Concrete Lung - "Waste Of Flesh"

Release date - 17.02.10

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"...This is humanity's bleakness transposed into a brillian, thudding industrial din."
8/10 Rock Sound

"This country hasn't had a better band in this genre for a long time..."

"...Creative and complex... These guys are definitely up to something special."

"A welcome kick up the backside for industrial metal!"
DJ Priss, Digital Domination Radio


KreuzDammer - "Shot Down In Flames"

Release date - 20.09.06

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"These four gifts of tightly woven metal industrial show a promise which may well come to impressive fruition. KreuzDammer show a solidly muscled metal base wadded to tight industrial engineering with vocals which have strength but not arrogance"
7/10 Rock Sound

"Imagine Rammstein, Ministry and KMFDM getting together for a nice little jam between friends, and you're not far off the KreuzDammer sound. Dangerously good!"
Virus Magazine

"... A real stomping frenzy of heavy guitars mixed with electronic noise and aggressive vocals. The carnage-filled choruses are infectious and leave you wanting to go tear it up on the dance-floor."

Haloblack - "throb."

Release date - 16.02.04

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"With the imminent return of NIN and Skinny Puppy, 2004 looks set to be an exciting year for industrial. Add to that the new release from bryan black, AKA haloblack, who has worked in the past with Prince, Tricky and Pig, as well as releasing two fine records of his own in the mid-"90s.Like "The Fragile", "throb." is no instant fix. What it does offer though is a unique, hallucinatory journey to the end of the night in the company of zoned out vocals, fractured beats and hardened, twisted industrial/trip-hop grooves."
4/5 Kerrang

"Six years in the making, 'throb.' sees haloblack's bryan black nudging 'industrial music' into the 21st century, building on a base that owes much to Meat Beat Manifesto, KMFDM, Nitzer Ebb et al but taking onboard recent innovators such as Aphex Twin, Autechre and Tricky. Breathes fresh life into a moribund genre."
Metal Hammer

Music is the distension of sound into silence, the subversion of space by the substance of beat and structure, and as one of those bands who understand that the space between a sound is almost as important as the sound itself, haloblack bring to their old school electronics a thoroughly modern appreciation of the importance of understatement in ramming home effect. This is industrial music meets downbeat, but, thankfully, 'throb.' is closer to psychotic musical dramas of Skinny puppy, Nine Inch Nails and Pig than any of the happy-go-lucky faux-EBM and neo-noise that has saturated the scene for the last six years. Opening song 'why?' sells 'throb.' short somewhat - it's in the unsettled discordant clanging guitars of 'feel' that haloblack realise their full effect, and they run with it until 'love mechante' with no loss of momentum. It falls flat on its face somewhat with the spurious 'permance' and 'so volatile', and closing song 'drugbeat' is a little too obvious, but between Bryan Black journey's through feverish rhythms from bio-mechanical pulse on 'punch the deck' to narcotic haze on 'junky', direction provided by a metronome found at the point of a syringe. If you've wondered what Ministry might sound like in dub, haloblack have just provided the template."
8/10 Rock Sound.

