Field recordings of Rio Tinto trains transporting Iron Ore in The Pilbara, Western Australia, 2014. Recordings taken from near the switching yard, behind Cape Lambert. Copyright - recorded & owned by Australian sound designer Jeremy Silver.
British industrial metal band Godflesh returns with a new Decline & Fall EP to be released through Broadrick's own Avalanche Recordings on 06/26/2014. One of the songs, 'Ringer' is available for streaming on SoundCloud.
Crash-Scan - Repeat Until False |self-released, 2014| 5/5 metal experimental industrial
1. Choke, 2. Pure, 3. Ohm, 4. Desolation, 5. Senescence, 6. Chrome Lies, 7. Chronic Atrophy, 8. Plans For Winter, 9. Tentacle Vortex, 10. An Eye For A Tooth, 11. Subduction, 12. Out Of Reach, 13. Under The Dirt
Crash-Scan is a heavy yet innovative band from new zealand that formed in 2008. Repeat Until False album was released 5 years after the band's debut album Catalyst and is written, performed and recorded by Ron Nobbs (vocals, programming), Bryan Tabuteau (programming, synths), Vivian Stewart (guitar, bass) along with Brad Gallen (additional percussion).
The music presented on the latest release is inspired by a variety of industrial and metal bands such as Nine Inch Nails, Skinny Puppy, Ministry, Fear Factory, Meshuggah, and Gojira. Crash-Scan however, have taken the industrial metal genre to the next level. There are no melodies, rather pure torment expressed through machines and guitars. They took the core of what heavy steel industry is all about and transferred it into music - repetitions, noise, weight and all the impact you can imagine. The music on the album is about 'processing', 'making', 'transforming' and other associated activities. The atmosphere in all songs is comparable to that on Godflesh albums, though the sound is more modern.
Let's look into the following 13 songs, with average track length varying between 3 to 6 minutes. The tracklist begins with "Choke", which will give you a taste of things to come. It sounds like a slower and distorted sound of the late 90s Ministry and Fear Factory, but flavored with Crash-Scan's own ingredients. It gets even noisier with experimental add-ons but the repetitions and heavy guitar riffs (cut with lighter motifs in a few spots) make the track as memorable as a mantra.
"Pure" involves a bigger share of electronics, reminiscent of Frontline Assembly, but mixed with guitars and beats. The contrast between verses and choruses is accented better than in the previous song, but still almost lacks any melody. Distorted whispers add a sense of thrill.
"Ohm" begins with a set of structured rhythms that are then followed by chunky guitar riffs. A variety of additional effects creates an experimental feel, with the vocal style similar to that of digitized black metal compositions. Heavy guitars create an interesting wall of sound near the end. Since they are digitally processed, there's a strong sense of higher mathematics flowing throughout this track.
"Desolation" involves tuned down guitars and a very contrasty world music motif, as if it was derived from Turkish or Middle Eastern music. The sound may be irritating at first, but at the same time it sticks to your ears and underlines the verses. It is as if a painter splashed a natural color image with neon paint with equidistant spots. Angry, digitally processed vocals, looped effects (used so often by Fear Factory) and the overall sequence of sounds make it a memorable composition. In fact, it could gain even more attention with a matching music video.
Now it’s time for the best track on this album. At first, there’s a creepy, piano-based intro enriched with a digital, gloomy follow-up. Then, it's transformed into amazing arrangements accompanied by a heavy load of guitars and distorted, hellish vocals that you'll love. The composition is complex, but this speaks for the band’s song-writing skills - and Crash-Scan are definitely proving theirs here. Less deformed guitars appear a bit later, and the overall feel of "Senescence" is that of shifting dynamics.
The songs seems to be carefully put in order on the tracklist, and so those heavier are intersected with slower but equally dark moods. This applies for instance to "Chrome Lies". It sounds like it could have been developed better, however. The drums sound a tad too simple and repetitive, with the vocals falling into the background and almost gothic melodies coming out in some parts as well. Fortunately, the end of the track brings an intriguing heavy guitar arrangement.
"Chronic Atrophy" brings atonal, broken rhythms and has quite an experimental feel, still being supported by healthy metal riffs and factory-like industrial tunes. The beat and the drums are perfectly set up for this composition, which is alive & kicking (or even stinging) inside of its dark meaning. You'll probably sense a bit of Ministry's Filth Pig and The Darkside of the Spoon albums in this song.
