THE JOKE JAY enthüllen endlich das langerwartete Video „Awake“ aus dem Debüt-Doppelalbum „Awaken“! Das Album „Awaken“ erscheint am 29. Oktober 2021. The Joke Jay veröffentlicht heute endlich die offizielle Single „Awake“ mit einem Musikvideo aus dem kommenden Debüt-Doppelalbum „Awaken“ auf das die Fans schon seit einiger Zeit ungeduldig warten. „Awaken“ erscheint offiziell weltweit am 29.10.2021 über alle Dealer eures Vertrauens.
The Joke Jay, die neue Band um Namensgeber Joke Jay (And One), Produzent und Synth Pop Mastermind Olaf Wollschläger (Vorsprung durch Technik) sowie Allrounder Hilton Theissen (Zoodrake, Akanoid, Dark Millennium) präsentiert sich mit ihrem Debüt-Doppelalbum „Awaken“ im zeitlosen und trendunabhängigen Gewand einer klassischen Rock/Pop-Band mit diversen Einflüssen von Alternative Rock bis hin zu Elektro Spielarten der 70er bis 90er, und genau dem Anspruch, der kompromisslosen musikalischen Ausschweifung. Als Doppelvinyl oder CD könnt ihr hier das Album von The Joke Jay hier vorbestellen und die Band dadurch unterstützen https://t1p.de/TheJokeJayAwaken
THE JOKE JAY finally dropped the long-awaited video „Awake“ from the debut double-album „Awaken“! The album releases on 29th of October, 2021. The Joke Jay finally releases the official single „Awake“ accompanied by the music video from the upcoming debut double-album „Awaken“ which fans have been impatiently waiting for. The album „Awaken“ will be officially released worldwide on the 29th of October 2021 via all trusted dealers.
The Joke Jay, the new band around namesake Joke Jay (And One), producer and synth-pop mastermind Olaf Wollschläger (Vorsprung durch Technik), and allrounder Hilton Theissen (Zoodrake, Akanoid, Dark Millennium) presents themselves with their debut double album „Awaken“ in the timeless and individual appearance of a classic rock/pop band with various influences from alternative rock to electro styles of the 70s to 90s, and an approach of uncompromising, musical debauchery. You can pre-order The Joke Jay debut “Awaken” on double vinyl or CD now here: https://t1p.de/TheJokeJayAwaken
Zoodrake, die Band um Sänger und Produzent Hilton Theissen, geht mit dem zweiten Album „seven“ mit zehn energiegeladenen und emotionalen Songs den einzigartigen Weg konsequent weiter. Das Album „seven“ wurde im Wide Noise Studio in Arnsberg produziert und erscheint am 1. Oktober 2021 auf CD und digital.
Hilton Theissen sagt über die neue Single: „Der Song behandelt das Aufrechterhalten des äusseren Scheins in Zeiten von Depression und der stetig drohenden Resignation. Man macht sich und anderen etwas vor.“
Bereits die erste Single „success of the snake“ offenbarte den gestärkten stilistischen Weg der Band mit einer abwechslungsreichen Bandbreite und mitreißenden Synthie- und Gitarrenwänden auf tanzbaren Beats. Der Zoodrake-Longplayer „seven“ geht noch rauer und ausufernder zu Werke, um das Gesamtbild und das Profil der Band mit einem roten Faden zu ergänzen, der allein durch die stets elektronisch basierten Songs und Hiltons markante Stimme geschaffen wird. Das kommende Album „seven“ kann hier vorbestellt werden:https://bfan.link/seven-1
Die Geschichte von LAST DAYS OF EDEN beginnt 2013 in Asturien. Als eine der ersten Symphonic Metal Bands, die keltische Elemente in diese Musik einbeziehen, machen die Spanier schnell von sich reden, 2014 bringt man die EP „Paradise“ im Eigenvertrieb heraus. Ein Jahr später erscheint das erste Album „Ride The World“ beim deutschen Label Pride & Joy, eine Tour als Gast von MOB RULES folgt im Anschluss. Dazu nimmt die Band ein spezielles Album mit dem Titel “Traxel Mör“ auf, bei dem nur klassische und folkloristische Instrumente (ohne Gesang und Schlagzeug) zu hören sind. 2018 kommt das zweite Album „Chrysalis“ auf den Markt. Die Zeit während der Corona-Pandemie nutzt die Band um den Gitarristen Dani G., um das neue Album fertig zu stellen. „Butterflies“ wird im Herbst 2021 beim Label EL PUERTO RECORDS veröffentlicht. Ebenfalls im Herbst 2021 werden LAST DAYS OF EDEN die deutsche Metal-Ikone RAGE auf der Tour begleiten.
Für LAST DAYS OF EDEN sind die Folk-Einflüsse weit mehr als eine kreative Idee. Für die aus der spanisch-keltischen Provinz Asturien stammende Band ist es Teil ihrer Mentalität. Mit ihrer Ursprünglichkeit und Authentizität fühlen sich die Songs wie ein Soundtrack mit der Leichtigkeit und der Eleganz eines „Schmetterlings“ an.
Die spanischen LAST DAYS OF EDEN haben einen weltweiten Vertrag beim deutschen Plattenlabel El Puerto Records unterschrieben! Das SYMPHONIC FOLK METAL – Sextett aus der Region Asturien wird im Herbst 2021 ihr drittes Album veröffentlichen und planen anschließend eine Release Tour mit RAGE.
Die Band selbst: „Wir freuen uns sehr über diese neue Ära der Zusammenarbeit von Last Days of Eden und El Puerto Records. Wir fühlten uns seit den ersten Gesprächen wirklich mit dem Label verbunden und waren nicht nur erstaunt über den professionellen Ansatz als internationales Label, das so schnell wächst und wie eine „deutsche Maschine“ arbeitet, sondern auch über die Nähe und Menschlichkeit des Teams hinter dem Label . Wir sind uns ziemlich sicher, dass dies ein großer Schritt in der Karriere der Band sein wird und dass wir endlich unser keltisch-symphonisches Zeug an jede Ecke der Welt bringen werden.“
El Puerto- Promochef Matt. Bischof ist begeistert: „Selbst in vermeindlich übersichtlichen Musik Genres wie dem Symphonic Metal muss man schon ganz genau hinhören um tatsächlich noch den einen oder anderen Schatz zu entdecken. Wir sind froh, mit LAST DAYS OF EDEN genauso eine Perle gefunden zu haben. Musikalisch haben sie mit einer beeindruckenden Bandbreite von episch/bombastisch bis keltisch verträumt sehr viel zu bieten.
