BIOMECHANIMAL – „Waves“ – Split Single With MECHANICAL VEIN – including Interview

UK Electro-Industrial Act BIOMECHANIMAL freut sich, ihre neue Split-Single „Waves“ mit MECHANICAL VEIN präsentieren zu können .


„In dem Song geht es darum, wie Kunst sowohl ein konstruktiver als auch ein destruktiver Prozess ist. Der Chor beginnt mit einem Stück über ein Salvador Dali-Zitat, in dem es darum geht, wie wir die Summe unserer, als Künstler, Zerstörungen. Es baut uns auf, die Begeisterung des Spielens und Schaffens, aber es bricht uns auch, die Misserfolge und Fehler. Es ist ein Auf und Ab. Daher „Wellen“.

bandcamp: https://biomechanimal.bandcamp.com/



wurde 2013 gegründet und veröffentlichte 2015 das selbstbetitelte Debütalbum. Seit etwa 5 Jahren ist BIOMECHANIMAL ein fester Bestandteil der Londoner Alternative- und Industrieszene im Untergrund. Wenn Sie GRENDEL , AESTHETIC PERFECTION , THE BIRTHDAY MASSACRE , COVENANT , FADERHEAD oder einen der großen Industriehitter in London gesehen haben, war BIOMECHANIMAL wahrscheinlich irgendwann auf der Rechnung. Mit einer aggressiven, physischen Live-Show wurden sie oft als „One to Watch“ der dunklen elektronischen Szene in Großbritannien angepriesen.

Nach einiger Zeit necken neues Material, das BIOMECHANIMALvon 2020 ist die stärkste, die die Band jemals war. Mit Frontmann und Produzent Matt Simpson an der Spitze, unterstützt von Keith Kamholz ( MECHANICAL VEIN ) von Electro-Axe-Ruhm und Lex Liebert an Live-Gitarren, hat die Band zahlreiche Veröffentlichungen geplant, die in diesem Jahr veröffentlicht werden sollen, beginnend mit einer Single am Ende von Februar. Zeichnung aus einem vielfältigen Pool von Genres, BIOMECHANIMAL ‚s eklektischer Sound ist gefährlich eingängig, und durch Granfalloon, werden Sie Ihre Faust mit ihnen werden , zu erhöhen.

Interview with Biomechanimal

Hello. Thanks for the interview. Can you give us a bit of a background on Biomechanimal and how you came up with the name?

No problem, thanks for having me.

Biomechanimal was my internet pseudonym, back when it was easier to have things like that. Logically, when I started putting electronic music demos out, maybe 8 years ago, I was still using the name. When it reached the point that these songs had enough of a cohesive idea to them, it didn’t make sense to really change it, so it stuck.

Biomechanimal the band really started about 6 years ago, but I see the release of the first album, Biomechanimal, to be when this really became a proper band. We had a sound, and we had some fans. We play pretty heavily in our hometown of London, mainly in Slimelight, if you know it?

Your latest single is „Waves“ which is a collaboration with Mechanical Moth. What can you tell us about the track and your collaboration with them?

Mechanical *Vein. Keith was someone I was put in touch with many years ago, when he was still living in the US. We had talked about remix swapping, but it never happened. When he moved to London, I was in need of a keys player, and so Keith joined Biomechanimal. It only made sense to then write some tracks together too; we have very different skillsets as I’m an analog synth guy, and Keith is an Ableton wizard. I have a very aggressive writing style, Keith has a bit more clarity to his writing. The end result was this heavy ebb and flow between these styles. It’s an exploration of our art, and the lyrics match, exploring how music is a constructive and destructive art form.

The musical landscape has changed dramatically from what it used to be. Bands are no longer simply doing the album tour arrangement. What is your idea to navigate through the changing times at the moment?

So, my strategy currently is a steady release of singles, to keep online engagement at a fairly constant rate. I can keep up with this far better than releasing another album right now, and I find the process more enjoyable.

Visual media seems to be where its at right now. I post fun stuff on my various social channels, doesn’t have to be music-related. People get to see artists as people now, not faceless creators, and we shouldn’t take that for granted.

So saying, I think touring and Live music are where the life of music is at the moment. Nothing can take that away, the visceral energy of a show. It’s addictive, both on the stage and watching it.

You have other project members outside of the UK, right? How does this work in regard to collaboration, like what input they have?