Likewise, the next track "Plans For Winter" sounds like a mix of "Chronic Atrophy" and "Senescence" in terms of the composition complexity as well as general heaviness. The load of low tuned guitars and altered vocals are what Godflesh fans will enjoy here. If you like sounds accompanied by matching visuals, you may imagine a mining drill or any heavy gear making its way slowly through rather inaccessible terrain.
"Tentacle Vortex" sounds like a heavy take on impressionism mixed with a complicated device manual - open to interpretation despite initial definition. Arrangements here are based on very heavy, tuned down guitars, noises, repetitions and distorted screams. They appear only in the background, so that they are not overwhelming. Besides, "Tentacle Vortex" is a very cool title; not only does it suit this track but also a book, movie or painting.
Then there's "An Eye For A Tooth", another slow'n'heavy composition in case you thought it couldn't get any heavier. The song is not as 'easy' to remember as "Desolation" however, even though a similar high-pitched sound appears in a few spots. Again, classical industrial attributes are treated with a modern approach and, of course, guitars.
You'll relax when "Subduction" appears in your speakers. It's a purely instrumental composition and a short one at that - a dark interlude, one of those you may associate with science fiction movies like Aliens or Event Horizon. It fits here thanks to the silently droning, reverberated sounds which create an atmosphere of both mystery and anxiety. To trouble your balanced mind, "Subduction" is followed by another heavy song entitled "Out Of Reach", bringing a heap of distorted sounds, feedback and dissonances. There are random low tuned chunky guitars, sampled monologues and angry deformed vocals; things which can be found in Ministry music but ground a bit better.
The 13th song, "Under The Dirt" is the most traumatizing, even brainwashing experience. Not literary, but your brain may feel overwhelmed when reaching just the middle of the track, regardless if you try to fish out separated instrument tracks or understand the entire composition. It presents a combination of everything heard so far on the album but kept even dirtier, noisier, tuned lower, chaotic yet technical at the same time. I'm not talking about diving into a symbolic 'hell', but something way more disturbing.
Repeat Until False sounds haunting and grabs your attention as much as a trip down into an endless spiral, thanks to repetitions and guitar riffs, but also omnipresent atonal rhythms. The beat is not too intense or overused, otherwise the songs would sound too danceable and marching and thus, shallow. The tracks on the album express depth, darkness and gravity, instead. You may find them occasionally chaotic because of the extended use of noise & distortions but the range of chaos is narrowed down by mathematically precise arrangements.
Finally, it is worth mentioning that the album is available as a simple digital download as well as a highly customized, sophisticated and limited version on a 4GB USB drive. Crash-Scan are planning a few more live shows around New Zealand and the release of a new EP with 4 new songs and remixes from Repeat Until False. I urge you to support this band, since they still care for what others have abandoned - creative ideas.
Maximum Sexy Pigeon - Unfit For Human Consumption EP v2 |NoiseBastard, 2013| 5/5 industrial metal grindcore
01. Tunguska!, 02. Dave Unlimited, 03. Army Of Arseholes, 04. Mindless Life Siphon, 05. HeadKick, 06. The Pig Welder, 07. NSFM [Messenger Of Shit], 08. Wreck Everything
Maximum Sexy Pigeon is an Australian band that has been active since 2004 thanks to the founders - Yok Rzeznic ('Rzeznic' could be translated to 'butcher' in some Slavic languages) and AD Millennium (also known from bands such as Dream Sleep and Viral Millennium). They make industrial metal mixed with a bit of grindcore - music they enjoy listening to. Surprisingly for the genre, they put a bit of satire into it. You won't hear popular schematic themes made up to satisfy the masses on this EP. Instead, you'll remember key traits of Maximum Sexy Pigeon's music expressed through intense, mechanically repeating arrangements based on tuned down guitar riffs, groovy bass lines and distorted vocals kept in a rough 'I-don't-care' tone. In this case, their piercing performance can be compared to full force steam hammering.
Tunguska is a place in Russia where extraterrestrial astronomical object fell in 1908, causing large scale destruction. The blast is compared to that of the Little Boy atomic bomb dropped on Hiroshima, but about 1.000 times more powerful. Inspired by that impactful event, Maximum Sexy Pigeon wrote a song which is arranged for heavy and vibrating guitar riffs, an ear-drilling bass and matching drums. Together, the instruments build up a mighty wall of sound. The song in not overloaded with lyrics, but you may become slightly chased by the chorus line "I remember Tunguska". The overall package is instantly memorable after the first listening - just like 90s Ministry songs.