Wir freuen uns auf die zukünftige Zusammenarbeit!“
Lady Ani – Vocals
Dani G. – Guitars & Vocals
Andrea Joglar – Bagpipes & flutes
Sara Ember – Violin
Javi González – Bass
Leo Duarte – Drums
Review – Last days of eden – Butterflies
Ein Mädchen lebt auf einer Burg. Sie erwacht von dem hellen Licht zweier Vollmonde. Dass beide Monde gleichzeitig ihren vollen Glanz zeigen ist selten. Aber das Mädchen weiß, was das bedeutet. Dann und nur dann beginnen die Schmetterlinge zu leuchten, die sonst im Verborgenen leben. Also nimmt sie sich einen Käfig, hängt diesen an ein Schilfrohrboot und fährt hinaus. Fasziniert fängt sie einen um den anderen, vergisst die Zeit und treibt immer weiter in die unruhige See hinaus… Das ist keine Mär, sondern lediglich das Cover der neuen CD „Butterflies“ der Band „Last days of Eden“.
„Butterflies“ ist der dritte Longplayer der Spanier, diesmal veröffentlicht bei El Puerto Records. Ihre Symphonic Metal Geschichte beginnt 2013 in Asturien. Die populärste Musikrichtung in Asturien ist die „Música Celta“, die keltische Musik. Sie ist geprägt von keltischen, irischen und schottischen Einflüssen. So verschmelzen hier keltische Harfen, schottische Cornemusen mit der spanischen Gaita. „Last days of Eden“ bedienen sich dieser Stilistik und schaffen einen spannenden Mix aus Mittelalter-Rock und Symphonic Metal.
Das erste Durch hören der CD hat überrascht und sofort Lust auf erneutes Hören gemacht. Es scheint als hätte die Band die Corona-Zeit sehr gut genutzt und intensiv an diesem Album gefeilt. Die CD ist astrein produziert, nichts stört, alles ist gut auf einander abgestimmt und die Songs intelligent komponiert. Die Melodien gehen ins Ohr und bleiben dort auch gerne mal hängen.
Zur Einstimmung wird der Zauber der CD gesprochen. „Cast The Spell“ ist ein Opener, der eher an eine Ouvertüre erinnert. Und wie schließt man einen Zauber ab. Genau: mit „Abracadabra“. Während die Sängerin den Text singt, oder besser magisch rezitiert, kracht dazu ein wirklich geiles Riff – da wippt der Kopf von alleine. Der Refrain ist eingängig und melodiös. Glocken läuten die 12 Uhr ein und der Hohepriester schließt jede Strophe mit „Abracadabra“ ab. Als Zusatzinstrument höre ich eine Geige und eine Flöte heraus. Beide binden sich hervorragend ein. „The Garden“, als Video auch auf YouTube zu sehen, ist ein Mittempo-Stück, das es nach diesem Einstieg auch braucht. Bei „Silence“ wird gegeigt und geflötet, dass sogar die Füße von Michael Flatley aufgeben. Riverdance goes Metal, erstmal komisch, aber dann auch wieder total gut. Wenn man an Zauber denkt, dann greift jede Band früher oder später zu DEM Spiegel. Auch „Last days of Eden“ schauen mal hinein. „Mirror, Mirror“ ist ein klassisches Symphonic Metal Stück mit wohl ausgewählten Zwischenparts. Nach „Moments“ und „The Secret“ kommt eine zweistimmige, mittelalterliche Ballade namens „Crown Of Thorns“. Es ist erfrischend, dass dieser Song keine Gitarren und Drums braucht, sondern ganz klassischer Folk mit theatralischem Touch ist, der auch auf jeder dunkel romantischen Party laufen könnte. Der Song durchbricht den Symphonic Metal. Mir kommt das zu Pass, denn eine ganze CD nur mit diesem Genre wird mir persönlich zu langweilig. Jetzt darf aber wieder gerockt werden. „To Hell And Back“ ist ein mega Riff-Stück, das zum Haareschwingen einlädt. „Traxel Mör“ kommt ganz ohne Gesang aus. Hier kann man sich ganz auf die fantastische Mischung aus Folklore und Metal einlassen. „Save The World“ und „Abandon“ sind wahnsinnig gute Songs. Beide haben alles, was das Herz begehrt. Gute Riffs, tolle Melodien und überraschende Momente. „Abandon“ ist auch mein Anspieltipp der CD. Nach „The Journey“ schließt „Fallen Angels“ die CD ab. Es ist selten, dass der letzte Titel auch einer der besseren Songs der CD ist. Das zeigt mir, dass man nicht nur 2-3 gute Songs geschrieben und den Rest mit B-Klasse Songs gefüllt hat – Chapeau.
Mein Fazit: Die CD ist ein Schmankerl für Symphonic Metaller, Mittelalterrocker und sicher auch für manchen Gothic. Die CD ist von vorne bis hinten gut, ich kann wenig negatives sagen. Ich vergebe 9 von 10 Hirtentröten.
US synth-pop duoIRIS have announced that they will be splitting up, due to personal differences.
Reagan Jones and Andrew Sega will each focus on their own, individual projects in the future, while respecting the years of work they have created together.
Dependent founder and director Stefan Herwig has expressed his heartfelt regret, but also understanding of the deeply personal nature of this decision, which means the departure of one of his personally favourite bands from the label’s roster.
