insisted in the strongest possible terms (by means of threatening me with a number of weapons including the Dread Lord Sir Igor Egbert Bryan Clown-Shoe Cleavage-Hoover and the towel rail that I HAVE STILL NOT REPAIRED after the last Ever-Metal online group shenanigans. If you are a regular reader of my bullshit, you will be aware that I got so profoundly drunk that my memory is one long blank after half past eleven. Apparently, according to the gentlemanly and erudite Simon “I Take No Perverse Glee In Telling You This WHATSOEVER” Black, the picture of me went sideways and then faded to black and stayed that way. Our erstwhile and surprisingly large mentor and leader General Sir Richard “I Run A Tight Ship But Frankly I’m That Sick Of Telling Dark Juan Off Because It Happens So Often That My Mouth Does It On Automatic Nowadays” Tilley commented thus, “It’s just like his personality.” Fuck you very much, gentlemen!) that I finally register with the local doctor. Which I have duly done on pain of a savage and meaningless death at the hands of Mrs. Dark Juan. If she says she can murder you with just a spoon, you may rest assured there is a trail of corpses and unsolved murders somewhere where the weapon was a simple teaspoon.

Where were we and what am I actually supposed to be doing?

For my delectation today I have been provided with an EP from a Bulgarian madman who is resident in Belgium called mvsic2mvrder2. As a grammar Nazi of the highest possible calibre, (if you don’t know what third person indicative is, then we are going to have problems) you cannot even BEGIN to imagine the amount of pain it has caused me to type that. Therefore, for the remainder of this increasingly wordy and long winded review, he shall be referred to as m2m2. The lowercase M in place of the correct capital hurts my eyes and my soul grievously yet I shall push on for you, dear friends and readers of twaddle. I am listening to “BlakGoD” (This being a reference to Chernobog, a Slavic black god) and it is a five track EP (although the last song is a remix of the previous song, so technically it’s a four track EP with a bonus tune.)

As this is an EP, I am going to follow my usual format and talk about each song in turn. First up is ‘KvltLeader’ and if you are expecting some pure heavy metal you are going to be very much mistaken, considering the ravening howling mad bastard who has recorded this. Instead, we have a particularly vicious mélange of black metal lo-fi guitar, terror EBM vocals in the vein of God Module and Grendel and gabba techno and electronic industrial. Think Mayhem fucking Combichrist and Suicide Commando until The Berzerker, Throbbing Gristle and Unter Null burst in and throw themselves into the meat triangle and turn it into a meat sexagon (sic) with viscera and bodily fluids being flung everywhere during this most uncongenial congeniality. Yes, it is a particularly savage coupling, this one. This is to be applauded.

This sound (or wall thereof) continues on the second song, ‘Coffinwhispers’, which has an especially virulent sound composed of chopped up guitars, re-sequenced into something possibly illegal and the kind of industrial beat that causes sex wee to erupt in colossal quantities from the fucked up specimen writing this. The flood sirens are blaring and my neighbours are looking balefully at me as they are forced to evacuate AGAIN. This is a Very Good Thing and the sex wee tanks off the coast of Alaska are rapidly filling, due to the well-built and capacious nature of the Dark Juan Sex Wee Extraction System that has been built on to the end of Dark Juan Terrace.

Track three is ‘Fällsilent (EP Version)’ which is slightly less demented and takes a (very slightly) more relaxed form reminiscent of Ministry around their “Mind Is A Terrible Thing To Taste” era with more modern electronics overlaying an 80’s beat and some less savage guitar work, being rather more slow burning than the mental maelstrom that the first two songs were. Still, it is a very uncompromising slab of…whatever the fuck it is, and I commend it to your august attention.

‘BlöD (EP Version)’ (no, it is not a typo) is the final track, and this is where the savagery of hardcore techno comes to the fore, being the mutant love child of “Come To Daddy (Pappy Mix)” Aphex Twin and Johnny Violent and Ultraviolence’s insanely pounding beats overlaying the kind of demented riffing you would find on a Misery Loves Company record. Squeals, squelches and machine gun percussion combine to just stave your fucking crust in whilst the vocals roar and coruscate around your head and the guitars approximate the sound of an approaching main battle tank that will pass mere inches from your helpless head…

Then it’s the bonus track ‘BlöD (Video Edit)’ which is a much more relaxed and a lot more electronic state of affairs. Sheer, unutterable sonic murder is traded in for something approaching musicality as the beats approximate early Nine Inch Nails and Die Krupps instead of the sound of high revving diesel engines and it makes for a far more sedate listening experience. All in all, I prefer the manic one although as far as remixes go, this is perfectly enjoyable.