"Ah, at last - some grit in the gears, some ghosts in the wires. Just when we all thought the electronic/industrial area of music had dwindled down to smoothly produced dancefloor blandness, here comes haloblack with an album of glitches, hitches, off-kilter ideas, loping beats and weird noises. Throb is an excursion into left-field electro-organic experimentation. Sometimes it's puzzling, sometimes it's uplifting, occasionally it's oddly funky - and sometimes it just sounds like your hi-fi's gone wrong. What more could you want? The vocals, such as they are, predominantly arrive courtesy of bryan black (he who is haloblack). He whispers disconnected snatches of lyric over (and sometimes under) the clicks and glitches and odd sounds which make up haloblack's neo-musical vocabulary, while Arianne Schreiber lends her bluesey croon to several of the songs. The effect is a weird collision between the cold, hard textures of hi-tech, and warmer, natural human sounds. Sometimes, slabs of guitar crash down; at other times, the music is driven along by low-slung, funky basslines. It all hangs together with an effortless spooky coolness, and it's always recognisably haloblack - but you're never quite sure what they're going to do next. Here are some examples. 'Why?' is a grab-bag of crackling wires and unexpected effects over a stop-start beat. 'feel' sounds like the Human League, circa 1978, ripped apart and soldered together without reference to the instruction book. 'junky' is a festering slice of mutant swamp-blues, with touches of subtle guitar, and Arianne Schreiber dragging the words out in a world-weary wail. 'punch the deck' has a low-slung bassline and sudden interruptions of metal-riffs, the kind of racket that probably soundtracks Jaz Coleman's worst nightmares, while 'love mechante' sounds like what would happen if you drowned Giorgio Moroder in electric soup. 'drugbeat' is probably the nearest thing to a conventional rock song here - and even then, it doesn't get too near. It's a bluesey low-rider, all gritty bass and an ever-building climax - 'drugbeat...drugbeat...drugbeat' - and I suppose if any of the music here is ever likely to touch base with all those industrial fans who think that wearing a NIN baseball cap is kinda rad, this'll be the one. But, in general, 'throb.' exists in its own time and space. It doesn't trouble itself with what's cool on the scene right now - in fact, I doubt very much if bryan black even knows there's an industrial scene. He's definitely out on his own limb here, and his music is all the better for it. I'm sure that most of today's clue-free cyberkidz will be utterly baffled by this album. There is absolutely nothing here to which you could wave a glowstick. Me, I think it's a mordant, minimalist masterpiece."

"Spending several years in the studio is generally not a good thing. haloblack's third album 'throb.' has been four years in the making, postponed time and time again, which felt more than a little worrying. But the album proves to have been well worth the wait. It does seem like it may have shed skin a couple of times though, at least considering that bryan black talked enthusiastically about bringing in a trip hop sound when I met him in London in 2000. There's not much trip hop to be heard on the final album, although it at least shares an atmosphere of sensual darkness with Tricky's landmark debut "Maxinquaye". If there indeed was any indecisiveness about the sound, it doesn't show. 'throb.' is varied, but very coherent. It's a big leap forward from the old Haloblack sound - darker, slower, murkier, but also even more in a realm entirely its own. 'throb.' is actually strikingly inventive in places. The gritty electronics, fractured beats and rattling funk meet to create a pulsating, spiky organism that spits static, hiss and tales of alienation and depraved behaviour. Darkness, drugs and decadence prevail. So much so that if it would have been done with less skill and lyrical imagination, it would have gotten lost in a swamp of introspective nonsense. But not so. 'junky', for instance, manages to intertwine sex and junk (to speak with William Burroughs's words), and make the marriage sound extremely silky and sexualized. Not least due to Arianne Schreiber, whose voice, like in a couple of other songs, complements bryan black's whisper to great effect. Not everything is slow though. 'feel' is a perverted dance track of sorts, the lyric's self loathing almost obscured by noisy nightmarish funk and razorsharp Fischerspooner-esque basslines that threatens to cut the song in two twitching halves. In "punch the deck" Raymond Watts snarls out the lyric of ennui and depression over a great, chunky electric bass, massive metal guitars and messy electronics. 'love méchante' is on the other hand one of the few flaws on 'throb.', mainly ruined by its overly simple electroclash foundation. Otherwise 'throb.' is consistently good in its own pleasantly unpleasant way. These dark corners of the mind are not too bad places to visit when you're in the company of haloblack."
8/10 Release Webzine

"Had to check that my machine wasn't fucked when I first listened to this - such is the distortion and noise on the first track! This is the kind of thing that you get if you give a nice clean synth band to a twisted Trent type geezer and say "now make that sound nice matey." Powerful and intense with a sleazy trash feel dragged across the frequently disjointed beats, with tortured male vocals and some occasional sultry trip-hop feel femme vox. Whilst there are obvious reference points to NIN, this album demands to be listened to regardless of one's own feelings about Trent as there are some amazing tracks and tricks to be enjoyed, aand the whole album truly does defy classification. Definitely a band for people to watch out for."