Dependent will continue to work on physical reissues of classic IRIS albums, with the permission of both members. The first re-release will be due next year, and will contain exclusive commentary and bonus materials.“
Seemingly out of nowhere, MILDREDA detonate onto the dark electro scene with 11 massive tracks on their physical debut album that breathe new life into this genre. „I Was Never Really There“ comes solidly based on the spirit of the 90s and takes influences from both Belgium EBM legends such as THE KLINIK as well as from such Vancouver giants as SKINNY PUPPY and FRONT LINE ASSEMBLY. Yet the album’s crushing sound comes state-of-the-art 2021 with LEÆTHER STRIP’s Claus Larsen signing responsible for the excellent mastering.
„I Was Never Really There“ offers an amazing variety of songs that reaches from the big electro ballad ‚Dream Machine‘ via a mid-tempo club-hammer such as ‚Liaisons Dangereuses‘ to an explosive firework of adrenaline infused power-tracks. To top this delicious brew off, remarkable guest appearances add extra spice to MILDREDA’s all over tasty record: ‚Erased‘ features a production collaboration with NUMB’s Don Gordon, and even Jan’s original „muse“ Dirk Ivens (THE KLINIK) and Cyan from THE ETERNAL AFFLICT contribute to this album with their distinct vocals.
At closer inspection, it is far less surprising that MILDREDA deliver such an outstanding record. The band is the brainchild of Jan Dewulf. In the early 90s at the tender age of 15 years, Jan got so entirely hooked by compatriots such as THE KLINIK with their cold and oppressive type of sound typical for the Belgian cult acts of this period that he borrowed a keyboard from a friend and spent his holidays washing dishes at a pizza place to afford some studio gear.
The 16 years old Belgian’s first full-length under the MILDREDA banner was the self-released tape „II Castrato“ in 1995. With a steep learning curve from his raw first effort, this was quickly followed by a second cassette entitled „De Laffe Denker“ in 1996, which got widely copied and handed around in electro circles.
MILDREDA gained a strong following and excellent reputation in the Belgian scene and beyond, which led to live performances sharing stages with such renowned acts as PLASTIC NOISE EXPERIENCE, TERMINAL CHOICE, COVENANT, VNV NATION, and many others.
Despite or maybe because of his astonishing success at such a young age, Jan Dewulf decided to put MILDREDA on hold after feeling somewhat disillusioned by the business side of the scene. In following years, Jan started a new project under the moniker DISKONNEKTED, which focused more on dance influences than continuing on the dark electro path.
Over time, MILDREDA continued to be a talking piece within electro circles and despite their absence grew their following by word of mouth alone. Encouraged by none other than Dirk Ivens, who personally asked Jan to revive MILDREDA at a party and by continued underground support, Jan Dewulf returned with his third full-length, the digitally released ‚Coward Philosophy‘ in 2016. His deep love for clinical dark sounds had been re-kindled.
Now, MILDREDA are preparing to blast the world with their physical debut album, „I Was Never Really There“, which is the collective sum of the mastermind’s exponentially grown musical experience of the last decades combined with a burning desire to unleash another ripping electronic beast! Belgian dark industrial sound is coming home again!
Jan Dewulf – everything
Christophe Salvatore – live keyboardsGuest appearances
Dirk Ivens (THE KLINIK, DIVE) – guest vocals on ‚Echoes‘
Cyan (THE ETERNAL AFFLICT) – guest vocals on ‚Blame It on the Moon‘
Don Gordon (NUMB) – additional production on ‚Erased‘
Mixed, recorded & produced by Jan Dewulf at Cyberflesh Loft, Oostende, Belgium Mastered by Claus „Leæther Strip“ Larsen at the Strip Farm, DenmarkCover photographyby Zsolt T. Szajbely Artwork by Jan Dewulf
Lyres Of Ur is a Portland, Oregon based act that covers different ground including darkwave and „80’s-90’s influenced Rock with a dash of contemporary influences“.
We’re bringing a collection of his Bandcamp singles just as general awareness in hopes that more ears will hive Lyres Of Ur a chance. Please let us know what you think! We understand it’s not for everyone. But you never know…
Portland, Oregon based Rock band Lyres Of Ur made its debut in October of 2018. Lou does everything all himself on a computer he built and has more than a decade of experience in Rhythm guitar, Lead guitar, Bass guitar, Synthesized Keys, Drums, and Vocals. He’s even created the majority of his releases‘ artwork with the exception of the two most recent.
Lyres Of Ur has an 80’s and 90’s dark style and romantic side. Most of their songs are about positivity, and love – sort of like a gothic hippie wearing leather, studs and aviators.
Lyres Of Ur has opted for the „non full-length“ album approach and has to date released eleven digital singles, -the most popular being “Ice Queen” and “I Look Good On You”. Both of these tracks have received a substantial amount of radio airplay which has resulted in an increased awareness of Lyres Of Ur on all social media channels.
Florida-based gothic/rock band, OCTOBER NOIR has unleashed their new video for the song, „Windows.“ The song appears on their forthcoming new album, Fate, Wine & Wisteria due out on September, 22.
The song is about finding a savior in the midst of being in a miserable state of being and being able to see everything the world has to offer through that person’s eyes.
The video was filmed in multiple locations around south and central Alabama, depicting the band being in different parts of the world and all the scenery has to offer.
Since 2016, OCTOBER NOIR has been crafting original songs and covers faithfully in the spirit of their namesake. Born out of a desire to fill a void long left unfilled for grieving fans, OCTOBER NOIR’s music is an echo of the legacy of one from beyond the veil. After the tragic passing of Type O Negative’s Peter Steele, the band seeks to carry the torch of his iconic music to the next generation as the first true disciples of Negativism. The band has produced two albums and six cover singles to date. On September 22nd 2021, the band will be adding a third album to their repertoire (also featuring their seventh cover, a favorite from Glenn Danzig) –Fate, Wine & Wisteria-available on CD and digital formats.
Industrial band PANIC LIFT return after a three-year hiatus with Split, the first in five thematically connected EPs: a release cycle that will span into 2022. The follow-up to 2018’s End Process, PANIC LIFT presents two blistering new songs on Split with each harkening back to different corners of the dark music spectrum.
Each EP in the five-part series features two original tracks and two remixes from different artists. PANIC LIFT intends to have each new release be accompanied by a limited-edition physical product, which will change with each release. Split was released as a limited-edition physical cassette tape limited to 50 copies worldwide.
