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Neue Deutsche Härte has always been a hit-and-miss for me, with more misses than hits. Stahlhammer is one of those bands in that league that sound so weird and dirty, and not in the way I like. To be honest, Wiener Blut is pretty much a f***ing joke of an album, heavy relying on humor with not much of the destructive seriousness metal should have. You might understand it more if you can translate the German into English. And the length is sh*tloads long, with 17 tracks in over an hour!

"Bruderkrieg", the first full song, isn't too bad, having massive guitar fury. There are two covers, starting with the horrid "Boom Boom-Shake the Room", one of the most sh*tty covers I've heard. On the other hand, their cover of MC Hammer's "Can't Touch This" is the total opposite, being the best track here fitting in the "metalizing covers" category.

I don't have much else to say, other than very well the worst album in this troublesome subgenre of NDH. Let's f***ing boogie.... NOT!

Favorites (only tracks I even slightly like): "Bruderkrieg", "Can't Touch This"

A Dark Halo made a second album after 17 years in the void. And this time, they have a full 5-member lineup to make a solid cyber/alternative metal offering. A phenomenon that has sadly yet to caught on...

For those wondering what this blend would sound like in A Dark Halo's perspective, imagine the electronic/metal mix of Fear Factory put together with the mainstream gothic-ish tendencies of Evanescence. Vocalist/bassist Dave Lowmiller and guitarist Jonesy have continued the project with guitarist Abe Robertson, drummer Kaye Papale, and vocalist/guitarist Mel Rose (from Mechina) by their side. You can also expect some melodeath, djent, and pop-core here, a similar cauldron to Amaranthe.

We start off strong with the great "Thin Be the Veil" with splendid vocal melodies. The glorious "Starfall" is my favorite of them all. Nothing I can say can do that perfect song justice. "Vector Unknown" is darker and heavier, featuring Anna Hel. The softer cleans and heavier screams alternating between each other sound so haunting. It's like a lurking menace in the space of tranquility, turning it intense and bleak. The cleans still shine, along with the creativity in the music. The band is never afraid to explore the unknown, and as a result, we have another wonderful standout!

"Flame Betide" can also please me with some influences from Fear Factory and Scar Symmetry. The one track I would consider somewhat weak is "I, Revenant", the only song here that's under 4 minutes.

"It Never Sleeps" is another one of my favorites, sounding haunting while having the lovely clean singing of Mel Rose. The beautiful ballad-ish track "Afterworld" practically combines the late 90s eras of Paradise Lost and Fear Factory, while having some deathly heaviness. The album ends with the 6-minute epic "The Disquiet", filled with hammering metal to remind you that the journey was worth it.

The only things I would object to in this great album is one or two tracks having some slight weakness, and there probably could've been a couple more tracks added here. Nonetheless, I approve of this long-awaited comeback album for A Dark Halo. Maybe the future flame of cyber metal never be extinguished....

Favorites: "Starfall", "Vector Unknown", "It Never Sleeps", "The Disquiet"

The brand new Mechina album Bellum Interruptum has made me curious about that band's new harsh vocalist Dave Lowmiller's previous band A Dark Halo. This band has already had some ties with Mechina whose clean vocalist Mel Rose joined A Dark Halo for their new album Omnibus One. The first album A Dark Halo is an awesome gem of industrial/cyber metal for fans of the genre and Mechina!

Catalyst was released in 2006, 17 years before their next album. Their brand of industrial/cyber metal is basically what Fear Factory had at the time but made better and more futuristic. Still the music here is quite unique and can get listeners hooked with the synths and guitars.

One of my favorite tracks here is the first one, "Burn It All", having lots of groove and energy from the intro onwards. Then we have the mighty "Beyond Recall" with some of the best choruses in the album. "Dust and Ashes" has some heavier riffing, but the mid-tempo pace seems to take things closer to the alt-metal territory of early 36 Crazyfists and, very later on, Any Given Sin.

We then reduce the speed with the slow verses of "Silence", a ballad-ish highlight that can still be heavy. Then we have the piano/synth intermission of "Reformatting..." Unusual but a well-needed break.

"Nucleus" has more of the heavy industrial metal without going as extreme as Strapping Young Lad. "Apex Realized" has a nearly similar vibe to 2010s All That Remains while really industrializing that later sound. "Unbreakable" is an incredible ending track, as heavy guitars and beautiful synths continue to duel each other for an industrial/cyber metal tune that should really catch on along with the others.

It's not everyday you can find a practically unknown album that can make your day with its music and lyrics of coldness and loss. Catalyst is a special album to listen to. A dash of melancholy for your industrial/cyber metal heart!

Favorites: "Burn It All", "Beyond Recall", "Silence", "Unbreakable"

Ladies and gentlemen, Mechina has broken the monotone with new and returning changes! Their new album Bellum Interruptum has not reached the glory of the second half of the 2010s, but it's coming close to that peak...

First of all, we finally have more of the growls than just one or two tracks, and they come from the fierce Dave Lowmiller of A Dark Halo. He ended up replacing longtime clean/harsh vocalist David Holch who left the band after 20 years, following his few-year fadeout. Lowmiller has his own fantastic vocals going on. And we have other guests returning including harsh vocalist Anna Hel, clean vocalist "Treasur'" Necole Wright, and guitar soloist Dean Paul Arnold, plus one special guest in the finale.

"Cruelty is the Point" throws back to the Venator era nicely with the serene vocals of Mel Rose. Also I didn't notice this initially but I realized the first minute of its opening track sounds practically similar to that of the RichaadEB/Cristina Vee cover of "Bad Apple!!" When that first verse hits, I almost feel like singing "Ever on and on, I continue circling, with nothing but my hate and the carousel of agony..." "The Plague Pit" is my favorite track of the first third of the album, a powerful djenty banger reminiscent of a futuristic Arch Enemy with the crushing growls of Anna Hel. A true sci-fi war anthem! "The Wasteful Energy of Words" is a duet between Mel Rose and Dave Lowmiller, having h*ll of a lot of momentum.

The title track is my favorite track of this entire album, one of the best Mechina tracks I've heard in ages, a 10-minute epic that includes a spine-chillingly beautiful two-minute bridge in the middle. The incredible "On the Wings of Vecterra" comes close to surpassing the previous track, and the female vocals here are mostly from "Treasur'" Necole Wright who previously guest appeared in Venator's "Totemic", plus some wild shredding soloing by Dean Paul Arnold. "Invictus Thales" makes me think of Xenon's "Thales" along with "Invictus" by Neurotech in the title, but the song itself is different from those two, adding in some more of Dave Lowmiller's growls in duet with Mel Rose's cleans.

I'm glad they kept in the awesome pre-release single "When Honor Meant Something", and they remastered it too, making it much clearer than the single version and even adding in some narration at the end. "The Collapse Promised to All" is the shortest track of the album and actually the best one of the final third, with more of those cleans and growls. "The Overwhelming Harmony of Collective Suffering" is an earth-shattering finale, and the special final guest is Ricky Lewis with his higher-range growls.

The story of Mechina continues, both in the concept and the band's journey. I would put Bellum Interruptum at the top of the 4-star tier, with an 84% percentage rating. It has lots of changes, and there's more to hope for in the next album if Joe Tiberi and co. can keep it all up. This might just be a new era for Mechina and epic cyber metal....

Favorites: "The Plague Pit", "Bellum Interruptum", "On the Wings of Vecterra", "When Honor Meant Something", "The Collapse Promised to All"

I first got into Pitchshifter when I heard the song ‘Genius’ on the soundtrack to ‘Mortal Kombat: Annihilation’ way back in the late 90’s. I loved that song back then, and very quickly got into albums like ‘Deviant’, ‘PSI’ and ‘www.pitchshifter.com’. I enjoyed their energetic industrial style and their rebellious attitude, and these were very impressionable on a young, teenage me.

But then it came time to delve into their back catalogue and check out their debut album, and… what the hell happened here?!

Gone is the industrial energy and rebellious anthems, and in their place, is some sludgy, grimy, death metal nonsense. Not that I really have anything against sludge or death metal for the record, but I just find this album plods along at a very slow, very dull, and very repetitive rate. The incoherent vocals, indistinguishable guitar riffs and mechanical drum machines do nothing for me.

And I tried. I really did. I had this on my playlist for a little while and gave it multiple listens, but absolutely nothing is sticking. I just find myself constantly bored and wanting to listen to any one of the bands later releases, which I know they’ll go on to release some true industrial gems. So with that said, this will retire to the CD shelf, most likely to never be played again, but kept because my collector OCD dictates that it needs to stay with the rest of my Pitchshifter collection.

Skrew, the band led by Adam Grossman, took a decade off from their career, reforming in 2009 and having a new album released 5 years later. The temporary split-up was due to lack of label support as a result of poor attention for this album Angel Seed XXIII. And I can understand that...

There are some things in this album that have skrewed with fans (pun somewhat intended). The earlier guitar attack is reduced, adding a bit more industrial in the industrial metal. And while the earlier riffing is still around, it has slowed down from the earlier thrash. It sounds a little closer to groove metal or, dare I say, nu metal. So there aren't as many sharps as there are dulls in the guitarwork.

Opening the album is the bumpy groove track "Open Up". Then we have the dark sludgy "Sea Man". It rolls through reminding some of Soulstorm, with nothing monotonous compared to some of the other tracks. Things get more dynamic in the loud "Seventh Eye".

It leads to the next track "King of the Hole" which tries to make some harmonic aggression but ends up becoming a poor Pantera rip-off. The band's ravaging side is toned down for the industrial ballad "Porcelain". Balancing things out again by galloping through dynamics is "Kosmo's Seed". Then we have more of the slow sludge in "Sputnik", great for a motorcycle ride in the night.

The KMFDM EDM usage in "Angel Suck" is a little too much. I'm annoyed by the machinery used in "Horsey (Man)" in their attempt to sound like Godflesh. "Slip" is a slip into an acoustic sound that sounds too f***ing dull for me. After some silence and a couple outtakes, "Helter Skelter" begins. A kick-A industrial metal cover of a Beatles classic!

Angel Seed XXIII was, similarly to a Metallica song from the same year that uses the same drop D-flat tuning as the majority of this album, a BAD SEED for many listeners. After the band's decade-long split, they would return 5 years after reforming with Universal Immolation, an album that shows a more deathly sound while maintaining the industrial roots. But for now, Angel Seed XXIII is a bittersweet taste of their industrial metal sound gone less thrashy. A decent album, yet not a total winner....