So, there you have it. Four songs and one remix version of sheer sonic horror. Purists of heavy metal will be fucking appalled at the (as they will see it) desecration of metal with extensive electronics and a wilful disregard for convention that would test even the most sainted of temperaments. However, if you’re into extreme music like what I am (extreme is not just metal, boys, girls and all other genders) then you’ll fucking love the single minded desire displayed by m2m2 to just remove your fucking head and dance all over your blood-soaked and battered corpse as he grins like a loon and paints his face with your arterial splatter. Assuming it’s a him. Yes, I have just assumed someone’s gender. You can shoot me once I have cleared my review backlog. Rick will be most relieved.

Savage doesn’t even begin to cover it.

The Patented Dark Juan Blood Splat Rating System (Le système breveté d’évaluation des éclaboussures de sang Dark Juan – Sorry, other Belgians. Google Translate doesn’t do Flemish and I can only speak French. Патентованата система за оценка на пръски от тъмно Хуан – Google Translate does happily do Bulgarian though!) awards mvsic2mvrder2 (sigh… I’m going to have to read a lot of Colin Dexter to get over this mangling of the English language and rules of grammar) 9/10 for an absolutely uncompromising bit of sheer ravening madness. I deducted a mark because I wanted more and there were not enough songs to satisfy my craving and this is entirely unacceptable. An album of this music would have garnered a score of several trillion out of ten and a right bollocking for me, as, “We have a scoring system out of ten for a reason, you absolute twonk.”

I may have paraphrased.

01. KvltLeader
02. Coffinwhispers
03. Fällsilent (EP Version)
04. BlöD (EP Version)
05. BlöD (Video Edit)

mvsic2mvrder2 – Does fucking everything. What a bastard. I hate talented people because I’m not. Also, a significant amount of internet trawling has not enabled me to find out m2m2’s identity, so he shall forevermore be known as Dave, as is my wont.


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.

Skinflick – The Year Of The Fuck EP

Skinflick – The Year Of The Fuck EP
Release Date: 19/07/2020
Running Time: 12:32
Review by Beth Jones

It’s review day here at EMHQ! Or it is for me anyway – Rick’s posting news! Next up for my listening pleasure, a jaunty little three-track EP from industrial techno project, Skinflick! I, and many others, know this crazy one-man artist for his work in another one of our favourite bands (It’s Justin Williams, vocalist with Lullaby For a Unicorn), but Skinflick is his little side project, delving into the sleezy world of dirty techno. As this is only a small release, I’m going to give you my take on each track.

The EP title track is up first. It reminds me of the sort of music that is always playing in ‘trendy cybergoth/steam punk’ clubs in futuristic edgy films – you know the ones; always in a basement, through an unmarked door, lit purely with UV light, which conveniently hides all the dark corners! It’s obviously very synth driven, but it has a real punch to it. Vocally, it’s early Marylin Manson-esque, which also doesn’t displease me! Kind of a whispery scream, which gets the message across with enough mystique and sleaze!

Track two, ‘Kustom Kar Kollision’, has quite a Gary Numan feel about it musically – I’m guessing from the title, this may be deliberate! Again, its full of fuzzy bass and synth wizardry, and a continuation of the tortured vocal style. It goes off into a breakdown halfway through which is massively 80’s synth inspired, but I love it!

The final track, ‘Bootlickers’, is slightly faster, and probably my favourite of the three. With a nice pulsing beat, and bass driven melody, we get to hear the full tormented delights of the vocals, and it peaks and troughs just in the right places. This is definitely the tune playing in the back rooms of the aforementioned clubs, where you’ll likely find a dominatrix and some dude in a gimp mask and leather straps!

This little EP is pleasingly very well produced, too. The balance of sounds is spot on, and the instrumentation is great, considering it’s a solo project. My main criticism is that I want more of it! Three tracks isn’t enough!

If you like anything remotely techno/cybergoth/industrial/Gary Numan, then you’ll like this!

01. Year Of The Fuck
02. Kustom Kar Kollision
03. Bootlickers


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.

EMQs with Abysmatic


Hi everyone! Welcome to our new EMQ’s interview with Bulgarian Industrial band Abysmatic. Huge thanks to singer-songwriter, Dennis Nikov, 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 Dennis Nikov, I’m the producer-singer-songwriter for Abysmatic, a three-piece industrial band from Sofia, Bulgaria. Completed by Hristo Simeonov on guitar and Dobromir Vulkov on drums, the band had its first official release in 2013 and has since released 2 LPs, numerous singles, and has been a constant presence in the Bulgarian alternative scene. We just recently released our definitive self-titled album, a single from which was picked up by Bulgarian national rock radio, and which in turn led to us landing local opening spots for artists like Combichrist and Leeroy Thornhill (ex-The Prodigy).