PANIC LIFT brings these releases independently in association with longtime friends and collaborators PRIMORDIAL MUSIC.
For Fans Of: Ebm, Industrial, Aggrotech
Split features a synthwave inspired remix of „Tribute“ from EBM juggernauts GRENDEL and an electro-funk rework of „Nowhere Fast“ from the techno wizardry of WESENBERG, who is better known to the world as Krischan Jan-Eric Wesenberg from ROTERSAND.
The aptly titled „Tribute“ is an EBM dance floor thumper reminiscent of some of the legends of the genre, all while incorporating PANIC LIFT’s trademark juxtaposition of soaring clean vocals and guttural screams.
“Nowhere Fast” is a industrial rock assault reminiscent of the machine rock heyday of the mid-90s. These two songs pay homage to the legends that inspired PANIC LIFT vocalist and songwriter James Francis to begin writing music over 20 years ago. “I’ve found the material in these releases serve as a love letter to this genre of music” proclaims Francis.
Charlatans Inc is the 15th release from Derision Cult, masterminded by Dave McAnally of Chicago. The album was created over the course of 2020, which was one of the more turbulent times in America’s modern history.
This is reflected in the sound and lyrics of the tracks. It addresses how consumerism has mixed with tribalism over the past year and the stress and outrage that conflict imposes on society. It primarily deals with how and why the news media is becoming increasingly interested in provoking emotional reactions out of people vs. reporting objective news to them, and the destructive impact this has on individuals and society.
Tracks such as “The Great Reset” address corporate money and lobbying that is behind political movements that appear to be standing up for the little guy by the media, but are actually the same wolves in different sheeps’ clothing. Tracks like “Charlatans” compare Soviet disinformation campaigns called Active Measures with modern spin powered by big brands virtue signaling to a new generation of consumers.
Dave doesn’t just say these things from afar, having spent nearly 20 years in the advertising industry as an executive with a front row seat with the top brands all over the world to exactly how these issues have played out. Charlatans Inc culminates with the events of January 6 2021 and how this manipulation and conflict reduces ordinary unassuming people to anarchy.
Derision Cult – Charlatans Inc. Review
There is something fast again, Derision Cult is a project from Chicago, the artist is called Dave McAnally and we listen to it today, industrial metal, if it’s right! 😉
The cover I find brilliant, socially critical, a police helmet with beer can holder from whose cans money and fun (or obedient?) can be fed.
Not my field of expertise this music, but I like the songs, just listened to the album, sure, you think of Ministry, but you always think that when you think of industrial metal! 😉
Let’s start with „The Great Reset,“ great guitar sounds, roaring voice, „invited“ voice snippets, quite listening sound. Unfortunately, I don’t always understand what he sings, that might be even more important, but I’m going to see that somehow you get to the lyrics.
The second song, „Calla Man God,“ reminds me more of Suicidal Tendencies vs. Sepultura, which is great, pretty brutal and varied. I try to hear something from the text, I think it’s about faith, evil always loves itself the most!? Definitely a tip song!
„Amplify“ is a little confused, almost punctually red, no rules please. Class. The guitar drives well, the distorted voices are crackers, always so.
Now to song 4, „Worlds Collide“ here madness meets other worlds, you have to hear that really loud, it meets deeply hidden feelings of hatred and disgust, I can’t write much about it, you have to feel that. In the end another crass horny vocal melody in front of the typical sample sounds. Hammer.
Let’s see what „Kotztrolle“ does so „This Is Control“ starts out atypically with keyboard sounds and „noises,“ „snarl“ and strong vocoder distorted voice, just listen to everything well, I’m speechless, lost control! Cool.
„Charlatans“ is faster again, at the beginning, then come short quieter parts, before it goes off mercilessly again, I need the lyrics soon!!!!!!!
The penultimate song, „View From Cross“ starts like an old sci-fi movie, maybe I understand what the lyrics are about, or I interpret it like that, distracted by all the media cram you hang on the cross (of life) and look back at all the futility?! Anyway, horny sounds and mood again, I’m Angetan.
„Jan (6)“ is in no way like the previous songs, industry punk metal from Chicago is great and I’m a new fan of it. No idea if I could describe everything correctly, but it really packed me, even the last song is not a „wegskip“ song, the whole album can be listened to, best quite loudly, and completely! Partytime Exelent… already has something 90s style, but I like that anyway! 😉 Thank you
Favourites: Calla Man God, or just listen to the whole album out loud! 😉
Gothic/Post-Punk duo, CYBORG AMOK have recently unleashed their debut, self-titled LP. The album covers conflict, hope, loss, betrayal, estrangement and depression, looming in the darkness on the fringe of the gray.
CYBORG AMOK resides somewhere between the brilliance of twilight and the apocalyptic darkness. Their gothic infused synth-rock sound delivers the listener to a panorama of synthetic waves, twisted organic tones and a slightly pop crust … the language angels speak in the darkness.
Greg Bullock states, „Much of the inspiration for my music comes from life experiences. I will also read or see something going on in the world that moves me to write a song to chronicle the event.“
CYBORG AMOK’s self-titled album was released in both digital and CD formats. The album is a compilation of two previous EPs that are now extinct. New music blog Right Chord Music described the release as “gloriously brooding and timeless in its introspection.”
CYBORG AMOK is Greg Bullock (synths/vocals) and Brydon Bullock (drums/vocals).
Greg Bullock, poet and synthesis, formerly the keyboardist for RealEyes and Shamen, currently splits time between CYBORG AMOK and The Antoine Poncelet Band. As the principal songwriter and voice of CYBORG AMOK, Greg continues his journey suspended in dark waves crashing over striking landscapes.
Brydon Bullock emerges as an up and coming drummer on the local music scene. He has performed with Rockit Live in NYC and on the Jersey Shore. Brydon adds a contemporary element to the CYBORG AMOK landscape with solid grooves and strong backing vocals.
Cyborg Amok Review
Cyborg Amok is the name of the band and also the first album that is filled with songs from the previous E.P.s that are no longer available. Greg and Brydon Bullok, are they father and son? No idea. I’m excited!