Favorites: "Sea Man", "Seventh Eye", "Kosmo's Seed", "Sputnik", "Helter Skelter"

It's strange how sometimes even the weirdest, most vulgar industrial metal releases end up being so intriguing to me. I guess since I was able to explore Genitorturers' discography and the Nine Inch Nails EP that was made one of the most obscene short films in the 90s, I have no trouble checking out Bile's second album Teknowh*re.

Bile has known how to go all extreme and experimental with their brand of industrial metal. As with Nine Inch Nails, they are brave enough to stand up against the man and push the boundaries of industrial rock/metal, musically and lyrically. Bile can put all their strength and talent into the meat of the guitars, creating a simple formula that might make some question whether or not it's unique, but they add in some kinks to make a fresher style...

The "Intro is just a hodgepodge of noise and audio samples, as are many instrumental industrial metal tracks. It's actually quite mesmerizing! The title track bursts in with noise-ridden guitars, drums, and vocals, all done by Krztoff as he shouts the title. A great starter attack! "Weather Control" is more experimental with synth distortion. It has that KMFDM vibe suitable for dance-clubs. We have a nice structure in "No One I Call Friend", sounding raw, fresh, and emotional in this sonic soundscape. "Habitual Sphere" really brings on the catchiness, combining dance beats with thrashy guitars. When it pauses for Krztoff's verses, it builds back up and continues rolling.

"Compound Pressure" is one of my favorite songs in this album, and it happens to be the one with the filthiest lyrics ("I got a big fat c*ck and shot her face, swallowed my spunk with no disgrace", "I'm the lowest motherf***er now that is true, but I f***ed your woman to get back at you"). The crushing mid-paced guitars and drums booming through make it a true highlight. It's the Lindemann "Golden Shower" of this album! "Interstate Hate Song" cranks up the metal with the thrashy riffing and percussion, and even a bit of soloing. The vocal distortion might remind some of Skinny Puppy though. "Green Day" is not a tribute to that famous pop punk band, instead just being a short minute-long interlude-ish track with lyrics relating to drug usage, "Help me take my medicine, so the pain will go away, I'm all f***ed up on valium, I can't move my lips to say..." "No I Don't Know" has more of heavy riffing, intense shouts, and pummeling drums, in a way similar to some Fear Factory song remixes.

"Suckers" is another actual interlude, having some static noise and soft choral vocals. "Lowest Form" is just filled with fuzzy industrial feedback while having some metal melody and vocals. Then we have the ambitious highlight 17-minute 4-part suite "You Can't Love This". "Pt. 1" has some repeated somewhat indecipherable audio samples, though I recognize the line "I don't f*** sl*ts, I j*rk off on ’em." "Pt. 2" has the band's usual mid-paced sound with thick guitars and bass. "Pt. 3" is a dark ambient piece that you can find from Burzum or the DOOM soundtrack. "Pt. 4" has the last bit of distorted chaos with a repeated yell of "I hate you, you f***ing c*nt!" "Solitude is Bliss" is a 10-minute track of industrial sounds leading into metal complexity and slight lyrics. That can very well put Bile in the same industrial metal league as Ministry and Killing Joke.

I would enjoy this more if a few tracks weren't too industrial and/or vulgar, but Teknowh*re is still a solid album. I would recommend it to anyone who's up for something industrial and, at the same time, metal as f***....

Favorites: "Teknowh*re", "No One I Call Friend", "Habitual Sphere", "Compound Pressure", "Interstate Hate Song", "No I Don't Know", "You Can't Love This" (Pt. 2 and Pt. 4)

Christian metal is quite common yet a bit of an oddball in some metal genres. Daren "Klank" Diolosa and his Circle of Dust touring bandmate Klayton were part of the Christian music industry, though Klayton left the industry behind and Klank's views were on the extreme side...

Debates on his Christianity aside, Klank has impressed listeners with his debut Still Suffering. If Christian death metal was something once considered an oxymoron, Christian industrial metal was something barely heard of besides early Circle of Dust. There are more metallic guitars than there are techno beats, so why this isn't in Metal Archives is beyond me. It's a great heavy sound.

"Time" is the perfect start to treat you with what to expect in the album. "Downside" is also amazing, though it can't beat the previous song's reign. "Burning" is quite dark and heavy for a song by a Christian band, but it's another fist-pumper.

"Scarified" starts off heavy in the guitars and drum programming. If you strain your neck headbanging along, it's all worth it. What makes it a highlight is the amount of audio samples that are common in this album and other industrial metal releases. "Deceived" is slower with emotion ("The world will be a better place without you"). "Animosity" is another gem with its blend of metal and techno. Any fan of this kind of sound should love that. "Fall" is worth singing/shouting along to, "SEE! ME!! FALL!!!" It continues this heavy/catchy blend, never letting me down.

"Disease" can almost be an early example of proto-cyber metal, with its more computer-techno sound and cool vocal effects. "Leave" is not a track you would ever want to leave early. "Woodensoul" is a solid ending track with a bit of softness here and there. Well, it doesn't end the album entirely. After that, we have a vocal outtake that sounds kinda weird going from whispering to screaming.

What I enjoy in industrial metal is when lots of guitars are used, not just the techno side. I'm glad to hear more of this album after only hearing song from it a few year prior in one of the Sphere playlists. Cool Christian industrial metal for any listener, whether you're Christian or not....

Favorites: "Time", "Downside", "Scarified", "Animosity", "Disease"

I believe to have reviewed this EP a couple years back and wasn't into it that much. But now that my taste in industrial metal is expanding further and further, I enjoy it much more now! At this point, I'm already familiar with dozens of Sphere bands and I like a few songs by White Zombie and KMFDM. And now here I am, making a better revisit of this collaborative EP between those two bands...

KMFDM contributed some remixes of two singles from White Zombie's La Sexorcisto: Devil Music Volume One. The remixes are included in this EP along with their original album versions. This is probably the earliest KMFDM has gone metal and the earliest White Zombie has gone industrial.

From that first riff, you know it's the original version of "Thunder Kiss '65". Great track, though the mixing is a bit cold. The "Swinging Lovers Mix" is different from the original version's metallic sound, including the intro and outro. Throughout the song, synths appear more than the guitars just come out as more of an afterthought. Next up, "The Remix That Wouldn't Die Mix" is longer and has more creativity, which makes me prefer it over the previous remix.

The next original track "Black Sunshine" is so spooky while still sounding cold in the mix. However, the "Indestructible 'Sock It To Me' Psycho-Head Mix" totally beats the original by throwing in raw aggression in the guitars and vocals. In the middle of the track, the drums switch to a dance beat before going back to groove-ish double kicks.

All in all, Nightcrawlers is a great EP that might be good for dance club parties with friends. Maybe a little weird for that, but just as long as everyone's OK. The remixes really depart from the originals with the "Thunder Kiss '65" remixes sounding more suitable for the club and the "Black Sunshine" remix actually being heavier and edgier. Cheesy while still the good kind of cheese. Worth it for any Rob Zombie fan to add to their collection....

Favorites: "Thunder Kiss '65" (original), "Thunder Kiss '65" (The Remix That Wouldn't Die Mix), "Black Sunshine" (Indestructible "Sock It to Me" Psycho-Head Mix)

Taking a few-year break from Neurotech was the right call for Wulf. Since then, the 2020s is shaping up to be a bright decade for Neurotech so far. Pretty much every release in this era is amazing. Sure they can't beat the perfect glory of Infra Versus Ultra and Stigma, but it makes up for the project's past mistakes and the somewhat downward turn for Mechina in their 2023 album Cenotaph.

D*mn, the new album Memory Eternal rules! Alongside the usual orchestration and electronics, this might be just be the most metal Neurotech has gone in ages, including dark dissonance and even some blackened blasts and growls, the latter Wulf had not done in over 10 years.

The orchestration and choirs that open with "Credo" are what you might hear in a futuristic sci-fi film soundtrack. And it's blended with well-executed synths and vocals. "The Ark of Cain" shows that Wulf is never afraid to diversify his sound, as synths flow beside the vocals. For those expecting more of the trance-y side, "In Stasis" has that. Great song, though more suitable for a dance-club.

The more djenty "Echoes of the Fall" combines downtuned heaviness with electronics without ever having to go light. Well, except for the more acoustic parts, but they can flow through your body with a similar epic progressive vibe to the Symphonies series of albums. While it all sounds nice and spacey, you don't ever wanna miss out on the last minute in which the instrumentation goes hyperspeed. "Descent" is the only track that I would consider a bit disorienting in the rhythms. "Invictus" is another grand favorite of mine, with hyper-cyber sections reminding me of Devin Townsend, maybe even Strapping Young Lad.

"Walls We Created" is another dance track. The synths and pianos engage in an EDM-ish duel. The metal riffs and beats spectate while the atmospheric strings commentate and assist when needed. The title track is a progressive cyber metal monument. Pretty much everything Neurotech fans love is in in this 8-minute epic. A much better one than the title track of Solace!

Memory Eternal shows that the Neurotech fans know and love is still around. Whether or not you enjoy the first listen, every subsequent one would be a treat worth replaying. With a f***ing amazing album like this, the memory shall remain eternal!

Favorites: "The Ark of Cain", "Echoes of the Fall", "Invictus", "Memory Eternal"

The true return of Neurotech from Wulf's 4-year hiatus from the project came with this excellent album Solace. It's a nice improvement from In Remission and The Catalyst, and can certainly beat Evasive by far. Most of the albums besides those 3 are high-quality releases, and that 4-year break was mandatory to reach that glory again.

Wulf still has what Neurotech really is! Y'know, the usual futuristic cyber/industrial metal, pounding through atmosphere, electronics, and riffs that all sound so unique. Well, other than the mundane verse-chorus structure with the former sounding soft and the latter sounding heavy. Wulf's vocals are more improved than ever, further departing from his early growls, and adding in some digital effects. Often the vocalist gets all the spotlight, but Wulf doesn't have to worry about that because everything's done by him.

We're already getting something promising and enjoyable as the strong "Koma" wakes the project up from its coma. It is followed by the powerful anthem "Light Betides", one of the best tracks by this new improved Neurotech. "Waking Silence" has some melody from power metal bands like Unleash the Archers, while mostly electronic.

Bridging the heaviness a bit is the electronic ballad "In Ashen Fields", which is a beautiful highlight. "In Raging Reclaim" is the only track here I would consider slightly weak, though it's OK and nicely leads to the next track. The heavy "Alias" can really sum up the more metallic parts of Neurotech's career. I can almost say the same thing about "Defy Our Oath", having some of the symphonic progressiveness of Xerath.