How did you come up with your band name?

Abysmatic is a combination of the words “abysmal” and “automatic” and sort of refers to the Fibonacci sequence spiral, which in turn could be seen as a symbol for the passage of time and the inevitability of death. It also obviously refers to the depths of hell and has some Satanic overtones.

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

There is a thriving underground metal, punk and hardcore scene in Bulgaria, however everything is very DIY and there’s almost no mainstream outlet for heavy music. There are no big rock and metal labels and it’s very hard for a new band to develop an audience, but there’s definitely a demand for quality alternative music.

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

Our latest release is Abysmatic’s definitive self-titled album, which features a unique mixture of industrial metal and old school rave, and lyrics written entirely in Bulgarian. Check it out if you want to hear a truly rare combination of styles coming from the weirdest of places.

Who have been your greatest influences?

We all grew up during the late nineties and obviously the nu-metal era, so the likes of Nine Inch Nails, The Prodigy, Static-X, Limp Bizkit, Rammstein, Marilyn Manson etc. definitely shaped us musically. All of them incorporated guitars and synths or programming in some way, which we took to heart, and really decided to run with.

What first got you into music?

For me it was when I got my first Walkman and the soundtrack of the movie The Matrix on tape.

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

We’d definitely love to do something with our hero Liam Howlett from The Prodigy, and with a lot of other UK bands and artists actually. Bring Me The Horizon, Chase & Status, Ocean Wisdom, IAMDDB… The UK is where it’s always been at musically.

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

There’s a festival not too far away from us actually, called Electric Castle. It’s in Romania and it’s held in a medieval Transylvanian fortress. The line-up is always super diverse but heavy, and it’s just our cup of tea.

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

Our latest album actually sort of has a unified message, and it’s to believe in one’s power to do it all on their own.

If you could bring one rock star back from the dead, who would it be?The three that I miss the most are Keith Flint from The Prodigy, Chester from Linkin Park and Wayne Static…

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

When you think about it, music is probably the most visceral art form, as it’s the only thing that can just set your mood instantly on its own. Just being able to create something like that feels like magic. What I hate is having to deal with the business side of it!

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

I’d probably make trap illegal at this point.

Name one of your all-time favourite albums?

The 2 albums that just instantly come to mind are Limp Bizkit’s “The Chocolate Starfish And The Hot Dog Flavoured Water” and Linkin Park’s “Hybrid Theory”.

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

Well, obvious any physical medium is a lot better than downloads, but you can’t beat the convenience of having all your music in your pocket.

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

Supporting Combichrist in our hometown was probably one our most exciting shows.

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

Well, the reality for most middle tier artists is that you shouldn’t really quit your day job, as the music industry is tough, especially for niche alternative bands such as ourselves. That’s why all of us actually have separate careers in software engineering, graphic design and finance.

Which five people would you invite to a dinner party?

The other two guys from the band and three hookers!

What’s next for the band?

We’re currently working on a couple of new singles, and videos, and are hoping to hit the festival circuit this summer.

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

Official website:
Social media:

Jaffa Cakes? Are they a cake or a biscuit?

Well, it’s in the name, isn’t it?!

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

Thank you and keep rocking!

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.

Obszön Geschöpf – Master Of Giallo

Master Of Giallo Cover

Obszön Geschöpf – Master Of Giallo
Dark Star Records in association with Sony Music/Universal Music
Release Date: 31/10/2018
Running Time: 46:30
Review by ‘Dark Juan’

Obszön Geschöpf is:
Remzi Kelleci – Fucking everything. The annoyingly talented bastard!

Good afternoon, sinners and friends of the Nether Face of God. Dark Juan is here to force his unwanted opinions on you and to make or break the career of yet another musician. Why do they do it to themselves? Enquiring minds want to know. It’s chance you take when a record lands on my table as to whether I’m drunk enough to not give a fuck and take it apart, or whether I’m drunk enough to enthuse like a 12 year old girl at a concert of her favourite manufactured pop bollocks. Complete with girlish screaming and wild gyrating that can only be loosely classed as dancing…