Nope, all UK based. Three of us are in London, and one in a city nearby. But we do collab from our home studios. It used to be the way that I held the reins on everything, writing, presentation, arrangements, but recently I have been working way more closely with the other 3; Kekko sends me drum takes now for each new track, for me to work with, for example.

Aside from geography, what do you think separates Biomechanimal from other artists in the ebm/industrial world?

I often don’t see Biomechanimal as an industrial project any more. We take major influence from other genres, such as techno, riddim, hardstyle, and black metal, and tracks yet to come out pull from more cutting edge genres, like trap and midtempo. Music should never be limited by boundaries, as it stops us creating the best we possibly could. Industrial could learn a lot from other genres, from sound design to presentation. We have our eyes set well beyond the ebm.industrial world, and that’s going to come with its own troubles; we often find we’re not truly at home in any one place. However, we will always appreciate where we came from, and Industrial has always been our home, as much as we can have one. The intensity and energy is unlike anything else; it’s undeniable.

How have you adapted with the current climate of the coronavirus? Have you done any streaming?

We do plan to run a live production session, which is something I used to do quite a lot. I think the time will be better used finished all the little projects I have. I have a collaboration with Alien Vampires, for example, this has been 90% finished for about a year. Biomechanimal didn’t release for some time until Waves, and while I have quite a lot ready to go now, it will be good to finally finish some songs that really deserve to see the light of day.

Are you involved with any other projects or remix work for other artists?

Let’s see… The Alien Vampires collaboration is almost finished. I’m producing for a local band, My Hysteria. A good friend of mine is writing with me as well, an artist called Echo Grid. We have been friends for such a long time and the time was right to produce together. It’s very different for us both, closer to something like Getter than anythign else. I am also working with Mechanical Vein again to co-remix for SWARM. That’s just started. I’m also waiting on a couple of remixes for the next single, and then we can announce that properly.

I love writing with other musicians; I think my best work comes from this. It is healthy to be challenged and pushed, and we all grow.

Can you talk about the cover art from the last full-length self-titled release? Do you have an interest in Hindu philosophy?

Oh, the Shiva the Destroyer? I designed the piece as both an homage and a bastardisation (hence the cross and references to the baphomet). A lot of my inspiration is drawn from fantasy and history, and while I am fairly antitheistic, Shiva, as both a destroyer, a creator, and a patron god of arts, was a good vehicle for how I wanted to present the first album.

Where do you see social media strategy changing in 2020 for this music?

So, we did change our social media strategy fairly recently. We are now posting quite regularly, with a range of content, including video, photoshoot sets, funny content like memes (always have to respect the memes) and personal thougths and engagements. I think this doesn’t change, but especially with COVID-19, it is harder to produce content to a high quality. For the moemnt, we will continue with what we had palnned (releasing bits from shoots, a live video, and preparation for single II). However, if this lasts a considerable amount of time, yes, we need to adapt. We have talked recently about starting a podcast or video series where we get guests from our friends in other bands. We also have our curated Biomechanimal spotify playlist, where we post tracks we’re into each month. Potentially, we could change that up to every week.

Any other thoughts you might have are now yours. Thanks for your time.

We live in difficult times right now, and the world that will come out of this will not be the same as the one that went in. Until then, we will continue to provide the soundtrack of the end times.

written by W.Z.

Facebook: https://www.facebook.com/BiomechanimalMain/

Insta: https://www.instagram.com/biomechanimal/

spotify: https://open.spotify.com/artist/5CIN7SPcF1y3OmXYJc1DNv?si=YavzrruaQ2qwXNNHAZKKTA


„Fiendish Imp/All Hallows Eve“

Dunkelheit Productions Reissues The Classic FIENDISH IMP Release, „Fiendish Imp/All Hallows Eve“ On Vinyl  

Dunkelheit Productions is proud to announce the Limited Edition vinyl reissue of „Fiendish Imp/All Hallows Eve,“ the underground classic release from dungeon synth artist, FIENDISH IMP.

„Fiendish Imp/All  Hallows Eve“ issued on 180g (Heavy Vinyl).  Comes with 300gsm Cover, Insert, Black Paperbag, Poster in A2 format
Quantity limited  to 200x black vinyl.   Also available in digital format.

Artwork and Logo designed by FIENDISH IMP.
Executive Production in 2019 by Dunkelheit Produktions.