Adding a bit of the more symphonic progressive is "Stop the Bleeding", almost like Eternal Tears of Sorrow gone electronic. "A Moment Lost" has beautiful vocals to make another highlight. The title finale I don't enjoy as much as most of the other tracks, but it's slightly better than "In Raging Reclaim". It's a good 8-minute cyber metal epic that listeners would have on repeat. It's almost close to uplifting rock trance! The starting guitar and bass is insanely cool! Some parts might be anti-climatic, but once it builds into the crescendo at over the 5-minute mark, the climax is filled with aggressive divinity. Some cyber metal listeners might be reminded of SyBreed.

Neurotech fans should definitely listen to this excellent Solace. It might take some time to get used to this band, like what I've been through, and in the end, you're ready to transcend through this musical dream. You can rock it out or relax, sometimes at the same time. The world of Neurotech isn't going away anytime soon. There's still some hope in the future of metal!

Favorites: "Koma", "Light Betides", "In Ashen Fields", "Alias", "A Moment Lost"

Neurotech reformed in 2020 and had a new album ready for release the next year. Before that, Wulf released an EP of unused demos from the first part of his career. No second paragraph, let's get right on it!

"Hope is Better than a Memory" is a good start. "Trust to Display" is definitely worth loving. "Cut the Cord" is a fun cyber metal tune that you might just want more of. "Ectogenesis" can make an instant classic, and it's from the epic Stigma era! I think the catch melody was reused in "The Ophidian Symphony" sometime after the recording. "Coda" is the one odd track out. Maybe it should've been released as a separate single instead of right after another instrumental track in this EP. It's still good though.

It's quite great hearing what Wulf made within the 10-year initial part of his Neurotech career that didn't see the light of day until this EP's release. It's a solid transcending blast before his true comeback in Solace....

Favorites: "Trust to Display", "Cut the Cord", "Ectogenesis"

In 2017, Mechina and Neurotech each released an album that would mark their last one before taking a couple years off. Well, Mechina would work on remastering 6 of their albums for their Compendium boxset, while Neurotech was having a firm temporary disbandment, with Wulf starting his own electronic project NeuroWulf. So here's what was originally Neurotech's final album, The Catalyst.

I say it's great for what was back then a swansong album. We have the usual electro-industrial/cyber metal from the past few years, summarizing them all nicely and working out a little better than In Remission...

There's atmospheric density in the intro "Act I - Enter" to start taking you through imagination beyond reality. The title track soars through with its anthemic instrumentation and chorus. Same with "Our Burial Ground" that's like a better outtake from In Remission. And again in "Sleepwalkers Lifeline" with spooky synths to go with the beats and vocals, not too far off from the Stigma era.

"Act II - Adapt" is a strange interlude. "The Flame of Faith" has the most of the album's heaviness, though it's played too safe and doesn't shine so well. "Epitaph" is a bit too soft for a heavier metal listener like me. "At a Standstill" perfectly makes up for what's missing in this act with its killer 4-minute summary of the project's journey.

"Act III - "Surrender" is also kinda weird. "The Seductive Void" is another strong track showing what Wulf has in store. "Reconcile" is nice and catchy in the chorus and the female singing by someone named Tamy. "Thoughts Become Air" is the stunning ending to the initial finale of Neurotech's discography. Fans of the project back then were likely satisfied with this track to close the curtain.

The Catalyst is a great album of melody and energy. The only slight bumps come in most of the second act that loses some slight steam. Wulf needed to leave his project behind for a few years, and it was a good decision, considering how much of a comeback he would make when he later returned....

Favorites: "The Catalyst", "Our Burial Ground", "Sleepwalkers Lifeline", "At a Standstill", "The Seductive Void", "Thoughts Become Air"

From 2013 to 2016, Neurotech decided to do it like Mechina and make an epic symphonic cyber metal journey to be released on a special holiday, except each "journey" is a symphony on Christmas day. Blending classical with cyber/industrial metal is what those two bands have done before, and Neurotech packs it all for something stunning.

What can you expect from these Symphonies? Generally what classical symphonies from a couple centuries ago would sound like in the modern future. These compositions are all the 4 longest tracks Wulf has done to date, ranging from over 13 to nearly 19 minutes. And in each one, you get to move through this emotional whirlwind of different styles and sections, in a cinematic adventure of adventures!

The first symphony "The Elysian Symphony" is so beautiful, you just gotta hear it to believe it. "The Halcyon Symphony" can take your soul through a galactic adventure. Wulf knows how to master the art of symphonies as greatly as Hans Zimmer, and possibly also Mozart and Bach, while blending the orchestral arrangements with his usual cyber metal. It's impressive how well your creativity can take you when composing such a piece. This should really be more popular, seriously! The speaker frequency would be greatly enhanced with its intricacy and drama. F***ing outstanding!

"The Ophidian Symphony" is the longest of them all, at nearly 19 minutes, with many different acts woven together for one of the best epics done by Neurotech or any other artist. The final and brand-new symphony "The Veneration Symphony" fits quite well for a sci-fi film soundtrack of when you're playing a video game. Multitaskers can have all the glory by listening and watching/playing.

Symphonies is for any symphonic/cyber metal fan and those who want a cooler, more epic soundtrack to films. With not many people finding the skillful talent within Wulf, the world's not ready for that much greatness, but they should be!

Favorites: "The Halcyon Symphony", "The Ophidian Symphony"

In 2014 and 2015, Neurotech released two of the best albums in cyber metal, Infra Versus Ultra and Stigma. There were also two symphonies each released on Christmas Day, "The Halcyon Symphony" and "The Ophidian Symphony". Evasive was a misstep into electronic instrumentals. In 2016, an album was released that would mix together all the different sounds, before one that would compile all the symphonies so far. This one, In Remission, is the 6th full album released on June 6, 2016. Ha-ha, devilish...

Although many Neurotech releases are either memorable masterpieces or dwindling duds, In Remission is somewhat in-between. Nonetheless, this is one of Wulf's most diverse releases, taking a lot of what those 2014/2015 releases have to make dynamic electronic metal anthems.

"Retrieve" starts the album the same way Stigma does, exploding into cinematic strings while Wulf sings in clean drama. Everything builds up and starts sounding like your friendly neighborhood Neurotech track until it stops and leads to the next track. An excellent beginning! Shining well is "As Will Ascends" that again expands from soft ambience to loud electronica/metal. A bit predictable, but still h*ll of a highlight.

Next song "Divided Bliss" is a bit tiring in the synths and drum programming. The trance-y centerpiece "The Lost Hope" sounds like Evasive but more epic and in the same metallic vibe as "Uplift". The bass and synths drive through and never lose any momentum. Awesome!

Next track "Reprogram" is shorter and more ambient, having nice bliss yet is better off ignored. "Evolving Equations" tries to add in some of the symphonic progressiveness of Ayreon to their usual sound, but it's far off from the equation. The final track "Alleviate" is a nearly 9-minute epic of electronic enchantment. Though as much as I enjoy that one, "The Lost Hope" is still the best track of the album.

In Remission may not have the perfect strength of the two previous Neurotech metal albums, but it summarizes them all well along with everything else from those years. A few challenging things aside, this is a solid Neurotech release for the fans....

Favorites: "Retrieve", "As Will Ascends", "The Lost Hope", "Alleviate"

What the Stigma?! This 2015 Neurotech masterpiece proves how much the world needs to hear this project, just like the previous album Infra Versus Ultra! Stigma continues its streak releasing one or two albums per year, a faster pace than Mechina's "one album per year on New Year's Day" approach. Often it takes time to build up strength and talent before making another album, but Wulf shows that he still has his charm after a short amount of time. The evolution continues greatly and naturally.

You need to have time to memorize all the different pieces of an album to let it flow through you with its mesmerizing atmosphere. That's a good advantage to build up my interest slowly, one song at a time, in the past 3 years. With its symphonic-ish cyber metal sound, there are many layers that stabilize its strength, within the guitars, drums, vocals (cleaner than before), electronics, and orchestrations. Yeah, the orchestrations almost reach the cinematic level of Mechina, hinting at what you would hear from Hans Zimmer and Two Steps From Hell, and it's what adds to this stylistic diversity.

The title intro already proves that with its sonic blend of symphonic ambience and electronic rhythms. The metal power kicks off in "Fear the Fear" as guitars, drums, and electronics collide in an energetic composition. The electronics head up further in "Of Adversity" that should be able to please fans of dance elements in metal without having to go Neue Deutsche Härte.

"Build to Last" has more futuristic trance with even a bit of dubstep. "A Graceful Light" is indeed a graceful highlight, sounding so unique in the atmosphere and emotion. Your soul can make a pleasant transcendence from your body to the astral plane.

"Brighten" can really brighten my mood a bit. Industrial/cyber metal is never highly boring, and you can have fun with tracks like this. If they ever make a film based on Cyberpunk 2077, or the next John Wick or Matrix film, you bet this song would be part of the soundtrack! It's quite well done! However, it sounds like a little too much like Depeche Mode, while not reducing the album's perfection in any way. "Through Hardships" is quite an epic standout to start the last leg of this album. You can marvel through all the hardships you wanna overcome! Amazing, huh?! Quite an astonishing motivational message. "You're not alone." "Things will get better." Finally, "To Theta State" is the 11-minute epic, an ambient electronic instrumental that marks a perfect mini-journey of darkness and hope. I can't believe how perfect a non-metal track like that can be!

Wulf should be proud of his work in Stigma and other albums, and where his journey has lead him so far. While it's not a sequel to Infra Versus Ultra, it's as perfect as that, striking through different dimensions. I'm just glad those two albums have the variation that was missing in Antagonist. Stigma for anyone and everyone who loves music!

Favorites: "Fear the Fear", "A Graceful Light", "Through Hardships", "To Theta State"

I thought of Neurotech's debut album Antagonist as a good but rough start to Wulf's career, impressing me with what has made cyber metal so great and underrated while, at the same time, lacking some variation. I decided to check out the actual start of the Neurotech discography, the Transhuman EP, to see if there's any hope in this early part of his career. Unfortunately, it's the same problems as in Antagonist. This has caused many songs to be decent but nowhere near highlight territory.

Two of the only tracks I would consider actual highlights are the title track and its 2014 re-recording in the re-release. Both versions represent what early Neurotech is all about. Same with "Down the Drain". The other tracks though are tame and don't have much of that catchy spark those highlights have. Down the f***ing drain they go....