The cover is grey, skyscrapers and the Cyborg Amok lettering, that doesn’t tell you so much!
„Burden Away“ is the name of the number one song on this 7 track album, beautiful clear drums, guitar and electro sounds, which is classic goth synth rock, the narrative dark voice fits perfectly. A good start.
2. „Still Too Far Out“ sounds very similar, here there seems to be a pattern, a style of its own, because you have to have it. The frail voice sings here a bit more melodic, beautiful strings underline the „structure.“
„Beyond Me,“ tactfully it goes into the next song, piano alternating with guitar, then an electro melody and the narrator voice sets in, tells and of itself, then a somewhat childish chorus and the 80s melody, I don’t quite come in yet.
4. „Dancing On The Floor Of The Sea Of Tranquility“ has a very long song title, it starts with peculiar „Hauche,“ on synthetic sound carpet and oriental keys, then the great bass sets in, that comes well, the voice tells stories again, the bass drives on. That’s all that catchier in contrast to the long title name. 😉
„New (er) Dark Age,“ is gloomy, but the name promises more than it is, it is clearly structured, but nevertheless it seems twisted, the singer tells his stories, but the music does not stand out and only accompanies the voice. No roar!
6. „Choice Not Taken“ fängt mit schönen klimpernden Synthis und klarer Gitarre an, das hat was, Tropfen fallen steril in künstlichen Welten auf pinke getupfte Pflanzen, in meinem Kopf, dann beginnt die Stimme uns zu betören, der Refrain ist diesmal etwas mehr rauszuhören, und das macht wirklich Laune. Das Soundgerüst ist hier sehr gelungen.
7. „Another Turn“ und die dunklen Zeiten sind vorbei, die schlaflosen Nächte, langsam gefällt es mir einfach zuzuhören, wie einem alten Schamanen, der einem seine Weisheiten abgibt, …around, around… singt diesmal eine zweite Stimme mit und ein militärisch anmutender Takt und klingende Becken machen diese Geschichte komplett. Okay!
Fvourites: Dancing On The …. (und so weiter) 😉 & Another Turn
Until the Days
Karsten Zakrzewski 04.09.2021
Interview with Cyborg Amok
Thanks for doing this interview with Kainklangmusic. Could you let us know who you are by name and what your roles in the project are?
Greg bullock; lead vocals and synthesizers … also producer and songwriter.
Brydon Bullock; drums/percussion and backing vocals.
The latest self-titled album includes material from two previous Eps. Have you been writing new material since then and has it taken a different direction than what’s out?
The songs on the two EPs were from my catalog of songs written over past years, with only Choice Not Taken and Burden Away being new songs written for the “TOO” EP. We have many songs still not recorded and also some new material in the works. The vibe of newer Cyborg Amok recordings will likely be a little more industrial/metal in our approach, while still in keeping with our mix of electronic and organic elements.
Concerning influences… what would you say that the musical influence would be which might be the most surprising to listeners?
Well, the obvious influences for myself would be Depeche Mode, NIN, Peter Murphy and Bowie, but I also listen to jazz fusion, prog, string jazz, bluegrass and Celtic music. As for Brydon, his influences tend to be a combination of classic rock, grunge/punk and current alternative artists. But, Brydon also listens to hip-hop, jazz and show tunes.
What’s a live Cyborg Amok show like? Have you played outside the US? Or is this exclusively a studio project?
A Cyborg Amok show today is a duo using backing tracks for guitars and bass … until we secure permanent guitar and bass players. We use backing tracks for our electronic, sequence and loop elements as well as some backing vocals, which will always be part of our presentation. The vibe is gothic, post-punk, synth rock.
We have yet to perform outside of the US, but hope that will be doing some foreign dates in our future … we believe that our music is best suited to overseas music markets, especially the UK and Europe.
We have been a studio project since early 2019. We did a live show at the Evil Expo this past July and are planning on building our band and doing more shows in the future.
The information in your EPK and on your site is extremely well written. Are you lyrically influenced by any authors or books/literature?
I have been writing poetry/lyrics for many years. I don’t know of any authors or literature I specifically gravitate to. I am a fan of Poe, Kafka, Lewis Carrol and Dickens … a fairly classic line-up. My writing comes quite naturally. I sit down and put to the page what I want to say. Not much more to it than that.
How about remixes? Have you done many of those? If so, what would you say makes a good remix from the perspective of both the artist and the remixer?
Short of doing our own re-mixes or re-arrangements of our songs, the opportunities for re-mixes by other artists/producers have not come our way. I really don’t know how I feel about Cyborg Amok re-mixes yet.
Let’s say that sometime in the far future, someone locates a recording of Cyborg Amok. What do you want them to learn from your message?
I think our music is a portal into human kind. Hopefully future inhabitants of our world will have discovered a way to turn the darkness of the past and turn on the light … so far, over our many thousands of years getting the message has been the struggle.
If everything goes as planned, what do you think we can expect from Cyborg Amok before the end of the year? New album/video etc?
We have a video shoot in early September with a new video for Burden Away being produced. The video should be released mid-November. We are looking into more shows this year and next, and working on new releases for 2022.
Have you ever written anything that perhaps was outside the scope of Cyborg Amok, that might spawn a side project?
I have several solo projects available on our Bandcamp site. I am also keyboardist for The Antoine Poncelet Band, which is very rewarding. Brydon plays in a yet un-named original grunge/punk project, as well as, working on a solo project he’s hoping to release in 2022.
Thanks for your time. Any last words can be yours
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„Blending harsh synthetic tones; dark, percussive sound design; and traditional world instruments, a new industrial landscape is being forged in The Royal Ritual, created by award winning sound designer and music producer, English born David Lawrie.“
Debut album Martyrs (release date TBD) is a thematic exploration into organized religion, and how it can negatively influence our most basic ethical choices. The album was produced almost entirely in isolation, in Northern California.
The first single from the album, “Pews In A Pandemic,” is a direct response to the hypocrisy of the megachurch culture in the USA, during the Covid-19 pandemic. This cognitive dissonance is reflected in the unusual 15/4 time signature, heard throughout most of the song.