This minimal, mysterious and haunting dungeon synth somewhere out of the depths of the UK captures you with its unique and impressive atmosphere. Lo-Fi and handcrafted as it is, the music of FIENDISH IMP tells a little story of ancient superstition, fearful ignorance and wily wickedness during the 17 minutes on this s/t demo.

Creepy, catchy and haunting- a unique and dark synth journey.  We have this gloomy and mysterious EP titled „All Hallows Eve“ which was done by the FIENDISH IMP in Samhain 2018. Take yourself a breath, close your eyes and dive deep to the other, mysterious side with this great gem of Lo-Fi Dungeon Synth.

„Fiendish Imp“ was recorded from March to June 2018 by ‚The Imp‘,  „All Hallows Eve,“ was recorded in Samhain 2018, somewhere in UK.  Mixed and Mastered by „The Imp.“

bandcamp: https://dunkelheitprod.bandcamp.com/album/fiendish-imp-all-hallows-eve

Facebook: https://www.facebook.com/dunkelheitprod/

Insta: https://www.instagram.com/dunkelheitprod/?hl=en

Youtube: https://www.youtube.com/user/dunkelheitprod


German Harsh Noise Act SCATMOTHER Unleashes Their Brutal Full-Length Release, Sadotantra Via Dunkelheit Productions

German Harsh Noise Act SCATMOTHER Unleashes Their Brutal Full-Length Release, Sadotantra Via Dunkelheit Productions



The recently released Sacrificial Rites Of Devotion split with CHAOS CASCADE revealed a creepier, more mid-paced side of power electronics, Sadotantra offers a more violent & aggressive side of SCATMOTHER– yet dark as always. Sharp in sound as „Beyond“ of Hijokaidan, but one can also find brutality similar to MASSONA or GRUNT and above all, a sound of its own identity. There are subtle textures, rich in detail.

The album will blossom best if you raise the volume until it hurts. „Brahma Shakti“ is a

landmark & explains well what the album is about – ideas. The songs melt various ideas into one & take less time than many other power electronics bands do. It’s like an attack with a drill towards your head that will give you more than half an hour of discomfort.

bandcamp: https://dunkelheitprod.bandcamp.com/album/sadotantra



Facebook: https://www.facebook.com/Scatmother-158975218208360/

Insta: https://www.instagram.com/dunkelheitprod/

Youtube: https://www.youtube.com/user/dunkelheitprod




Dunkelheit Productions officially announces the reissue of German cult harsh noise act CHAOS CASCADE’s „Son Of The Void (Chapter I & II).“   This is a re-release of the cult band’s nihilistic 2018 EP.

Nine tracks of nihilistic electronics – 40 minutes of alienation from substantiality, finally available on CD or vinyl.  The whole material was carefully mastered at Studio Hel (Germany). Leave this world into the chasm of nothingness…

All infernal noise was created by CHAOS CASCADE. Tracks 1-5 recorded in June, 2017.  Originally released on tape format by Obsessive Fundamental Realism, June 2018. Tracks 6-9 recorded in June, 2019. Cover art & layout by BrianVDP.

CD Edition: Noble Jeweclase Edition with 4-Page Booklet
VINYL Edition: 180g (Heavy Vinyl), 300gsm Cover, Insert, Black Paperbag, Poster in A2 format – 200x Black Vinyl / 100x Moon Vinyl

CD & digital edition available NOW.  Vinyl edition available around December 24th.

How it must feel to receive manipulative frequencies and to be absorbed in another dimension. Nothing feels real, nor looks familiar. Before you understand that you are out of time, nihilistic frequencies hammer destructive visions into your brain! The new power electronics waves which you are going to receive by German act CHAOS CASCADE will show you the world behind this matrix. Be prepared…

Simply testing the borders of possibilities is not enough for CHAOS CASCADE. Instead, everything is torn down and gets mangled unapologetically.  This perverse, insanely brutal mix of power electronics and noise emit manipulative waves twisting the listeners perception and giving a glance into another dimension.

„Son of the Void Chapter I & II“ is a re-release of the 2018 EP, only available on tape to date. Adding up to the ripping, violently-yelling frequencies of the first chapter comes the second, deeper segment, showing the never-ending abyss behind the emptiness, rendering every life senseless.

Facebook: https://www.facebook.com/chaoscascade/