Favorites (only true highlights): "Transhuman" (including 2014 version), "Down the Drain"

Illidiance started off with a symphonic black metal sound bled from their previous incarnation S.C.A.R.D., with the debut Insane Mytheries to Demise. Their next album Nexaeon started a different cyber/industrial metal route while their blackened roots were still around. Damage Theory and the Deformity EP are the releases where Illidiance have just become purely cyber metal. Nothing extreme, just dance-y cyber greatness. Most of the singles released in the years since then hinted at a new album to come...

2019's The Iconoclast continues this electro-industrial/cyber metal sound as tales of a bleak future are narrated in song. Not even the Terminator would stand a chance. Electronic keyboards, heavy riffing, and melodic/harsh vocals help guide you through these lyrics in a mainstream-ish sound that surprisingly isn't commercially popular.

6 of the songs are in Russian, but for this review, we'll just go for the English counterparts, starting with "Defying Gravity". Obviously it's not a Wicked cover (thank goodness!), though it's quite diverse with everything from progressive/djenty bands like Mnemic, Periphery, and Chaos Divine, to modern/melodic bands like Mnemic and Of Mice & Men. Now that's wicked! "Modern Iconoclast" is the first single from the album, coming out as early as late 2016. It's a solid track, but it falls into the same trap Deformity faced by relying too much on the grooves in their cyber metal sound. "When There is a Thunder" I like slightly more, thundering through while toning down for the softer verses. "Heaven Denies" has an intriguing combo of the heavier metalcore-ish sound of Invent Animate and Neaera, and the melody of D'espairsRay and Black Veil Brides.

"Last Dawn" isn't too mind-blowing, but it shines well, sounding like it would have no trouble fitting in Damage Theory. "Fuel for My Hate" is another pre-release single to really fuel things up. "Horizons of Days" has some of the progressiveness of The Faceless and The Human Abstract while maintaining the simplistic structure.

"Out of Coverage" continues to impress me with this cyber sound. "My Divergence" is quite diverse, though it's mostly the djentcore instrumentation of Born of Osiris that reigns amongst it all. "The Afterglow" gives this album a final glow with metalcore-ish bits from Crossfaith (including the electronic elements), In Hearts Wake, and the highly influenced Soilwork. A strong ending!

Since this album, the band released a live album and an acoustic album Oceanborn. A couple more singles would also pop up. Will they make another album? No idea, but I hope it will return to the brilliance of Nexaeon and Damage Theory. But for now, enjoy this Modern Iconoclast of cyber metal....

Favorites: "Defying Gravity", "Heaven Denies", "Fuel for My Hate", "Out of Coverage", "The Afterglow"

I wasn't planning on reviewing Illidiance's EPs, but I decided to just go with this one, Deformity. After loving this one at first, the interest ended up dropping pretty fast. It's a continuation of the band's groove-ish industrial/cyber metal sound that began with Damage Theory, yet it sounds a bit, well, deformed. It's clear here that they were trying so hard to modernize their sound, and it ends up falling apart a bit. Even their Shade Empire-ish symphonic black metal past wasn't that faulty...

See, if this ends up being The Kovenant's sound in the unreleased Aria Galactica, I would be confused as h*ll. Illidiance's mainstream side is a little too mainstream, when they're expected to have their Fear Factory/Scar Symmetry sound with the clean/harsh vocal mix done by the Shkurin brothers.

The opening title track is an awesome start, exemplifying their true sound. "Boiling Point" is another highlight with all that made Damage Theory perfect. "Urbanized" brings forward the band's Fear Factory influences and some 8-bit synths of Enter Shikari, but comes out unbalanced. "Let It Bleed" is one more track I enjoy, with what Neurotech was having at the time. The pointless ballad "Moments of the Fall" sounds too hollow with its synth-focused approach and is easily the worst track they've ever done.

Just tracks 1, 2, and 4 would be fine for Deformity. The other two are too unbalanced and are better off left in the dust. They knew what they were doing with this short EP, things just needed to be better executed. They would make up for those errors with another full album later that decade....

Favorites: "Deformity", "Boiling Point", "Let It Bleed"

As with the debut Insane Mytheries to Demise, Illidiance's second album Nexaeon was initially recorded as an independent demo before being given a more professional release two years later. This is where they're starting to become an industrial/cyber metal band. However, some of their earlier symphonic black metal roots still remain. Continuing the Kovenant comparison, this album and Damage Theory can be considered similar in evolution to Animatronic and SETI, respectively. This blackened industrial metal sound is somewhat similar to early Shade Empire, while Scar Symmetry-ish moments in the deathly riffing and not too over-the-top clean singing. Honestly, if they had discarded most of the remaining symphonic black metal elements and sent it straight to a record label, the band would had some commercial success.

I still enjoy listening to Nexaeon as it is. I mean, what in the band's discography can more unique than this blackened industrial metal sound with keyboards often taking the spotlight. Keyboardist Nemesis has some great energy when playing those synths. The riffing speed is so urgent, and it comes in deathly levels of heaviness while staying melodic. Though all that would be replaced with more catchy dance-y cyber metal tunes in Damage Theory, which is a perfect album by the way. Nexaeon would still shine in spacey atmosphere and extreme power.

The title opener crashes in right away with strength in the chorus over an orchestral backdrop. Nicely done! "Bleed for Deliverance" is an earlier heavier track, originally part of the Withering Razors EP that was recorded and released between the recording and release of the debut. "A Cold Day in Hell" has some of the melody of Parkway Drive and the symphonics of Winds of Plague, while replacing all the "core" elements with the usual blackened industrial metal.

"Chaoticon Nomads" has the blend of chaos and beauty that has shaped up Eternal Tears of Sorrow. "Paranormal Activity" adds in some of the industrial experimentation from late 90s Voivod, like a blackened version of that.

"In Thousands Gales I Dwell" is like a modernized futuristic version of mid-90s Amorphis. I like that! One more full song "Countdown to Annihilation" balances out the extreme symphonics of Emperor with the more complex industrial/cyber metal in a way that I enjoy. An annihilating highlight! Following that final standout is the outro "Spiral Galaxy NGC1309" filled with nothing with smooth ambience, unlike the shred-fest interludes in the debut.

The takeaway of this album is to expect different more intriguing things. Nexaeon has all that by letting loose with the structure and riffing. The guitar tone isn't overpowering in the production and not too raw either. It's at a right amount to make sure there's enough of this extreme futuristic sound without ever having too much of a black metal vibe. This is basically what Shade Empire would sound like if they had more of the industrial elements of their debut Sinthetic in the forefront. Nexaeon is an album between two worlds, for both symphonic black metal and cyber metal fans who like one thing but not the other. Or, of course, both!

Favorites: "Nexaeon", "A Cold Day in Hell", "In Thousands Gales I Dwell", "Countdown to Annihilation"

A band's sophomore album is sometimes a home-run or a foul. Some fans want more improvement, while others don't want drastic experimentation. Since their debut Edge of the Obscure was released 6 years before this album, they must've really been trying to find that right balance.

Among the Amorphous continues the tech-death-infused melodic cyber metal sound of their debut, this time it's more progressive. The conceptual tale from the debut is still going, here in a different world. The artwork and music videos greatly capture that concept. If you're up for some apocalyptic future kaiju battles that is kinda like Godzilla vs. Kong gone Star Wars, or weird assemblies of those monsters, you don't wanna miss this saga!

The opening track "Spiral into Existence" sets the dark tone as synths and vocals spike through the metal instrumentation. "Deceptive Signal" is a true highlight, underrated otherworldly djenty cyber metal for those who want similar music to Mnemic. The brutal verses go well with the epic chorus. Another battle-ready standout is "Sins of the Mechanical". Although Sybreed, Mnemic, and Raunchy haven't released an actual album in years, The Interbeing has made up for that and gotten fans of those earlier bands f***ing mind-blown. There's even some atmospheric meat here! "Borderline Human" has more of the industrial or Circle of Dust and the hardcore progressiveness of Erra.

"Purge the Deviant" has heavy riffing and a slightly longer track length than any of the band's other tracks, both perfect for a sci-fi battle. "Cellular Synergy" is an atmospheric interlude with female spoken vocals. "Enigmatic Circuits" has some electronic melody that can also be found in The Word Alive.

Then we have the impressive "Pinnacle of the Strain". The great screaming vocals fit the song well in amazing goodness. Truly this is Meshuggah-inspired cyber metal! With the album nearing its end, we have the industrial "Sum of Singularity", borrowing some drums and synths from Crossfaith. It has definitely foreshadowed the sound of their next album Icon of the Hopeless, and a great way to end this one. Well, after the apocalyptic title outro.

When I write my own books, I see it as a labor of love; taking a couple or so years to complete a book but it is all worth it. That must be what The Interbeing was going for when they worked on Among the Amorphous in a slow steady pace. And it's worth keeping fans around, old and new!

Favorites: "Deceptive Signal", "Sins of the Mechanical", "Purge the Deviant", "Pinnacle of the Strain", "Sum of Singularity"

As we all know, Northern Europe has pretty much the biggest amount of metal bands in any subregion. Denmark doesn't have any many popular metal bands as in Norway, Sweden, and Finland, but I enjoy some notable bands from the country including Mercenary and Mnemic. What if you can combine the sounds of those two bands to make tech-ish melodeath/cyber metal? Enter the Interbeing, whose killer talent is highly displayed in their perfect debut Edge of the Obscure!

You can also hear from this band some aspects from neighboring country Sweden, with the djenty riffing of Meshuggah and the catchy melodies of Soilwork. And how about some industrial synths all the way from America made fresh by Fear Factory?

Let's get it all started with the atmospheric intro "Elusive Atmosphere", building up in slight techno. Then the powerful "Pulse Within the Paradox" hits with b*lls-out rhythms to begin this rollercoaster ride. "Tongue of the Soiled" sounds a bit mangled at first and I was going to drop the album's rating a half-star down from perfection, but the kick-A groove decimates that mess into oblivion. I also enjoy the cleans that add to the cyber melody. "Face Deletion" is one of the f***ing best songs from this band. Enough said!

"Fields of Grey" is another awesome track, with more of the band's Mnemic/Fear Factory influences. "Shadow Drift" may be challenging to some, but the djenty pace is all worth it. The mind-blowing "Swallowing White Light" peaks high with more of those Fear Factory vocals.

Some spoken female vocals can be heard "In the Transcendence" which is a groove-filled (mostly) instrumental. "Celestial Flames" has more of that heavy brilliance. The bridge and chorus has djenty groove worth headbanging to if you're a fan of Periphery and Meshuggah. "Rhesus Artificial" is one more technical highlight without having to go all-out Periphery crazy. The instrumentation is once again well-composed. Atmospheric keyboards and guitars echo through the outro "Ledge of Oblivion".