"Dave Unlimited" is based on a stretched bass line and an anxious mood, as if someone was locked in a loop of torment. Obsessive arrangements gradually step up or down. Vocals are adjusted to the bass while the slightly disjointed drums add another, deeper layer of rhythm. Heavy guitars are present only in parts of the composition. Finally, compulsive repetitions make this track another annoyingly memorable piece.
The next song, "Army of Assholes" sounds even more intrusive, with tuned down guitar and bass combo attacking the listener from all sides. Hateful vocals highlight the ironic contrast with the line 'I don't hate you' repeating throughout the track. "Mindless Life Siphon" sounds like a jackhammer thanks to its density and speed provided by guitars. Harsh vocals and industrial noises of a shifting mechanism add a matching flavor. Something you won't hear on this EP too often - a groovy melody - arises from the overall turmoil, but it's cast back into the overwhelming sonic vortex quite quickly.
A rhythm based on a repetitive beat and chunky guitar riffs begins the spine of "HeadKick", but the tempo changes quite soon. You may notice a familiar sham laugh mixed with non-intrusive screams. Maximum Sexy Pigeon seems to be inspired by the sound of several influential 90s acts such as Ministry, pitchshiter or Godflesh. Thus, this kind of sampling was most probably borrowed from Ministry's music and plays a big part in this song. Contrastingly, dark ambient moods open "The Pig Welder", but then are replaced by a grinding mix of guitars, bass, drums, and distorted vocals. Some arrangements may sound familiar if you've ever listened to bands such as Testify or Fear Factory. It's the longest song on the EP, with parts built upon heavy rhythms but also cold, ambient passages. Similarly to previous compositions, the bass stimulates the track.
"NSFM [Messenger Of Shit]" starts with a hammering reminiscent of heavy industry; a sound straight from a steel factory. The song is full of buzzing bass lines and heavy metal guitar riffs supported by drum beats. At times it’s slower than other tracks on the EP which increases the 'weight' of its sound.
Finally, creepy screams open the last, most chaotic and violent track here - "Wreck Everything". Low, aggressive vocals are tightly packed into recurring arrangements based on looped guitar riffs, groovy bass and less exposed drums. Listening to this song feels like being thrown into a fast rotating industrial mixer filled with bricks, metal rods and gluing concrete, with a 100% chance that you're going to be painfully hit by something.
Technically, Unfit For Human Consumption EP is an extended version of Maximum Sexy Pigeon's same-titled (and free) release which appeared in 2013. The duo decided to include three additional songs to the final tracklist. Their "Tunguska! (Water Retentive mix)" was featured on an Aussie electro V/A compilation in 2011 amongst songs by Skrew, Collide, Dismantled or Psyche. The new version provides a slightly lower tempo, while sounding less rough than the older mix. Still, it remains a track you can’t resist headbanging to.
If you enjoy true industrial metal or wish to learn what the genre used to be, grab this CD directly from Maximum Sexy Pigeon (preferably via their Facebook page). It'd be also wise to support the band so they'd come up with the next batch of simple, efficient and mighty tracks, just like the ones on this release.
"Core Ov Chaos" is a band from Berlin, GER in 2014 . Members are Anonimo / Berlin & XLII / Berlin . Anonimo / Berlin & XLII / Berlin
The music of "Core Ov Chaos" is some kind of industrialnoiserock . Most of the Lyrics of the band are about Chaos Magic and some other mystics. Till today the band published 2 Songs which are available also at Lastfm. To have a prelisten you can hit the Playbutton in this article.
Eroded Pride makes music on their own terms that should be appreciated by listeners who enjoy the conservative style of 90's industrial metal. The band, a musical initiative of Jimmie Jones, was founded as a quartet in 2001. After releasing Surviving Reno: the Biggest Little Headache debut, the line-up shrunk to a solo project 12 years later. However, for the purpose of recording the follow-up Short Attention-span Theatre album, Jimmie invited an L.A. guitar player — Todd Szklennik.
The opening track, "Cemetery Dance" refers to vampire mythos and as such was tuned to sound creepy. It brings almost spoken, neglectful and slightly distorted vocals supported by guitar riffs and a mechanical set of samples.
"Alone" sounds almost the same, but it is enriched with individual guitar riffs and matching sampling. The vocals are performed with some kind of disdain. Lyrically, it is a dark love story about a possessive, psychotic boy who falls in love with a girl. He locks her in a basement like a plastic doll, so he'll never feel alone again.