Drawing from Lawrie’s work in film as a sound designer, “Pews In A Pandemic,” as well as the rest of the album, contains rich soundscapes as well as foley elements that combine to replace the function of typical elements. For example, instead of a snare drum, Lawrie uses an intriguing blend of gunshots mixed with steel barrels and hydrophonic recordings. Many synthetic elements of the song, and the album as a whole, are actually crafted from sampling recorded elements, and manipulating them into synthetic instruments. This “meta” approach lends itself to the B-Side of the “Pews…” single – a cover of Phildel’s “Glide Dog” – where the original song was analyzed by a wavetable synthesizer, and used as an element throughout The Royal Ritual’s version – a vast departure from the sparseness of Phildel’s original arrangement, into a much heavier, industrial affair.
The single will be released as a digital download and streaming on all platforms, as well as on the bandcamp store. Also available is a collectible, laser engraved wooden USB, containing the two songs from the digital version, as well as an additional piece of music, video content, promo photos, and more. The USB is presented in a hand numbered, laser engraved wooden box, and is limited to only 50 units.
ABOUT DAVID LAWRIE
David Lawrie is an internationally renowned music producer and sound designer. Classically trained on the piano from the age of 7, he began exploring the tech side of music in his teenage years.
After gaining a distinction award upon completing his Master’s degree in Music Production from Leeds Conservatoire, he went on to produce for independent artists in the UK, Europe, and the USA. His experimental nature has seen him working in genres spanning from folk and pop, all the way to goth and industrial. This is genre-spanning career is reflected in the blending of strong ear-worm hooks with abstract, heavy arrangements, and traditional instrumentation in The Royal Ritual.
Notable associated artists include London After Midnight, CocoRosie, Phildel, and many others.
As a multi-instrumentalist, with a fascination with unusual world instruments, synthesisers, and sound design, his unique arrangements and production style have attracted the imagination of artists and filmmakers alike. His compositions have been used in nature documentaries (notably the award-winning “Of Shark and Man”), horror shorts, and art installations, as well as television shows around the world. As an award winning sound designer, he has lead and executed audio post production for a wide variety of films – feature length and short.
„The Hunger“ is the storming debut single from VAMPYREAN.
It is a rousing goth anthem on the desire and obsession of a vampire and the pursuit and submission of his victim, set to a catchy pulsating beat.
Lush crystalline guitar motifs battle with driving power chords, to create a dark, driving rock parable on the misery of a sanguine life.
About The Album
The debut album from VAMPYREAN is called The Hunger and is an eleven track gothic rock opus covering vampyres, werewolves and serial killers.
With guest vocal contributions including Chris Pohl (BlutEngel), Aaron Stainthorpe (My Dying Bride) and Sven Friedrich (Solar Fake).
Drawing equally from post-punk, horror film soundtracks, macabre gothic literature, Vampyrëan is the brainchild of Vlad Janicek, who pioneered a grandly theatrical brand of gothic rock with his other band Nosferatu.
The project has guest vocal contributions including Chris Pohl (BlutEngel), Aaron Stainthorpe (My Dying Bride) and Sven Friedrich (Solar Fake).
Following the release of their latest EP “together we’re alone” Johnathan|Christian along with producer Codename: Lola unleashes an angst filled remix of their epic track “My Dying Words” with a buildup of fury that unleashes a new dimension to their sound.
„My Dying Words (Codename: Lola Mix) will be available on all streaming sites globally NOW!
Johnathan|Christian are Stockholm Post-Punk writer/vocalist Christian Granquist, along with New York alternative music veteran, Johnathan Mooney, currently living in Greater Los Angeles. With a songwriting approach that’s been described as a „soundtrack to a dark thriller or doomed romance“ Johnathan|Christian’s music has been described as strongly reminiscent of romantic deathrock, 80’s gothic and post-punk but with a modern production sheen.
About Codename: Lola
Codename: Lola is the alter ego of UK’s DJ BatBoy Slim (World Goth Day co-founder, DJ & internet radio show creator) featuring post punk covers, collaborations, and remixes since 2016.
Austin, Texas’ Dread Risks unveils its first single and music video since signing to Re:Mission Entertainment in early July 2021. Entitled “Trauma Ties”, the single formally releases on August 20th, opening pre-order to the limited edition “Trauma Ties” remix maxi-single CD available Friday at the Re:Mission Entertainment Bandcamp Page. The single, mixed and mastered by Ritchard F. Napierkowski, will also be available on all major streaming platforms with a digital Bandcamp option.
The band teamed with Erik Gustafson, for Erik Gustafson Cinematography, who directed, filmed, and edited the video. The band states of the video and partnership: “We wanted to release a more cinematic piece for this track versus a performance video, and we knew Erik could take our concepts and help capture and shape a memorable but terrifying experience. The song and video are gritty and hopeless, and we wanted to kick off our 2nd full-length (date TBA) in an aggressive and cerebral way.” Dread Risks also teamed with actor Marshall Faulkner, who starred in the video and assisted in the storycrafting.
Hailing from Austin, TX, and formed in 2018, Dread Risks offers a bleak electro-industrial soundscape with more aggressive elements more commonly found in aggrotech and industrial metal. The two-piece consists of Kris O. on vocals and Eric R. on live audio/visual experience, with both members sharing music production duties.
“Dread Risks is the boil-over point where anxiety and sinking thought patterns plateau and reside in relentless but silent panic. Dream-state consequences far exceed the true determinations. The soundtrack is an accompany-piece to emotional submission, implosion, and unrealized vengeance.”
Dread Risks will be releasing a series of singles, remixes, and a full-length album on Re:Mission Entertainment in 2021.
Gothic/Industrial artist, NUDA has just unveiled her new video for the track, „What Did You Want To Happen?“ The track appears on her latest album, Mindful Tragedies. It deals with the struggle with mental health that NUDA has had for years.
NUDA was diagnosed with Bipolar Disorder in 2017. There were some extremely dark moments for her and when they were shared, her therapist said something that stuck in her mind. She said, “Say if you went through with it, and you went away; what did you want to happen?”