The remixes are a bit odd, and this review is based on the standard edition without them. Edge of the Obscure shows that the band can wear their influences like a battle jacket. Something that sounds amongst the best really should've made it big!

Favorites: "Pulse Within the Paradox", "Face Deletion", "Fields of Grey", "Swallowing White Light", "Celestial Flames", "Rhesus Artificial"

Here I am checking out another Neurotech album, and once again I find something killer enough to almost reach perfection! I would've thought this smooth cyber/industrial metal sound was weird a few years ago, before I realized its true potential. Now it's something so fresh and unique that's hard to find in any other band or style.

Ave Neptune continues restoring the many aspects of Neurotech's material from 10 years prior, with heavy riffing and drumming mixed together with club-friendly electronics and cinematic strings, all narrated by great clean vocals. And it's not just keyboards that make things fresh. New stuff has been added including the occasional acoustic bridge and even extreme blast beats. I still haven't made my way through the entire Neurotech discography, but if I can be impressed by albums like this one, count me in!

"The Coming Storms" is the opener that can almost go as progressive as Extol in just 4 minutes, from the soft first-half buildup to the climatic electro-metal second half. The single "Mundane Entropy" doesn't lose much speed. A potential future classic! "Never-Ending Maze" has some of the modern electronic extremeness of late Raintime.

Absolute highlight "The Serpent Bites" might just be one of my favorite tracks by this band, with excellent riffing and a catchy chorus. "Only Heartbeat" continues that Dead by April-esque mix of electronics and metal. "Repent in Need" is one of the heaviest songs Wulf has ever done, straight-up metal aggression with a heavenly midsection.

"Spiraling Down" is the only track in the album bad enough to keep it a half-star short from total perfection, but it's not horrible by any means. "Whirlwind" has some heavy melodies to remind me of the recent Soilwork. "Inner Quest" is a much shorter and softer highlight, while having the ambience of Voivod, strings of Persefone, and the electronics of The Browning. It greatly leads to the finale "The Years of the Flood", a little more obvious but still the perfect way to end it all.

All in all, Ave Neptune has been an amazing experience in the cyber realm of Neurotech, with some of my newfound favorite tracks by the band. I look forward to hearing more of the band's discography and finding out which albums can surpass this one. All hail Neurotech!

Favorites: "Mundane Entropy", "The Serpent Bites", "Repent in Need", "Inner Quest", "The Years of the Flood"

If their EP, Version 4.5: The Dark Chapter, can be considered the All That Remains "Forever Cold" EP of Cypecore, Make Me Real is their Antifragile. It is their comeback album after the passing of their founding bassist Chris Heckel. They chose not to replace him to respect his memory. And besides that EP, they have performed some live shows with a few other members making their exit and entrance. I'm still trying to get a little more used to the band's sound though...

Make Me Real is less deathly than their earlier works. Here we have more melodic choruses and stronger cleans for more of an industrial groove metal sound similar to Mnemic. Most of the new songs pack quite a punch, so if you're expecting some freshness in their new material, you've come to the right place.

Traditionally for Cypecore, the album starts with an "Intro", this one nice and short. "Neoteric Gods" kicks off the technical action hard. This is deathly djenty industrial/groove metal at its best! It impresses me with its background synths and its dark yet anthemic chorus. I love it, and I'm sure Cypecore fans would too. "Pinnacle of Creation" keeps up that strength as a more groove-ish standout. Synths pop up more in "Doomsday Parade".

I don't know why they chose a ballad as the album's title track. I mean it's not too bad, but lacks some strength. Next track "King of Rats" is worse. Too much electronic sh*t in that one. The more deathly groove highlights return with "Fragments".

Hammering in further is "I'll Be Back" (Terminator, is that you?), an industrial banger suitable for the dark reality of humanity. "Patient Zero" is the closest throwback to their earlier melodeath sound while adding in a nice amount of electronics for good measure. Traditionally for Cypecore, the album ends with an "Outro", but the issue is, it's a 3-minutes long, a little too long for an electronic instrumental.

I would've loved the album much more if not for the 3 tracks in the middle along with the outro being so long. Still, Make Me Real is quite good. It's a nice comeback 6 years after The Alliance, and I might just be up to checking out more of their earlier deathly material....

Favorites: "Neoteric Gods", "Pinnacle of Creation", "Fragments", "I'll Be Back", "Patient Zero"

Is time travel real? While it isn't in the era we are in, Cypecore knows how to create that illusion with their "2123 Tour". Honestly, one of the reasons I don't go to live shows is the fear of experiencing a future that seems so real yet coming home embarrassed that it isn't. And this is a band that have started nearly two decades ago...

Cypecore have released 5 albums that follow a futuristic sci-fi conceptual saga, a similar aspect to Mechina. A year before their new fifth album Make Me Real, the band hinted at their new direction with this EP, Version 4.5: The Dark Chapter. The "4.5" part is quite clever, since the band wanted to give their fans something new after a 5-year gap that may have been caused by the tragic loss of the unreplaceable bassist Chris Heckel. Consider this Cypecore's own All That Remains "Forever Cold" EP, if you will.

Blasting off is "Chosen Chaos" which is one of the coolest song titles ever chosen. The EP doesn't follow the usual "Intro"/"Outro" aspect, so it has only a short amount of time for you to actually prepare for the chaos. The blasts and guitarwork strike through with their might. The vocals help make the song sound like melodeath-ish metalcore gone Disturbed. "Rise" is a nice display of a cleaner, more industrial sound. The guitar and bass shine instead of the previous track's drum blasts. Slight points off for the electronic overdose, but it's still good. "Spirals" has great harmonies that fit well with the screamed vocals. I also love the cleans and the bridge in the second half.

"Liquid Fire" is a strange track that's still OK. It's more nu metal-ish with some rapped vocals, closer to Korn and Limp Bizkit. Nonetheless, the usual madness is still going on at full force. Then we have "Rise (Death Version)", a version of "Rise" in which the vocals are screamed and the drums blast through. The sound here, along with most of the other tracks, is closer to metalcore than melodeath, which I can greatly accept. I love this heavier version more!

All in all, this EP sounds quite cool in the highlights, and I think they should've kept just the heavier version of "Rise" instead of the clean version that's still good. Version 4.5: The Dark Chapter might not be their best work, yet it can get you geared up for their next album. Time travel may not be real, but this dark futuristic music is....

Favorites: "Chosen Chaos", "Spirals", "Rise (Death Version)"

As much as I love Mechina more than the average metalhead now, sometimes the enjoyment has its limits. A few of their earliest albums (besides the debut); Conqueror, Empyrean, and Xenon are all good but have some fault in the development of their symphonic cyber metal sound fully established in Acheron and Progenitor. When Mel Rose started taking over on most of the vocals, the quality started dropping back to that of their earlier 2010s material. However, loss of quality doesn't mean total defeat. As of this review, their new album Bellum Interruptum will be released next month, and we'll see if new and longtime Mechina fans will be happy again after this album Cenotaph...

When I make these listening/reviewing sessions, I let these tales of space warfare enter my mind as the music shoots through my ears while I type away on my computer. The symphonic cyber metal still sounds fresh the way they did it in 2023 like they've done in 2013. I have mentioned Mel Rose doing most of the vocals in the band's 2020s albums so far, but in Cenotaph, pretty much all the vocals are sung by her along with David Holch's clean singing in the background, melding both voices together once again. The most divisive point among the fanbase is, none of Holch's growls appear at all. Not even any growls from Anna Hel who guest appeared in the previous two albums. So pretty much every song is just heavy yet melodic clean-sung tunes that was only seldom used in Progenitor and As Embers Turn to Dust.

"Petrichor" isn't really a useful intro, though it works story-wise. The first actual song "For All to See" blasts off in aggression mixed with melody, filled with programmed drums of steel. And we have some great power in the title track highlight.

"Starlifter" is OK, but the softer ambient parts might've been taken from Cave In's softer works and Rosetta then sped up. "The Grand Hunt" is a slightly better piece of epic cyber metal. If this banger was ever performed live (they haven't since their earlier years), expect a slamming battle in the crowd. The glorious vocals and kick-A rhythms hit the spot, despite those bombastic symphonics again. The wrathful "Spasms of Human Tragedy" throws back to the heavier instrumentation from their mid-2010s material.

The instrumental "Broken Matter Manipulation" is full of straight-on riffing fury by Tiberi. Not many people like this track from what I've heard, but I do. Nothing but pure grand djenty industrial metal! I suppose it could've been better if they added some vocals throughout, specifically Holch's growls, but just as it is, it rules. "The Haruspex Sunrise" is where I start to lose interest in the album towards the end, not having much memorable variety when the vocals are all clean. The worst of it all is "Andara's Will" that shows the band experimenting with major-key brightness. That just makes the robotic vocals more annoying, and this sh*tter fits better in a Cynic/Devin Townsend album.

If their new album Bellum Interruptum has more of their earlier heaviness and brings back the growls on a regular basis, maybe even promote Anna Hel to a full-time member and add in a couple more well-known guests, all that can make it more enjoyable for fans and might just finally propel the band into the success of its more popular peers. But if it ends up being clean-vocal dominated like Cenotaph, I don't know what to say. Still I just hope what they have next will change everything....

Favorites: "For All to See", "Cenotaph", "The Grand Hunt", "Broken Matter Manipulation"

Almost every year, a new chapter is added to an intergalactic sci-fi journey. Many things still have the same glory while some just break a bit of the quality apart. When a new year dawns, so does the next Mechina album...

With album #10 Venator, the band expands on what's been going on in Siege. The clean singing by Mel Rose and David Holch practically mix together as one, with harmonic melodies, plus a couple tracks in the end bringing back Holch's growls. Tiberi has prioritized his heavy guitarwork slightly more, pushing them forward in the mix over some of the orchestration. And instead of most tracks being over 8 minutes, the tracks here are mostly under that length, with only the first two tracks going over instead of under.

Opening the album with some blockbuster grandeur, "Suffer" begins the journey you end up drifting into. The other long opening epic "Praise Hydrus" has effective riffing worth praising, but despite its 8-minute length, it feels like it should've been a little longer with more added. "Sacrifice Zone" has more intense variation in its shorter length.

"Totemic" is a guitar-less synth ballad in an almost similar vein to "Ode to the Forgotten Few" with vocals alternating between Rose and guest Necole Wright over this atmospheric astral plane. Greater impact is added to the title track, flowing smoothly through heaviness and melody.