"haloblack offer the best Coffee and Cigarettes album since Tricky's "Maxinquaye" for thinking cyber-industrialists everywhere. throb has so much to offer, from the amazing sleaze of 'feel' - an electroclash gem. Simple, yet raunchy beautiful percussion sprawled throughout a jagged synth melody. 'vapour' on the other hand has a chunky base line and stabbing electronics. The husky vocals of bryan black take lead while the hazy vocals of Arianne Schreiber fills in between with her silky presence. She brings calm to a cracking track that could get out of hand at anytime! 'junky' - Smooth; a beautiful blend of black's vocals and Arianne. Laid back trip hop with a twisted recipe from bryan black's own cook book. 'out there' - same as 'Junky', but has an upbeat Portishead feel to it, the vocals have been put through effects and there is a gorgeous swaying melody filtering through the lazy beats, this is heaven! Next up is 'punch the deck'. For a start, a wicked title and the most talented Raymond Watts of KMFDM and PIG takes lead vocals, a chilled yet funky number that has spitfire guitar riffs ripping apart the ambience. The album finishes on the filthy 'drugbeat' - slowbeat percussion building up to a wall of guitar riffs and the vocal double team black and Arianne top off this sleazy gem. haloblack really have a knack of making damn good chilled out dirty songs! Recommended!"
3/4 Hard Wired Webzine

"It's a bit hard for me to talk about 'throb.' by haloblack without using the word "minimalist". So there you go: minimalist. Oh, and "electro". Everything comes through a barrage of lo-fi distortion that lends the album a very raw, warped and bleak sound. Guest vocals are provided on the track 'Punch the Deck' by Raymond Watts of KMFDM and PIG-fame, while Arianne Schreiber provides sultry, sleazy-type vocals for 'junky'. 'throb.' is perhaps an apt name for this work, as the experience of listening to it evokes what it might be like to spend a day on drugs in a small room, with only your own distorted stream of consciousness for company - or perhaps listening to just the throb of your own blood in your veins. The lyrics have a nice, cut-up sort of quality and they are delivered by voices that almost seem to melt like honey over the jagged electronica and the end result is pleasing to the ear in a distinctly *wrong* sort of way!"
Vision Thing Webzine

"A great, relaxing, fresh and intelligent album"

Defcon Two - "Collateral Damage

Release date - 07.07.03

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"Half of Armalyte Industries is run by our very own gileZ Moorhouse, but we know not nepotism here, so it's fortunate that Defcon 2 doesn't need favours to recommend it. Armalyte deal in anger management, and their version of therapy involves pairing extremely angry people with instruments and seeing what comes out. While it has some strange gothic interludes, some of the results on this budget price compilation aren't half bad. Inspired by the glory days of WaxTrax, they've unearthed some real musical gems in Hellstomper's savage 'Murderous' and Je$us Loves Amerika's super-cool manipulations of melody on 'Negative13'. Industrial can still be fierce and menacing in its darkness and this is a healthy and affordable reminder."
Rock Sound