"March", accompanied by a recently released music video may be highly appreciated by die-hard Ministry fans. In addition, it refers to the politics in a way which lets listeners project their own political beliefs. Since we're talking about both Ministry and the US, there are speeches of G.W. Bush. He earned musicians interest due to his ridiculous sense of humor and frequent faux pas. Simple, march-friendly arrangements written for bass and guitar are surrounded by a cloud of industrial sampling.
The tale behind the next song, "Pathology" could perfectly suit a horror movie storyline. Imagine a mortician who works in a hospital. He passes by a junkie hooker on his way to work every night. She draws his interest but he's a shy guy. He's even more inspired to learn what was her story when she disappears one night. How will it end? A hint - on a steel morgue table. The track sounds memorable thanks to a dominating bass line, basic drum machine beats and synthesizers supported by vocals.
"Death of Synod" is accented by a catchy beat, additionally amplified by looped metal guitar riffs. Listeners may enjoy the shouted and spoken vocals layered with a slight distortion effect. A gentle touch of techno essentials plays a big part in this composition. SYNOD was planned to be another of Jimmie’s projects. Since the music sounded like Eroded Pride, he stuck to the original band, resulting in the death of the SYNOD idea.
"Bang" sounds quite frolicsome, like the music you may have heard from Revolting Cocks or MLWTTKK with the belligerent punk spirit of The Sex Pistols. Musically, there's less of electronica but more of a rock sound based on bass, guitar and drums. The overall atmosphere of the track is quite heavy, mainly thanks to the guitar riffs. A sentimental harmonica sound (as recognisable and standing out as a saxophone’s), gives the song an organic vibe. Should you also think about the Wild West? Sounds correct. In this track, Jimmie takes on the role of a demon telling the tale of Billy the Kid’s afterlife showdown with the devil.
A guitar driven roller-caster underlined by the bass line opens "Castigame". It is then replaced with dense rap vocals skillfully performed by guest vocalist Esko of Illaborate Minds. Intensified guitar riffs return in the chorus. Yet, when it seems that all hell will break loose, the whole anger is squeezed back into controlled boundaries and prolonged to last a few more minutes.
Speaking of anger, "Declaration" is a song about releasing strong emotions. The composition is solid and lacks improvisation or any softer moments as if it was to create a raw, rebellious mood. Screamed vocals match the bass, guitar and drum very well.
"Gallows" sounds both heavy and depressing. The atmosphere is supported by lyrics speaking of a man on death row who comes to terms with his life, actions and fate. The bleakness of the situation is expressed also through piano chords and shouted vocals.
The following "Testosterone Conspiracy" is characterized by a simple drum beat, looped guitar riffs and screamed vocals. The lyrics refer to working women who want to be respected and financially successful equally to men, especially in the same jobs. Sadly, all they experience is a devaluation of their skills due to sexism. There's even a suggestion that engaging in a manly fist fight, instead of relying on beauty, may help women break though 'the glass ceiling'.
The last track, "Flatline" refers to revenge. Looped guitar riffs bring the temperature to a boil, while gentle synth tunes introduce a bit of coolness at the same time. There are shooting sounds as well as beeping of an electrocardiograph with its typical, terminal sound.
Nevada-based Eroded Pride provides a lot of rough and repetitive tunes wrapped up in swift compositions on Short Attention-span Theatre. Sometimes though, a surprising moment springs forth — for example, a new diverged bass line creates a breakthrough along all the repetitions. The subjects of the songs could easily inspire the horror movie industry, while the sound will stimulate industrial metal fans. Assuming you're familiar with the genre, you may discover a few similarities to the music of bands such as Ministry, Treponem Pal or KMFDM, but developed further with Eroded Pride's very own conceptual ideas.
NINa: Of the three characteristics: anger, original concept, satirical provocation - which are the most important for you to express through music and deliver to the listeners?
YOK: Satirical provocation, for sure. Anger can be faked and concepts can fail miserably, but satirical provocation can't be faked or half-arsed. I am not much for listening to lyrics, but if someone is clever enough to twist available words and phrasing about particular situations and make them hilarious yet fiercely intelligent, I am all ears.
All these downloads are totally legal because files are given away by the bands themselves! There are EPs and full albums. Links go to Fabryka Magazine where you will be redirected to band pages where they store the files (we don't host any) = official websites, SoundCloud, Google Drive, zips) or you can keep browsing for other albums not mentioned in this post (but also legal!). Support the bands, support the magazine!