Obszön Geschöpf are from Boulogne-Sur-Mer, France. This took me somewhat by surprise, as their name implied possible German extraction or even British or American influence (KMFDM, anyone? Kein Mehrheit Fur Die Mitleid? Or Kill Motherfucking Depeche Mode, depending on whether you ask Sascha or the Lord Of Lard, The Mighty Swine Raymond Watts. I’m not being rude. That is honestly what he calls himself…) and they first came to my dubious attention as a straight aggrotech/ EBM band way back when, but like Psyclon Nine they have started to incorporate metal into their primarily industrial stylings. This makes Master of Giallo sound like a more visceral La Sexorcisto era White Zombie, with the more industrial parts of Rob Zombie’s solo output… think Thunder Kiss ’65 and Black Sunshine having violent, unpleasant, bloody sadomasochistic sex involving blades, marsupials, lube made from the fat of dead babies and that neighbour up the road who you have always thought was pretty dodgy with pretty much any song from The Sinister Urge to a soundtrack of Grendel and Detroit Diesel and you have the measure of the sound of this record. It also has the benefit of the input of 46 international artists, from such legendary bands as Annihilator, Cradle Of Filth, Ratt (fucking Ratt? Hairspray and glam? Astounding), Accept, Pro-Pain and obviously White Zombie.

I’m stopping the review here for a brief moment because this is doing my fucking head in, I’ve had a bottle of red and it needs to be vented now, before this bizarre stream of consciousness babbling that passes for review writing turns into an appalling exploration of swearing in a number of different languages… Obszön Geschöpf IS NOT CORRECT GERMAN!!! It means Obscene Creature (which is ENTIRELY descriptive of the musical output here) but it should be Obszönes Geschöpf! Yes, I know I’m a pedant, but it gets right on my tits! Anyway, thank you for your patience…

This record has bass guitar on it that could reduce mountains to their component atoms. It is more thunderous than Thor and Zeus chucking lightning bolts at each other in a mad fit of cosmic God dick measuring. Standing next to a bass speaker with this record playing is going to be an exciting new form of suicide by liquefying your internal organs, literally turning you into a bag of human soup as you sink to the floor, venting fluid from orifices…

This is music for the deranged, yet there is still groove and melody in abundance, which I am enjoying as too much industrial relies on beeps and squelches or just slow chugging. It’s a heavier sort of KMFDM at their most metallic, but where KMFDM is a shiny, sleek silver fighter jet, Obszön Geschöpf is a battle scarred, rusty matt black bomber, rumbling its way over a distant target before discharging industrial death from its bomb bays. The weakest song on the record is the opener, The New York Ripper. The quasi Lemmy (there’s no more virgins in heaven now our Lord and Master is there) vocal jars awkwardly with the industrial metal vibe of the track, but then M. Kelleci hits his stride in a rather magnificent fucking fashion and turns in the sort of dirty grooves you just want to have filthy sex to. Or is that just me? Dammit, must stop thinking aloud…

I like this record. I like it more because it is French, and France has proved to be something of a revelation in the world of Dark Juan’s musical tastes of late, what with P.H.O.B.O.S. putting out what I considered to be the record of the year last year (Phlogiston Catharsis) and also Rostres releasing the superb Les Corps Flottants. Obszön Geschöpf stand worthy of joining these estimable bastions of excellence. EVEN IF THEIR NAME IS NOT PROPER GERMAN! It’s well known to the people I haven’t yet murdered savagely that I love industrial music and aggrotech, and to have the two combined to such terrifying effect on Master of Giallo has caused me to have a sex wee and ruin my trousers. Again.

Standout tracks are April Fool’s Massacre and the final track, Giallo Forever. The former because it is just visceral, and the last one because it grooves like a mescaline fuelled zombie gogo dancer with unsuited limbs. It’s sexy but it’ll kill you and you’ll feel weird about liking it. The whole record is dirty, groovy, sexy, unhinged and most of all fun to listen to. It’s no good being perverse unless you enjoy it. You’re talking to an expert here…

Tell you what, I like my job reviewing records. Obszön Geschöpf have made it that little bit better. I hope I get a bad record to review soon. I’m being far too nice nowadays.

The Patented Dark Juan Blood Splat Rating System gives Obszön Geschöpf a splendidly gory 9/10. Mrs. Dark Juan is away in jolly old Blighty so I’ll have the blood and entrails cleaned up well before she gets home. Although I am knee deep and now I need a new bonesaw…

01. The New York Ripper
02. April Fool’s Massacre
03. Body Pieces
04. Murderock
05. The Moon Watches Me When I Kill
06. The Black Gloves Of Terror
07. My Scalpel Dances At Midnight
08. The Death Kiss
09. Shadow Of The Hat Killer’s Knife
10. Giallo Forever


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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.