"Woah. Just in from the sexy Gilez at Armalyte, the long awaited and overdue 'Defcon 2 - Collateral Damage,' launched at the Underworld recently. Opening track Paradigm Shift's 'Defence Condition' uses those annoying repetitive samples that do nothing, and finally go nowhere. But! Bent (USA) Woooooooah red hot napalm guitars and I'm straight over on my back shaking my huge swollen testicles. This is more like it, I wanna go up the park and kill squirrels. Even the Marilyn Manson type outro does nothing to ruin this. Whoresome! Hydra I did a gig with at gossips, and they are gentlemen. This really reminds me of Meat Beat Manifesto, in my kennel that's high praise indeed. 'Prey.' Yeah I feel a bit peckish and the speed of the drums on this is getting my pulse racing. Excellent! Then these cunts come along and spoil it. Hellstomper's 'Murderous' is awful, and Industrial by numbers. If your gonna make a tuneless shitty racket at least make an original tunless shitty racket. Twats! The much vaunted Slick Idiot are up next with a charming ditty called 'Make Me Believe.' Fuck yeah! I'm back and raring to go out hub cap stealing. This is ace! Listen up! Loads of you do the "I'm so fucking scary,but my mum does my washing vocals", but 9 times out of 10 it gets lost. This is so well produced and sounds so good, Listen amd learn. The female vox remind me of Curve which is another ball lickingly good thing about this effort, as are the tempo changes. Pace! I'm frothing at the mouth, and I've had my Parvovirus booster jabs! Track Six by Lungworm is a bit like killing a cat. Unchallenging! 'Defcon One' produced one act of true genius (with the demi-god Rob Holliday) in the form of Sulpher. This album's Leonardo moment comes in the shape of Jules Seifert and his band, The Sepia. 'Stutter', taken from the bands soon to come album 'Splintered' on Wire, is the groups defining moment live. A peroxide punch from the blonde bombsite of tongue-tied adolescent angst. This is the track I wish I had had as a teenager! Make this band huge. I want to live in a world where anyone who even looked at them the wrong way will suffer repeated punishment beatings. Fuck the self aggrandising scum on magazines like the useless Meltdown or anyone else who doubted this band. At Defcon 2's launch at the Underworld the band entered a new era of live confidence. Prometheus is at last unbound (but get rid of those fucking synth drums) and when Jules stood centre stage the monster came alive. Breathtakingly excellent. Id buy this if I wasnt a dog. From the Dogs bollocks to. Well, Bollocks. Greenhaus? Shitehouse more like. Take one rich promoter, put his band on every bill in the known universe and fame and fortune beckons. Ooops! forgot to add any discernable talent and one, go on check, one original idea. If I was at half mast like this mob I'd kill myself. Shit on a stick this and the albums "Bunch Of Cunts" Well done. Joel! Thank god. Action Directe and I can piss up the fridge to this all day long. Pity For Monsters favourite "YobGoths" Now seeking a new guitarist after comedy Spinal Tap break-up. 'The Internationale' is a face stompingly wonderful blast of peoples revolutionary, fuck you rama lama BANG!POW. Tekno prisoners boys cos some guitarists are more equal than others. Jesus Loves America but I fucking hate this Piss Off! and take Haloblack with you. The former all false stops and swearing, both of which I hate (cunts!) The latter still yet to crawl out from their pit of influeces. Listen you're not NIN and never will be ok! Listen to Skinflick (not on here, why?) cos they will piss all over your face wankers. Track 12 is a filler track. Lucky 13 and I'm waving my paws about and wearing a luminous collar. It's Lost Highway and it's music for Dave the Raving Rottweilers holiday snaps. What do you think a track called 'Scandinavia' would sound like? That's right, land of the midnight. Cunts. On the final leg now. I must say I've enjoyed eating this Poodle and listening to this largely fine CD. Ok! Audio Warfare have 'One Drug' so lets hope its powerful enough to kill them. I had to eat all my travel sickness pills during this and I still feel nauseous. A girl I used to know (now married to a famous Goth Drummer) used to be named after this next lot, by her then boyfriend. I always found her charming funny and very sexy. The polar opposite of this. I don't like this and every time I see Leech Woman (for it is they) I see one very naked emperor. Narcissus Pool I do like. The guitar line (or synth) that spirals away under the vocals is like blood pumping in a vein thats too close to the surface. Makes me famished. This track oozes out the speakers and is very effective. On reflection (heh heh heh) one of the best tracks on here. Interlock finish this wonderful compilation (the travel sickness pills are working now). A classy track from a very classy act. The female singer in this band would be well worth becoming a stray over. Miles from home lost and horny this is the music that a canine would have on his Sony Dogman. 'The Hold' is an absoloute corker to finish a very worthwhile release. Don't take so long with Defcon 3 guys!"
5//5 - Pity For Monsters Zine