That moment was eye opening and helped NUDA be present to seeing the overall message: That there is more support and love than you may not see when you’re buried in the darkness. You can get through this, you aren’t alone, and people dearly care about you…
Possessed Tranquility typically held lyrics that spoke to mental health struggles. When bandmember Anthony shared his version, it was a moment where NUDA realized, this song can’t go out there without these vocals. The music video premiere is a performance of “What Did You Want to Happen?”
NUDA is a Solo Ambient, Gothic, Industrial Artist based in Seattle, Washington. She brings instrumental soundscapes with „a feminine touch“ to Industrial Music. Previously a guitarist for the electronic band Possessed Tranquility who haveopened up for well known bands Orgy and Wes Borland’s Black Light Burns; She later began the solo instrumental electronic project, NUDA and released her first album Intimate Senses in February 2019.
NUDA’s second album Mindful Tragedies finished and was released in 2020. Mindful Tragedies includes collaborations with DK-Zero, Possessed Tranquility, and Jaymie Valentine of CINDERGARDEN. NUDA has been gaining traction in the industrial music community by guesting on other tracks with industrial music artists. Her live performances feature guest vocalists and light shows that blend together an immersive experience.
Review – NUDA – „Mindful Tragedies“
Already in October 2020, the artist from Seattle sent her second synthpop album „Mindful Tragedies“ to the ears of the people. Most of the songs are purely instrumental, but NUDA has gained vocal support for some tracks.
The song „Electric“ is included in two versions. Once purely instrumental and once as a remix of DK-Zero. I personally like the remix a little better. He has small passages of text, which, it sounds at least, a small R2D2 always repeated. Occasionally, another computer voice turns on, making it look like a little conversation among robots. The whole thing is deposited with a good beat.
„Missing“ is a good example of one of the instrumental songs and really comes without vocals. It could be a gentle yet very specific accompaniment to a dream from which one awakens somewhat melancholy, but without exact memories.
The theme song „Mindful Tragedies“ is accompanied by a pleasant and calm voice. The light synthies carry the feeling that you just want to be left alone and have nothing to do with the dramas of others, very well. The chorus is short, crisp and yet catchy. I admit it’s my favorite track on this album.
For „What Did You Want To Happen,“ NUDA brought Possessed Tranquility on board. The voice here forms an absolute harmony with the atmospheric synthies. This is also a rather quiet song, but with a captivating rhythm that lets you stick to things.
The end is „All In Your Head.“ The song is also very quiet again. Bit by bit, more sounds are added until an almost hypnotic beat begins. Steeped in melodic vocals, you’ll be kidnapped wherever you want. After all, it’s all just in your head…
This quiet synthpop album is wonderfully suited to get down a bit. You don’t have to strain your head and you can just get a little stroked. And who doesn’t need this now and then?
Aggrotech / industrial pioneer Andy LaPlegua proves once again to be a master of electronic brutality, heavy, dark with an evil hypnotic loop that drives the listener crazy. „Compliance“ sees Combichrist keep on crawling on the rotten surface of mankind to dig there the final hole which will swallow up for good the sick spirit of our civilization. And it works – the listeners going down, slowly, with that inexorable end-of-the-world feeling at your fingertips.
Czech gothic rock heroes CATHEDRAL IN FLAMES are releasing the long-awaited album Hang Me High & Bury Me Deep. SaysGatsby: “It’s about the darkness of our souls that is around us, perversions hidden in people but also about hope and romance. This is exactly what Gothic should look like.”
“The whole recording process was extremely demanding on our mental health this time. While laying down vocals, I even experienced something like a change of consciousness. It was disturbing, but at the same time liberating. They (the songs) are beautiful, monumental and dark. Yet at the same time uplifting, “ adds Phil Lee Fall.
Hang Me High, Bury Me Deep is available worldwide on CDs and all digital platforms. A special vinyl version in a 3D gatefold package will be released a month later. You can find them here: https://ffm.to/pkdo71.
Nine songs influenced by the likes of Sisters Of Mercy and Fields Of The Nephilim both in terms of sound and musical ideas.
CATHEDRAL IN FLAMES singers Phil Lee Fall and Ambra Von Bernstein have layered dozens of vocal tracks, making the choirs anthemically monumental and the choruses appropriately vaulted. The musical arrangements used a combination of analogue techniques and state-of-the-art technology with multi-layered sound, including samples and guitar parts by Billac DeVille, Mr Theorodick and Gatsby, who – in addition to the obligatory bass guitar – also recorded a substantial part of the guitars and keyboards. The piano virtuoso Antonio Koczwara was also invited to record the demanding keyboard parts.
Every detail of the album was painstakingly cared for. With the work of mixing wizard Eike Freese (Deep Purple, Helloween, Lord Of The Lost), a crystal clear sound was created for the album.
Cathedral In Flames – Hang Me High & Bury Me Deep – Review
Hello dear people, today again a band that I did not know so far, apparently they come from Czech Republic, maybe you know them better there, I see and hear them for the first time.
Let’s see! The album has 9 songs, which is just behind an e.p. and just a whole album, if you’re petty?! 😉…. on the cover a gun and on the pictures a band gang in the classic western outfit.
Let’s listen to the first song „Twilight Of The Goth,“ and in fact there comes a „Sisters-like“ guitar to dull drum punches and a „necessary“ male voice, which is very reminiscent of Nephilim, but there is also a female voice that I like better right away. Now we’re headed back towards Sisters.
As I hear this, I think it’s good to compare a band like this, probably not, but everything is very obvious here, it goes in the direction of 80/90s Sisters of Mercy and Fields of The Nephilim.
The first song still has something, after listening several times you get in well, the two voices fit well together, the sound is good here.
On to the second song. „Black Train,“ the drums tune in nicely dark, then two dark male voices come, one of which is hardly to be understood, they alternate after each beat and make the whole song seem as rushed as a black train racing through storm and rain, that is well implemented.
Music here is nice catchy, but not sensational, the chorus goes well in the head and stays there for a while.
Let’s see what the third song can do, „1989,“ hmmm, hmmm, is this a homage to 1969 or 1959 of the Sisters?… sounds very similar, piano and dark voice, but doesn’t quite bring up the feeling I get with the other two Sisters songs mentioned, so for me rather boring, others will maybe love it.