The intro riff of "Aphelion" is quite great, though the rest seems a little incomplete, considering its relatively short length of 4 minutes. "The Embers of Old Earth" begins the final two-track leg that has what you've all been yearning for, David Holch's growls and all-out crushing riffing. Closing track "When Virtue Meets Steel" is an aggressive way to head out than can pulverize those earlier melodic tracks, complete with blasts and more growls, most of them coming from guest vocalist Anna Hel. So brutally awesome!

Venator is a slight step down from Siege, but there's still a lot to love here. With djent-ish symphonic cyber metal that can be considered the birthchild of Fear Factory and Nightwish, Mechina fans can really get something out of this album. Though it's better enjoy it while they still can before their next album, the cleaner Cenotaph....

Favorites: "Suffer", "Venator", "The Embers of Old Earth", "When Virtue Meets Steel"

Two years and 10 months was the longest Mechina had gone without releasing an album (not including their 2005 debut The Assembly of Tyrants or its semi re-recording EP Tyrannical Resurrection). Part of the reason for the gap is their 6-album remastering boxset Compendium. After completing this album in 2019, they thought "Why wait until New Year's Day to release this album when all of our fans are anticipating it?" So on November 1 that year, album #8 has touched down, Telesterion!

Once again we have another excellent album by these epic cyber metal masters. Telesterion has an almost similar aspect to DragonForce; 8 tracks with an average 7 and a half minutes in length, totaling up to an hour. Only the experienced can appreciate the lengthiness and find nothing bad in these songs at all. Or at least the actual songs...

The first track is an FX intro, "The Etimasia", and it goes on for... 6 MINUTES?!?!?! D*mn, that's long! Solid, though would've been much better if it was reduced to a fraction of its length, which would've made this album perfect. "Realm Breaker" is the first real song. The guitars actually sound less heavy and more melodic, which isn't bad at all but could use more oomph. Coming in at higher punches is "The Allodynia Lance" which is more symphonic, yet the heavy riffing and growls hit hard.

"Tyrannos" is the second track I've heard from this band, 7 months after "The Horizon Effect", and the first I've heard with David Holch's growls as the main vocal point. That epic-sounding piece of cinematic classical cyber metal has helped seal the deal with my interest in this sound. The lyrics are delivered well too, "CHILDREN OF EMPYREAN, DESCENDANTS OF ACHERON". Next track "Gene Heresy" is a grand over 10-minute epic that should touch the hearts of earlier fans anyone who loves long tracks. It might just surpass "Anagenesis" as one of the greatest epics Mechina has ever done!

We also have some rare soloing in the title track, nicely done by Dean Arnold, who has also performed in "Planetfall". I seem to think this album is Progenitor 2.0, but bear with me, it's still different, as proven in these final two tracks... "The Archivarius Chaos Ritual" is another one of the best tracks in this new era, with grand symphonics in the instrumentation. For the final track "Homeworld Salient", imagine a blend of Scale the Summit, Tyrant of Death, and Epica.

The Mechina saga continues in Telesterion, picking up where their previous album As Embers Turn to Dust left off. You can enjoy the music along with the lyrics that detail the story. It's so catchy, epic, and not too repetitive. It's worth hearing more of this band's unique underrated greatness!

Favorites: "The Allodynia Lance", "Tyrannos", "Gene Hersey", "The Archivarius Chaos Ritual"

Mechina can easily be compared to DragonForce and Two Steps From Hell. The former for their long songs, the latter for their cinematic symphonics, and both each having track after track sounding similar, and yet all this really intrigues me! All that's missing is the speedy soloing of DragonForce. Whether or not epic symphonic cyber metal is your thing, it's something that's gonna take an eternity for me to get tired of.

The band's discography in the second half of the 2010s is where the band make best use of their potential. The massive storyline, orchestral epicness, and metal heaviness put together by Joe Tiberi and vocalists David Holch and Mel Rose (the latter now a full-time member) make up another well-made journey, As Embers Turn to Dust.

The namesake album for the band's saga begins with "Godspeed, Vanguards" which really shows what the band is about, as sci-fi sounds lead into orchestration, djenty riffing, and blasts all over. The production is quite solid, though it can't top the perfection of the previous two albums. The composition is sealed together in great synergy. And it all keeps coming in "Creation Level Event". Same with "Impact Proxy" charging through with strength and impact.

Interestingly, "Aetherion Rain" calms things down in beauty and atmosphere as a gentle interlude before the next track... The memorable "The Synesthesia Signal" is the best standout for the more melodic side of Mechina, with serene vocals by Mel Rose. Absolutely stunning! Later albums would have her taking on more of the spotlight... Well, a little too much of the spotlight. Just like the previous album, the greatest symphonic highlight is followed by the greatest cyber one with the dark "Unearthing the Daedalian Ancient" having a heavier, more epic take on the old-school technicality of Alchemist, Dark Angel, and Pestilence. Another strong climatic composition!

Next track "The Tellurian Pathos" is filled with solid emotional melodies in something so heavy and melancholic at the same time. This album would've been perfect if the two interludes in the final leg were shorter, with the first "Thus Always to Tyrants" being a little too long for a piano interlude, just a few seconds longer than the next track... "Division Through Distance" perfectly matches riffing with orchestration and the last bit of Mel Rose's singing. The title outro is a more natural instrumental, but still overlong.

Albums like this are best experienced when you know the full story, but As Embers Turn to Dust is quite enjoyable either way. It really takes some time to get used to the band to like their material. Anyone who's new to the band or experienced with them shouldn't miss out on this album. Enjoy this epic sci-fi tale of darkness and light!

Favorites: "Godspeed, Vanguards", "Impact Proxy", "The Synesthesia Signal", "Unearthing the Daedalian Ancient", "Division Through Distance"

It took me a couple years since I first heard a song by Mechina to fully dive into its world. I thought Acheron was a strong album with a couple poor tracks. But this one, Progenitor is a perfect masterpiece that actually opened my ears wider and I was able to forgive Acheron for its mistakes and find that one perfect too. Progenitor makes different choices for their approach, and as a result, it is a true epic extreme cyber metal offering!

Here, the band brings back David Holch's clean singing, and then-session member Mel Rose sings throughout two tracks in the middle of the album that are both heavy. She would be promoted to a full-time member starting with their next album.

The ambient intro "Mass Locked" has that sci-fi film vibe, to get you geared up before the tech-death-ish symphonic cyber metal crashes in. The sound is best exemplified is "Ashes of Old Earth", blasting you through epicness and heaviness. "Starscape" takes the clean singing by Holch further, along with some cool background female chanting, while the growls are still around.

We get into the sound deeper with "Cryoshock", the first of the two Mel Rose-led tracks. "The Horizon Effect" is the first ever song I've heard from Mechina, with such godly music with easy yet chilling lyrics, "I stand in shadows of monuments". This can almost be the cyber metal symphony of the universe! Imagine a more melodic female-led Fear Factory, and you're not too far off. Normally, Mechina was focused on the growls and cleans of David Holch at the time, but this cleaner female direction is cosmic. The final minute is a different haunting piano outro that works as an interlude before something big...

"Anagenesis" is one h*ll of a cyber metal epic. The intro reminds me of Apocalyptica with its melancholic violins and cello, then the usual symphonic cyber metal goes on like a more orchestral blend of Alchemist and Northlane. Absolute futuristic glory! A rare aspect for Mechina is guitar solos, and "Planetfall" has that towards the end, performed by Dean Arnold. The song itself is an aggressive highlight. The title track finale unleashes it all before ending in atmospheric peace.

While not having a lot of the earlier experimentation, Progenitor is an intense climatic adventure and I wouldn't change a thing. With compositions of epicness, heaviness, and atmosphere, the cover artwork is a grand hint at all that. Anyone wanting something heavy and deep at the same time, I recommend this paragon of perfection to you!

Favorites: "Ashes of Old Earth", "The Horizon Effect", "Anagenesis", "Planetfall"

I swear I've heard this album before, but it's not on my log for some reason.  That Kind of annoys me, so I'm fixing that right now.  I know I did at some point, because I remember thinking to myself, "this album is certainly not metal enough to be industrial metal."  I didn't get that with the other Ministry albums; I all tagged the properly.  And after listening to it, I still feel that way.  I can't really vote on that, though, so forget the hall for now.

So the album seems to almost be more punk than metal, and its repetition is both aesthetically appealing to a punk fan like me, but also a bit disappointing concerning the other electro-industrial bands at the time who focused more on composition, like Skinny Puppy and Front Line Assembly.  I was pretty happy when the more psychedelic route was taken on Golden Dawn, but I felt the twist came a little late.  But I can really get behind that proud independent power.  Instead of focusing on dancing, it's basically pumping you up to the max.  And while melody can sometimes DRASTICALLY suffer for this, the shouted vocals and raw abrasion can still satisfy.  I gotta say, I love that mutant army vocal effect on You Know What You Are.

I like my industrial music with a little more melody, but this certainly sufficed otherwise.  Hardcore punk attitude, great vocal effects and some good noisy production make this an improvement over Twitch.

So, it appears that this is Mechina's debut album, released in 2005, a year after the band formed. I understand that they later went down a more symphonic path with their industrial sound, but here they have gone for straight-up classic Nineties-era Fear Factory worship. The riffs are decent with a meaty guitar tone FF fans will feel comfortably at home with, although I don't think Mechina's riffs have the same high memorability factor as the LA legends achieved on their best material. Where they do score well though is when they use synths to add an additional, thin layer to their sound, such as during "Afterimage" or on the title track. "War Fog", which connects the two tracks, is a short, synth-driven interlude which is also quite evocative and further illustrates the band's nascent atmosphere-building prowess. Vocalist David Holch also has a creditable crack at reproducing Burton C. Bell's growling bark as the main vocal, but where he comes unstuck is with the complementary clean vocals which, in all honesty, sound terrible, as if he can't carry a tune at all. They are so bad that I can't believe no one advised the band to re-record them or get a guest in to help out.

Ultimately, for me, this is an enjoyable enough slab of Fear Factory worship, irreparably tainted by very poor clean vocals, that I am unlikely to turn to in the future unless the FF back catalogue suddenly disappears from the face of the Earth.

Since 1999, the Project Hate MCMXCIX (formed in my birth year and having its roman numerals in their name) is known for their Swedish death metal sound spiced up with industrial/symphonic elements that have been prominent since the mid-2000s. The project founded by guitarist/bassist Lord K Philipson and vocalist Jörgen Sandström had recently abandoned the more typical song lengths for an aspect that has covered their 2010s albums and beyond; 6 tracks with an average 13 minutes each, almost hitting the 80-minute CD limit. Death Ritual Covenant is a more industrial example of that technique...