"Bleep, bleep and more bleep. Goodbye Industrial, hello EBM. It seems that its all we're getting in gothic clubland these days. A once exciting new scene has sort of become a self parody of itself. OK so there may be exceptions (Covenant, VNV Nation), but for the most part EBM just strikes me as an attempt to launch what is for the most part just average euro dance music on an impartial crowd. Which is why it so good to hear some GUITARS on an industrial release such as Bent USA's latest 'As You Like'. Not wanting to sound too Beavis and Butthead, but THIS ROCKS! Not to say that it wouldn't work on a dancefloor, there's electronic rhthyms a plenty, but these are coated in surging walls of guitars. Think Rammstein jamming with an overactive Sigue Sigue Sputnik.It has its spooky moments too though, 'Daddy' with its samples of a woman recounting the sexual abuse she suffered as a child it particularly unsettling. In light of all the B grade dance music that I've had to review in recent times, I wasn't particularly looking forward to this CD, but its one that I'd eagerly recommend to anyone who wants a reminder of where it all began. Be sure to catch Bent USA next time they're this way playing live, as their singer Thrush is also a fan of wearing some rather drafty trousers!"
Vision Thing Webzine

Bent U.S.A. - "As You Like"

Release date - 16.02.04

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"What a real shit kicking stomper of a debut this is. Kryptonite guitars in a head on collision with the seediest Superman on the planet. Perry Farrell meets Lux Interior for a heads down, no nonsense arsequake. 'Parody' was reviewed in PFM 1 but it's so good we can reiterate the point here. GO AND BUY THIS!! 'Rape Team Machine' surely influenced by the Nicholas Cage movie 8mm is a quite terrifying, but laudable, tirade against the scum that rape. It's a cracking track and in common with all the Bent U.S.A. material is fantastically produced and mixed. The guitars and vocals in particular leap out of the speakers and with this band it's very disconcerting. 'Daddy' is another song that deals with "tricky" subjects and the way Paul emotes the songs gives a real sense of outrage and exorcism of personal demons coming across. The band have a sort of grainy technoir filmic quality to their material and the samples, all well chosen, add to rather than detract from this. 'It's Over Man' is another great song and the quality of the material here is kept at 10 throughout the album. A more dancey feel introduces the track 'Separation' and the vocals on this are really quim quivering good. "Why did you leave me?" asks a female voice before the chorus is rammed into you with such insistent force that you will find yourself singing it for days. Johnny Rotten makes an appearance with his famous "Ah ha ha! Ever get the feeling you've been cheated?" quote, and the answer here is a definite no. 'Come Down Day' is another Bent classic that you'll be singing as you go about your daily work, be you postman or serial killer. The rest of this mini album is made up of remixes which do what remixes do, taking up the space where more songs would have been welcome. All in all a great effort from a great band."
5/5 Pity For Monsters Zine

"'Parody' - is a gorgeous mixture of bouncing dance beats and sleazy caustic guitar riffs. A full on fistfight. Somewhere between EMF and Ministry. A very very good track that gets this album off on a good foot; up beat and full of energy! 'Rape Team Machine' - like 'Parody' has its own pulsating beats with added samples and guitar riffs that even Rob Zombie would take a bow to. Bent U.S.A really has these tracks finely tuned and tight, they really are Romper Stompers and even their track (It's Over Man) has the laid back similarities of The Young Gods. A blistering mixture of guitar riffs and mind blowing electronic hypnotism! 'Overman - Terminated! (Residual Evil Remix by Needleye)' - an overall electronic and bombastic guitar driven onslaught. Rough as a badger's arse (but cool) and even comes across similar to the experimentation of 'Psychic T.V.' 'Love Fades, Pain Lasts (Boys Don't Cry Remix)' - is a great trance-like track, classic beats with a beautiful melody twisting and turning throughout this track, that puts any hard floor material in the shadows. Sorry to pigeonhole you guys, but a fucking peach of an album! Raw energy power; delivered, signed and sealed! If you like White Zombie, KMFDM, Ministry and hard floor trance, add Bent U.S.A to that list, they have the strength and diversity of Bill Leeb and Rhys Fullber, Industrial metal to tantric trance. Take a bow guys - fucking genius!"
4/4 - Hard Wired Webzine

"It's refreshing to hear bands take a jab at the industrial genre without tiredly ripping off NIN, and London quartet Bent U.S.A., who are apparently dogged by a reputation for trashing venues and going apeshit onstage, sound nothing like Mr Self Destruct and co. Overtly political, confrontational and often just plain evil, this debut's credible marriage of pounding beats, gnarled riffs and anger-fuelled, but often melodic vocals, call to mind Johnny Rotten's post-Sex Pistols outfit PiL, and a gruffer EMF, making Bent U.S.A. worthy contenders for nastiest industrial band currently operating out of the UK."
3/5 Kerrang!