Now to the title song of the album „Hang Me High & Bury Me Deep!,“ a female voice turns the typical „Ohhh ohhhhs“ into driving drums and guitars, then the male voice sets in a typically dark manner, the whole thing becomes a bit more poppy, the organ in the background looks beautiful. Here somebody really deep inhaled Carl McCoy and sang out again, which I don’t think is bad. All in all a good song!
„Children Of The Blackest Hole (The Final Shot)“ is again rather a quiet song with lots of piano and acoustic guitar to sound drums, again there is a duet, the „Revolverheld“ and the „Bardame“ tell their story of the last shot, where the lady sings along in the background and buzzes, well, i think the song is not so catchy, it stumbles and pimps so therefore, there are a few highlights missing and the chorus gets something out but completely in the heart, it is not possible, still not bad.
The entry into the next song „Blame It All To The Pain,“ is already a bit more sweeping, the change into the slightly more restless part from 0:50 min is great, a good chorus, otherwise everything as had, dark voice meets bright guitars and dull drums. Here the theme song of the little vampire came to mind, so from the old series, if you remember. 😉 I like it very much! Both.
Song Seven is, „Dia de los Muertos“ may be a little more cliché, all times painted the masks and spat around. Beautiful female voice meets here on reserved sound, could really be film music, but will in the long run, so completely without pictures, a bit long-winded, even if the „Ohhhs“ in the end bring a little more to the afterlife, that comes well! So continue…..
„Drinking In The Car“ I only got in the summer, the last beer was then not so good and everything else landed on the highway stop, But that’s not what this is about, the song, that is, something is unspectacular, it is just too much like the other, and I feel little at ease, a lot of „Ohhhs“ meet dark voice, dull drums and bright guitars, „in the background the female voice talking about something, But this time there’s no part of one that gets out of lethargy.
…. and already we are on the last song, „Providence,“ there she is again the „nuschel“ voice, nice dark and „grunzig,“ the beginning very slowly, from minute 1:40 it gets full, a great song develops, is fun and lets you look back again, what was that actually, what was new, what was old, it had its strengths and weaknesses, but is quite okay, even if the Fade Out is annoying at the end of the last song. 😉 Much old known was there, and why not, what was good can also be good again.
Fovourites: Twilight Of The Goth, Black Train & Blame It All To The Pain
The Undead EP includes the title track Undead, which speaks of the gray, misty emptiness of depression, a synth-heavy junkyard rework of Green Day’s Boulevard of Broken Dreams, and reworks of Undead in the form of a stompy dance remix by DJ Sawtooth of Lowell, MA, and an unplugged version by Luin herself. This collection of songs represents the full spectrum of the introspective and lonely Luin sound, from oppressive, thick and damaged, to driving, confident and bright.
Luin is a transgender singer, songwriter and producer born and raised just outside of Seattle. Luin weaves the background noise of her childhood with her love of darkwave, industrial, electronic rock and witch house to create emotional, driving tracks about the dark and lonely places we wish we didn’t have to know so well. Luin faces transphobes and her inner demons with a microphone, synths and pedalboard in her combat boots and floral print dress.
Conceived when hospitalized, songwriter and producer Ian Messenger wrote and produced a prolific forty-odd dark-minded songs the following year, of which ten were chosen for Hollows.
Depressive themes of gloom and emptiness pervade the album but there is also a triumph against the darkness, a fist-waving into the void, and intimacy along with detachment.
Built on the sonic foundations of drum machines, bass guitar, synthesizers, electric guitars and distorted, cavernous vocals, THE COLD FIELD’s sound not only harks back to the early 80’s and Joy Division but contemporary bands such as Lebanon Hanover and Soft Kill.
Available on CD, vinyl LP and digital formats from COLD TRANSMISSION MUSIIC.
THE COLD FIELD is an Australian post-punk dark-wave duo of Ian Messenger and Heath Newberry, and was formed in 2019. They released Black River as their full-length debut album in 2020, and 2021 brings another full-length album Hollows. They are currently working on their third album.
Canadian electronic artist ALIA SYNESTHESIA has unveiled her new EP, Anhedonia. It is the first concept EP to be originally released under the name of ALIA SYNESTHESIA.
„Anhedonia“ is defined as „the inability to feel pleasure.“ ALIA SYNESTHESIA conceptually explores this not only as a de-contextualized nebulous tendril of clinical depression, but as an every day side effect of mental battles for purpose and meaning within the grinding cult of productivity. Anhedonia (black edition) is sold out. The „white“ edition is the public edition of Anhedonia and is currently available on Bandcamp as a pre-order.
Anhedonia wasreleased on July 31, 2021 on digital and limited edition CD formats. Paying homage to the sounds of the 90s (trip-hop, NIN, SugarCubes, Bjork, Ofra Haza) Alia brings in the combination of dark pop, industrial, operatic vocals, distorted cello riffs, and booming, danceable basslines.
For fans of Darkwave, Electro & Goth music
ALIA SYNESTHESIA is a multi-instrumentalist, trained operatic singer, neo-classical composer, cellist & drummer. Her music compositions defy genre, spanning from electronic dance music, industrial & sludge metal to dungeon synth, atmospheric, cinematic scores, and operatic works. Known for her deep mezzo-soprano voice and experimental distorted cello technique, Alia carries her unique, exotic sound across genres.
Alia is Yakut (Siberian first nations), and was born and raised in North Siberia, where she started her music education at 6, subsequently immigrating to Canada at the age of 14. Although classically trained, her first musical exposure was to electronic music.
Alia released her first solo record titled Kingdoms Fall in 2017 under the project name SUBTERRANEA. Shortly after, two more records under different project names have followed, Banshee (2017), a synthmetal release, and DataVVitch (201, released first as anonymous record.
Alia’s voice is often described in reviews as ‘siren-like’, haunting and beautiful, yet powerful and deep. The compositions she weaves range from tribal and hypnotic, to complex, nightmarish, avant-garde and multi-layered, laced with her signature baroque vocals. Alia’s discography consists of over 20 releases (EPs, Singles, Band Albums, Live Albums).