Basically their symphonic-infused death metal sound, similar to 2000s Septicflesh, is given a more progressive and industrial treatment. Adding in bits of flamenco and EDM shows that experimental alt-metal bands like Dog Fashion Disco and Twelve Foot Ninja aren't the only bands who can do that. The deathly grandeur is strong within the mechanical riffing and bass by Philipson and the harsh growls by Sandström.

The opening title track provides a great example of that brutal riffing, with the main melody sticking around at the right times from start to finish. Storming on is "The Eating of the Impure Young", a 15-minute death metal epic, apart from adding in some strange dubstep in the middle. Strange but quite welcome!

"Legions" seems to take on the dramatic deathcore of Whitechapel and Winds of Plague but without much of the "core". There are also some guest vocals by Darkane vocalist Lawrence Mackrory. Deathly power shines in "Through Fire There is Cleansing" with more of Philipson's guitar weaponry. Johan Hegg of Amon Amarth also guest appears in this track, along with track 2 and this next track...

"Inferno" is shorter than the other tracks in the album, with a length of 10 and a half minutes ago. It's like the progressive death metal of the first two Extol albums with pieces of Amaranthe and Dir En Grey. "Solemn" is the epic finale, having the melancholic melodeath of Omnium Gatherum while still covered in electro-industrial beauty.

Making an album filled with long epics can be risky, especially when they had to add so many ideas and make sure the 80-minute CD limit isn't surpassed. However, it has mostly paid off, as the charm is never lost. Death Ritual Covenant is a solid album up for an adventure of adventures. It might get a little tiring, but you just gotta appreciate this band's determination to explore with barely any limits....

Favorites: "The Eating of the Impure Young", "Through Fire There is Cleansing", "Solemn"

Throughout last year (as of this review), I've been slowly getting deep into the world of Mechina. The band is so interesting and unique with their epic symphonic cyber metal sound and a massive saga that can almost rival Star Wars and the Marvel Cinematic Universe. I've already gone through their first 5 albums and a few songs from their later ones. I decided to skip ahead into one of those later albums for a better chance at finding some improvement after their "great but could've gone better" albums 2-5. And album #9, Siege is a journey of sci-fi space majesty! While those other albums focus mainly on futuristic vibes and progressive structures, atmosphere reigns in Siege and rules strongly. It is blended with technical aggression for a better balanced experience. The songs transcend well as they fade from one to another more smoothly, with sound effects added at appropriate times. The characters and story and paint a clearer picture and prove that the cool artwork and lyrics aren't just for show.

Any Mechina fan can grasp this astonishing storyline, yet it really depends to the music to bring it to life with its emotional and chaos. The extreme side lies in the technical drum programming and djenty guitar riffing. The way those instruments really hit hard should really be brought into more of those sci-fi movie battle scenes, not to replace the orchestral score but to blend it all together. That's where the beautiful melodic side of the music comes in, when electronic synths and orchestrations add triumph to the brutal destruction. It makes the human/machine wars sound as they are meant to be. And of course, the story is narrated by male/female vocals which, unlike the previous albums, are almost entirely clean. I think this album would've had the perfect 5-star rating if David Holch contributed his earlier growls in the heavier tracks.

The slow eerie 3-minute intro "King Breeder" creeps in. Then "The Worst in Us" slowly builds up in atmospheric march and finally touches down in a climatic metal storm. Mel Rose sounds so beautiful with her serene singing. That's the epic energy I can expect from this band. "Shock Doctrine" is a short straight track though it has a huge bridge.

"Purity Storm" has more dynamic emotion. The violins sound quite beautiful within this metallic march. The blend of melodic and heavy shall make you crave for more. But it's the title track that has most of the heaviness and epicness in one track. And as it turns out, there ARE harsh vocals, coming from guest vocalist Anna Hel. She actually sounds more aggressive than David Holch! If David ends up quitting harsh vocals full-time, Anna can take his place.

"Claw at the Dirt" once again brings forward the symphonics of Eternal Tears of Sorrow while replacing that band's growls with more of the female singing and futuristic sounds. "Blood Feud Erotica" has the most of the technicality and speed in the drumming, right from the intense beginning. "Freedom Foregone" is the 11 and a half minute final epic, the band's longest song to be part of an album and not released as a separate single. Tragedy and triumph collide with each other, alongside more of the heavy instrumentation and emotional singing. Then after the final chorus, the last bit of clean guitar and violin melancholy close this chapter of the Mechina saga.

It takes some experience to be able to listen to all this emotion and chaos, and in the end, you might just get your reward. Siege is filled with unique almost-perfect majesty, and it has brought me closer in my quest to get myself fully committed to this extreme sci-fi realm. Anyone up for that shall get in on the action with this superb offering!

Favorites: "The Worst in Us", "Purity Storm", "Siege", "Freedom Foregone"

Neurotech had been built up slowly and steadily at that point. The releases Wulf made for the project are all good though starting off a bit rough in the debut Antagonist. It seemed like he had his own mission to achieve, which was to try to find the right balance for his sound, one that would truly show what his project is all about. And with his second album (3rd if including the Decipher Volumes), he's got it!

Infra Versus Ultra greatly defines Wulf's contribution to the futuristic industrial metal subgenre that is cyber metal. It is something so unique, so mesmerizing. Neurotech has perhaps pushed Mechina off the epic cyber metal throne, at least before Acheron and Progenitor stepped in.

The album and its story begins "(Infra) I", a smooth galactic intro that slowly rises. The buildup leads to the kickoff, with "Atlas" hitting the stage hard. The guitarwork sounds like it has practically been taken from 90s Fear Factory. I was almost expecting Wulf to unleash his earlier growling vocals. What's different compared to Fear Factory is, Wulf prefers to make his style more melodic than mechanical. Although he has distanced from his earlier growls, his cleans have multiple layers that are like angels transcending from the cyber heavens. No matter which vocal style he goes for, it lets him stand out amongst the cyber/industrial metal crowd. "The Longest Time" is a truly catchy hit. As is "Unleashing the Dead" which is another unique standout.

"The Art of Forgiveness" takes the Fear Factory influences further, this time from one of that band's longer ballads. Only one track that has left me a bit stumped is "(Versus) You". That interlude isn't all that uplifting, but it doesn't detract the album's perfection. "Sacrifice" isn't much of a metal track either, but it mixes other sounds so beautifully.

Next track "Transcendental" indeed transcends through different dimensions as Wulf guides you through, "Let's go, let's hide away, for a while". Then "When the Night Falls" starts with dramatic symphonic synths that almost made me think it would lead to an Eternal Tears of Sorrow song, before having the usual Neurotech drift. The melancholic closing track "(Ultra) Us" has the perfect music and lyrics to end this cyber metal adventure.

What more can you ask for from Neurotech?! Metal anthems, melancholic ballads, electronic samples, catchy beats... Everything you want from this band! We're in a century where the music realms have much more than in the past, and any open-minded listener should listen to Infra Versus Ultra and add it to their playlist. The future is here!

Favorites: "Atlas", "Unleashing the Dead", "Sacrifice", "Transcendental", "(Ultra) Us"

Would you consider an album compiling 3 EPs with all-new tracks an extensive studio album? I sometimes would. This artistic man from Slovenia, Wulf had made a series of EPs for his project Neurotech throughout 2012 and early 2013, each of them titled Decipher. Vol. 1 came out in April 2012, followed by Vol. 2 in September. Vol 3. came out sometime in early 2013 though it wasn't released as widely as the first two volumes. And finally in June, all 3 EPs were put together as The Decipher Volumes.

I gotta say, it's a great improvement from Neurotech's good but problematic debut Antagonist, and brings it to the same level as Blue Screen Planet... on average. The direct harsh industrial/cyber metal is given more variation, and it's balanced out with songs of different styles, ranging from heavy to poppy to atmospheric. Adding to the diversity is the talented female singing by Tanja Ravljen (I almost wrote Tarja, but that's what happens when you've heard of Nightwish longer than Neurotech). The atmosphere shines the most in 3rd volume, finally sealing the deal on the variation industrial/cyber metal has to offer.

Each volume starts with a prelude, and the "Vol. 1 - Prelude" is a nice place to start. It segues to "The Cyber Waltz" which greatly picks up where Blue Screen Planet left off. It's a true cyber metal anthem, with everything you can ask for from the symphonics, synths, electronics, pianos, guitars, drums, beats, and vocals. The perfect memorable beginning of this spacey journey, and done much better than the heavier first part of Blue Screen Planet. Next, "Damage is Done" has the cyber metal aggression leftover from Antagonist. "Home" has smooth piano melancholy, with nice lyrical flow, "Where is the price to pay for the life you've thrown away? Could you believe it's gone?!" The more otherworldly "Below These Scars" is a more atmospheric highlight. The first ever exploration of clean singing fits greatly with the serious lyrics of pain and guilt.

"Vol. 2 - Prelude" is nice. But I don't see much of the point of splitting off part of the beginning of "Let the Healing Begin", which is already an intro, and an amazing one at that. Atmospheric synths and Tanja's serene singing take your breath away. She continues her vocals in the beginning of "The Race of Recovery", "Erase me, don't tell me, I'll take you far away from here". The song is the ultimate highlight of the second volume. The beat and synths may bring the sound closer to dance-pop, but who cares?! The vocal duet between Tanja and Wulf stands out here! It departs from the harshness of Antagonist while still having heavy riffing, allowing that masterpiece composition to dominate. We have some nice verses in "A Clouded Mind" with cool industrial beats. Lots of amazing synths and vocals to add more electro-industrial to the metal. "Is the Sunrise Coming" shows that industrial/cyber metal doesn't have to be as heavy as Fear Factory. Departing from Antagonist the most is "Unconditional", heading into early 2000s Theatre of Tragedy. The complex "This is the New Age" adds to the bridge from the first volume. "A Separate Way" is a magical conclusion to this part.

"Vol. 3 - Prelude" is cool but again should've been part of the actual intro... "Closure" is a nice calm before the storm. "No Turning Back" blasts off with amazing melodies, rhythms, and synths, for another soaring cyber/industrial metal experience. That one actually triumphs over "Triumph" which is starting to get predictable at this point when attempt to add background ambience behind guitar riffing. Then we have a different highlight "The Difference" which peaks as an adventure within an adventure. Everything's so mesmerizing in the beats, guitars, and vocals, and the synths and piano add to the gothic melancholy. "A New Tomorrow" leans a little too far into electropop, more fitting for a club hit. The ultimate highlight of this entire playlist is the 7-minute instrumental epic "Decipher". It's surprising because it's just the soft ethereal new age of Enigma and Vangelis. This atmospheric mini-journey is in a similar vein to the softer half of Blue Screen Planet. Beautiful and suitable for the end or near-end of a Sphere playlist.