"With more than a nod between Nine Inch Nails, Sulpher, Sheep On Drugs, Utah Saints and The Prodigy, Bent USA push out some slick industrial rock. Nothing too adventurous but fully competent none the less. Yeah, it's got the driving beat, forceful guitars, the all important distorto vocal effect, electro breakdowns and syth squidges and sweeps but ultimately it's not a million miles away from the bands that influence them. Take track four, 'It's Over, Man' for example, it has the bass line from The Young Gods' 'Skin Flower' running through it, nothing like showing your influences so blatantly. That's not to say this is a bad album, far from it; it's very well produced, the songs are well written dance floor fillers that will have cybergoths the length and breadth of the country bopping, and that is essentially what this is aiming at. Good time friday nights out where you can dress up and forget your shit job for a few hours."
7/10 - Terrorizer

Interlock/Needleye - "Death By Design"

Release date - 17.05.02

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"The idea: two of Britain's spunkiest up-and-coming industrial-metal heavyweights release a split EP. The outcome: sheer aural mayhem! With Interlock's black metal fused industrial anthems and Needleye's remanufactured Fear Factory style choons, this EP is an essential sampler of the other side of the alternative underground. Interlock's Hal has a black metal growl worthy enough to burn down any Scandinavian church, which contrasts beautifully with Emmeline's dulcet tones. A slapping bass, an eerie guitar and those famous speed metal drums - Interlock have found their niche away from the mish mash Korny sound of 'Submerged'. On the other hand, Needleye's Duncan has the kind of gutteral grunt that's guaranteed to send a shiver down your spine while their crisp, metallic slices of havoc will realise all your nightmares in one go. There's even a batch of remixes and an Interlock/Needleye duet, 'Death By Design', that is one of the most blissfully rowdy, intense metal epics you'll hear this side of hell. And watch out for that hidden track which nearly gave me a heart attack! Watch out world! Britain's unleashing two mighty animals that will put the willies up Burzum and his buddies!"
5/5 - Meltdown

"With this paragraph, I intend to introduce you to one of the trickiest questions ever to face a music press writer, and it quite simply is this: what is the best CD to listen to before a night on the tiles, given the amount of music we listen to? By crikey, I do believe that these two bands may have just answered my question for me. This is a split album between these two incredibly talented bands, with four tracks each plus a rather stonking collaboration on the last track. First up is Interlock, whose industrial stylings could easily be compared to bands as diverse as Korn, Rammstein, and Die Krupps. Boasting both male and female vocalists, Interlock carve huge slabs of techno-rock bigger than Elvis's coffin, and have enough appeal to keep goth, metaller, and dance freaks happy. Pick of the bunch for me is "Further Than Reason". Needleye take a more Fear Factory/Machine Head approach to their particular brand of techno-terrorism, and do it exceptionally well. With such top quality tunes as "Dissolve" and "Solidify" in their arsenal, perhaps this could be the group to pick up the baton where Fear Factory have dropped it, and certainly would give Pitchshifter a suitable support band - just in case you are reading Mr Clayden. The best thing I can think of to recommend this album over anything else is that both bands are of the highest quality, and UK based to boot, so you have no excuse for whining when the next NIN album turns out to be pants. This record now fuels my evenings out. Get in on this before they become huge."
8/10 - Powerplay

"Industrial has gone through a creative no mans land over the past half-decade, the scene littered with dance-diguised-as-EBM clones and po-faced. Hence, there's an undeniable life-affirming feeling of contentment when one hears something which, although not strictly speaking original, is reminiscent of the days of old. Interlock are the first of the two spearheading this revival in the capital's scene. Combining darkwave electronica in the vein of Tiamat's 'Wildhoney' glory days, FLA-meets-Rammstien electro-beats and heavy, chugging riffs, their amalgam of musical styles not only accounts for them as potential forces majeures but also their natural inclination to concoct darkly abrasive choons. Not to forget Emmeline's oh-so-sensual voice, set to cause some nocturnal emissions among us gents. Think of Needleye as a direct descendant of Ministry and Fear Factory with a lead-heavy rifferama as mean as a bunch of 'Deliverence' -type Cajuns. The metronomic, surgically precise six-string delivery and pulse-generated drumming in 'Dissolve' might raise a few eyebrows westward in Vancouver's Devinland. Put simply this split CD is pure energy condensed."
8/10 - Terrorizer

"Split CDs are an excellent idea for likeminded bands to get their music across and share costs or simply combine running time. This double bubble featuring two of the most promising bands on the industrial scene at the moment however defies the most common form of such endeavours. Rather than playing 4 tracks each back to back these two bands alternate their tracks, which really does help fuse their sounds together in perfect harmony. I must admit I thought I had not encountered Interlock before but Steve remembered that they had been on 'No Holy Additives Part 2' with 'Rest.' Giving this a blast I can see how they have evolved and certainly beefed their sound out no end. Their first offering 'Divide' sets the tone and it is certainly a dark one. Guitars rattle away scything a passage with keyboards pulsating and booming away in the background. What really makes them stand out for me is the vocals. Hal Sinden provides the goods both cleanly but also more than capable of giving out low edged growls and death like grunts. He is accompanied by Emmeline May whose vocals are sultry in the extreme and add a highly sexual charged overtone to things. She also really reminds me of Kerstin singer of the long missed Senser. 'Closer To The Needle (Further From Reason remix)' is where they really start getting vicious with a booming KMFDM style barrage augmented by a techno style backing that harks back to The Shamen. Hal screams out "Desolate" at the top of his lungs and this booms away with a cyber edge like Fear Factory never existed. I love their last offering 'Forever Dark' which is an ambient darkwave piece that is sinister and downright unsettling. Samples about parasitic worms and cancer are used like something from a David Cronenberg nightmare and a real sense of nihilism is summed up with Emmeline declaring, "Leave this world". Needleye blast off with 'Dissolve' which is instantly more heavy than anything on offer by Interlock and has drums blasting with ominous organic clanking noises. The programming goes completely haywire on this with so much going on in the background you will be lucky to take it all in. D. Wilkinson's vocals are fierce and commanding burrowing away at you with no remorse. 'Drain' gurgles away with a sludge doom laden edge and contains a technological arrogance that leaves its peers for dust. The first time I heard the synthesized intro to Solidify (remixed by Interlock) I almost had to go grab an album I haven't played in years The Human League's 'Dare' (and no I don't mind admitting I have it). This reminds me of a long gone era and is definitely the Sound Of The Crowd gone wrong. 'Scratch The Surface' finishes off their 4 tracks and continues the dark images that Interlock's preceeding 'Forever Dark' forged. At first the sound of despair at the edge of the world but things suddenly become more uplifting with a really infectious piano led score. Finally both bands get the chance to play together with 'Death By Design,' which really fuses together a myriad of ideas. Fast, furious and very metal sounding it pounds away and left me waiting for the female vocals which were thankfully not long in coming. Be warned watch out for hidden track number 65 a chaotic drunken sounding 2 minutes of noise. You have been warned."
Live4Metal WebZine

"It's been a long time since I've heard any truly inspiring guitar-based industrial music; looking back on my embarrassingly completist collection of KMFDM and their sound-a-likes, I often wonder what I saw in those bands to begin with. Then, however, this little gem fell into my possession: two unheard-of bands on a relatively obscure UK label that managed to pin me to the floor within the first few seconds - in a short baptism of noise, my faith in the genre was restored. The release is split equally between the two bands, each providing two original tracks, two remixes and a final collaboration between the bands. Both play a very contemporary blend of razor-sharp death metal and atmospheric, pulsing electronics; the word "blend" here being the operative word, as neither sound like a metal band trying to "go electro", nor is there the cringeworthy sound of an electronic band throwing in some hackneyed guitar riffs. The mechanical rhythms that they employ work exceptionally well, providing incessant, precision blast beats that drill through the mix like a nail gun. Though, for all their similarities, each band has a very distinct and individual sound. Interlock's music is decidedly more upbeat and grandiose in its execution, all awash with gurgling electronic noises and beatific female vocals atop the crunching guitars and thunderous rhythms. Needleye, on the other hand, have a more traditionally "death" approach, with brutal, rasping vocals and chaotically quick riffing. This is given a more contemporary setting, though, through the maelstrom of harsh electronics that seeps from every pore of the sound: crackling raw noise, distorted filter sweeps and piercingly resonant pads. If Merzbow joined Testament, it might sound a bit like this... The remixes that follow the initial 4-track offensive bring a more overtly industrial feel to the tracks, with strictly rhythmic basslines and pounding 4/4 beats. It's all very easy club-fodder that, while enjoyable in a visceral way, lacks the intelligence and skilful innovation that really characterises the work of these two artists. It comes as no surprise, then, to find that the final track on the CD, the collaboration between the two, is the highlight of this release. Combining a tri-vocal onslaught of the bands' singers with heavily punctuated start-stop structures and impossible robotic rhythms, it is dizzyingly incomprehensible, yet hugely enjoyable by the same token. 'Death by Design' is one of those rare albums that takes a dead horse and flogs it back to life, with both Needleye and Interlock providing serious rethinks of two languid genres, meshing them perfectly together to produce some genuinely exciting and immensely pleasing music."
Immanence WebZine

"Now this is far more sensible! Take two quite different UK bands breeding in a similar genre - Industrial Metal - and give them a well produced, well packaged CD with which to celebrate a tour and put the name on the street. Who's the better band? Well, that's not really important - Interlock pile on the power but have the subtlety of the female voice - they remind me heavily of Theatre of Tragedy and their 'Divide' is pure aggression and beauty. Needleye are putting more of a Die Krupps angle on things, so take your pick. The important thing is that it's very much a household effort, which is well worth supporting. With the demise of Godflesh, the UK Industrial fraternity need a boost. Both bands here will certainly benefit when that feel-good factor returns."
Rock Sound

Defcon One - "Industrial Dawn"

Release date - 26.05.01

Buy the CD!
"Industrial music is no more than than hard chart techno", states the booklet of the first releases by Armalyte Industries. And hence, trying to present an alternative to this evolution, this new english label has decided to hit hard for its first release, with 16 tracks of violent, guitarized, industrial rock. All you fans of technoid industrial, breakbeats and glitchy things, beware, this is coming directly from the forges that already made Ministry, KMFDM, Chemlab, some Nine Inch Nails, and the likes. Each track follow each other, delivering guitars riffs after guitars riffs, with very fast paced rhythms, angry distorted vocals and crunchy beats. It all goes from the very rocky pieces (K-Nitrate) to the more gothic ones (Chaos Engine), and explores a wide range of variations around industrial rock as you can hear it in goth clubs around the world. Even though some tracks sounded a bit too plain to my ears, my favorites on this compilation turned out to be, among others, the bands I was expecting the best material to come from. First, the Pain Machinery, whose demo and track on "Krach Test" were very good, offer the least guitar-ized and noisiest track on the sampler, with a very good use of samples. Then, Cubanate, by far the biggest act on this bill, appear with a rather good extract from their next album. This track "Razor Edge", starts rather weakly, but comes back to the sheer energy of the typical Cubanate material in its second half. Apart from these two very good contributions, I was also well impressed by Sulpher and Bloodthirsty Massacre (even though this is really a horrible bandname), but the end of the compilatiom made me want to press the stop button several times, with a really bad goth track by Chaos Engine and another by Caffeine Kill (sorry, I am not sold to acid-batcave, or whatever this is). All in all, this compilation has a really nice energy and pushes a style that has been a bit in the shadow recently. However, one has to admit that several songs are really not that good, with some band that should work a bit more on an original sound. People into industrial rock should very probably check this sampler out, as well as fans of the kind of sounds you can hear in english clubs. I personnally think I will listen to this disc mostly for the couple of excellent tracks it features (and it will help me wait for the for the coming Pain Machinery and Cubanate albums)."
Recycle Your Ears WebZine