The Decipher Volumes is for any metalhead who wants both atmospheric and heavy. The structures and production in these dynamic songs are pretty much what the Neurotech sound is all about. This project should really get more attention and bring honor to the industrial/cyber metal name....

Favorites: "The Cyber Waltz", "Below These Scars", "Let the Healing Begin", "The Race of Recovery", "A Clouded Mind", "This is the New Age", "A Separate Way", "No Turning Back", "The Difference", "Decipher"

My cyber metal journey is a bit of an odd one when it comes to exploring the most underrated bands in this genre that's also underrated. I've come across impressive blends of guitar, synths, and symphonics that make up the genre, but at the same time ended up encountering some near-failures. Neurotech's 2011 debut Antagonist has that strange phenomenon. Though in Wulf's defense, this was before he started adding more variation in the EPs that followed.

Thinking positively, I'd like to point out how otherworldly the synths are. I'm talking about the epic orchestral programming that has reminded me of what Mechina started doing in their second album Conqueror that year. However, just like Conqueror, not everything is good...

The title opener tries to combine Insomnium-esque mid-paced melodeath with string-infused EDM, but it doesn't come out as well as it should. We get a better deal of cyber orchestra in "Inject Me Now". That and "Nonexistent" have synth melodies taking you through the universe. If The Kovenant and Sybreed made their own cyber metal collab, that's what it would like. "Awaiting Deception" tries a little too hard to cram in the piano/strings of Fleshgod Apocalypse into that gothic cyber metal track.

"The Angst Zeit" has a greater sense of extreme, with more dramatic keys and black metal-ish growls to remind me of Shade Empire. Those vocals are well-delivered but can only please metalheads who have gotten used to Sybreed, variation and all. Still that doesn't mean the strength of Sybreed is present, when it' s more atmosphere-focused. "The Mannequin March" is unlike the other tracks that are all within the 4-minute length, this one being a short two and a half minutes. And it's just a weak failure. "A Hollow Impression" impresses me with the progressiveness of 90s Anacrusis, yet it sounds too hollow for a track from a debut album. First impressions are important, metalheads!

"Towards Tedious Nightmare" sounds too tedious in their attempt to add the electronics of Crossfaith and Sonic Syndicate into the mix. The better side of the album comes back with the best highlight, "We are the Last". The first 45 seconds have a sweet blend of epic orchestration and heavy riffing. "The Sky is Always Open" closes the album greatly to show that there's hope in the later part of Neurotech's career.

It takes talent and creativity to make something wonderful. Wulf certainly has those skills in Antagonist. The production is so smooth and let the guitars and synths shine. The balance between the keys and chords create a mystical sound that anyone should find. On the other hand, it sounds a little too tame in some songs, like you can't listen to them without trying to find something else to do to pass the time. This kind of flaw is problematic when making an album filled with the industrial/symphonic combo that is cyber metal. Antagonist is still good, just needs to be better improved. Neurotech would start building its way up afterwards....

Favorites: "Inject Me Now", "Nonexistent", "The Angst Zeit", "We are the Last", "The Sky is Always Open"

Sydney industrial metal duo Deathless are an act that I've had on my radar for many years but had never gotten around to exploring until now. My main reason for wanting to check them out is fairly simple really. I used to frequent legendary Sydney metal store Utopia Records for many years & one of the two band members Damian Bennett (16-17/Khost) used to work there so I came into contact with him on a regular basis. I'm not sure why I didn't commit to exploring Damian's band at the time but I certainly always intended to. Perhaps it's just the fact that you don't see Deathless' name floating around all that much that caused the extreme delay as I can't say that I was regularly reminded of my omission. The other thing that's intriguing about Deathless though is that they don't have a guitarist in their lineup with the band being comprised of just two bass guitarists (both of who handle the vocal duties at various stages) & a drum machine which is a rare but interesting configuration. Those sort of setups can go one of two ways & I wasn't too sure which direction I'd see Deathless going so this month seemed like a good opportunity to finally answer that age-old question.

Deathless is the brain-child of Bennett & close friend David Quinn of Adelaide noise rock band King Snake Roost. The duo may have first started in Sydney, Australia but Deathless has become somewhat of an international act given that they spent some time in England & are now based in Switzerland. It would be on one of those trips to the UK that Deathless would record their debut album "Anhedonia" which was put to tape in collaboration with co-producer Lee Rumble at Von's Studio in London in July 1992. Rumble wasn't anyone special in terms of metal at the time but the resulting production job is serviceable enough for an early industrial metal act. There's no doubt that the lack of any sort of melodic instrumental component can be fairly grating upon first listen though & I have to admit that I found the album to feel a little flat early on. Industrial metal can be quite cold at the best of times but Deathless take that to a fairly extreme level given the obvious lack of any brightness or melody in their sound to give you some light at the end of the tunnel. Subsequent listens saw me becoming used to the sound of the album though & I'm pleased to say that it opened up progressively more with each revisit.

"Anhedonia" is quite a lengthy release for a debut with the nine tracks running for a fairly substantial 52 minutes. All of those tracks are given ample time to get their message across & there are a couple of examples where two songs run into each other which makes the tracklisting a little difficult to follow, particularly given that the listing on the back of the album isn't reflective of the actual CD track numbers. I managed to figure it out after a couple of listens but it was initially a bit confusing. The record is book-ended by two pieces ("God in the Political Asylum" & "In Heaven") that sit further into the traditional industrial or post-industrial space & I really enjoy both of those inclusions as they have a dark & brooding atmosphere that I totally dig which leaves them sitting as two of the three highlights for me. The other is the excellent industrial rock/metal hybrid piece "In Unmet Chambers Slain I" which snuck up on me over time after initially being one of those that went over my head due to its inherent coldness. There are admittedly a couple of songs that didn't enjoy the same privilege & remained fairly inaccessible for me throughout the whole exercise though with "Sun Turns Through Ash" & "Under the Wood" being a bit of a struggle but generally I found the album to be pretty enjoyable & there was some additional interest added for me in the inclusion of a cover version of Trouble's wonderful "Victim of the Insane" from the American doom metal masters' classic self-titled debut album from 1984, a piece that I regard as being one of my favourite doom tracks of all time.

While I definitely got more into "Anhedonia" more with each listen, I did eventually find that its appeal was capped a bit by the lack of any real melodic hooks. Unlike English industrial metal godfathers Godflesh (who would seem to be the most obvious source of inspiration for Deathless), these Aussies don't even have higher register feedback or noise at their disposal so everything can sound a little bleak (which is perhaps the point thinking about it now). The two bass guitars are used in an interesting way & don't tend to get each other's road while the drum machine sounds completely artificial which I'd imagine was always the intent. Neither of the two band members sport much in the way of vocal talent but then when has that ever stopped an industrial metal artist from having a crack (see the afore-mentioned Godlfesh for a prime example)? The incorporation of a doomier sound during the back end of the tracklisting was interesting but had mixed results with the Trouble cover version working nicely & the previously-mentioned "Under the Wood" falling flat. The rockier moments that appear through the middle of the album suffer from the same sort of inconsistency with "Sun Turns Through Ash" failing to meet the same heights of "In Unmet Chambers Slain I".

Look, there's no doubt that "Anhedonia" won't be for everyone & if you're one of those people that's too impatient to give a record a few spins before casting judgement then I'd hazard to suggest that this won't be your sort of album but I have to admit that do kinda dig it, perhaps not enough to see me returning to it in the future though. I may let my interest get the better of me & see what Deathless' later releases with Godlfesh's Justin Broadrick sound like at some point as he's always been an amazingly captivating & consistent producer but, until then, I'll have to be satisfied with my experiences with "Anhedonia" which is probably Australia's first genuine industrial metal release.

For fans of Godflesh, Bloodstar & Pitchshifter.

In 2013, one year after this release came out, Sybreed vocalist Benjamin Nominet call it quits before they were supposed to tour with Soilwork. The band had to cancel the tour, and instead of trying to find a new vocalist, they gave up and disbanded. An unfortunate end to this leading band of industrial/cyber metal...

Sybreed was formed in 2003 in Switzerland, a country in Europe surrounded by other countries like Germany, France, and Italy, and sharing the same languages as those countries. This band blends industrial metal with elements of other styles including the groove metal of Devildriver, the djent of Meshuggah, and even a dash of black metal. Their 4th album God is an Automaton is one last trip through this experimental cyber dimension.

Drum roll please, literally, for "Posthuman Manifesto", with a slow buildup into a great riff groove. It is then twisted into the usual blend of drums, synths, and clean/unclean vocals. There's also a clean bridge to get you geared up for the clean final chorus. And if that first song doesn't refresh you enough, "No Wisdom Brings Solace" certainly will, starting with the usual groove-ish industrial metal. Electronics and distorted cleans soar through the verses. Any open-minded listener can appreciate this bridge between industrial and groove. The album starts really hitting highlight status in "The Line of Least Resistance". Holy f***, this cyber metal sound is just too good not to listen! "Red Nova Ignition" has more of that groove-ish industrial metal and the additional of electronics and singing. The riffs, blasts, and time signature changes rule in that one!

The well-composed title track includes colorful soloing. Guitar solos were rare for the band up to that point. The intro and the midsection of "Hightech Versus Lowlife" sound so brutal as part of the cyber/industrial metal greatness. "Downfall Inc." does not have the variation I expect from this band. It's quite a drop in quality compared to the previous track, and the weakest one they've ever done. Disposing of some of that weakness is the catchy mainstream-ish "Challenger", which is heavier while throwing in some keyboards, a balance mastered in Antares. Nominet's vocals sound the best here, with somber cleans going well with his raging growls. So unique!

"A Radiant Daybreak" starts with sludge-ish groove in the riffing and blazing drumming. The mix of heavy riffing and clean singing really adds to the originality. "Into the Blackest Light" is another heavy banger going f***ing hard especially in the midsection breakdown. The 10-minute finale "Destruction and Bliss" is the best track here. It starts djenty as heavy rhythms fill the atmosphere. The best part is the kick-A solo by Travis Montgomery of Threat Signal. The perfect farewell from Sybreed!

One other minor issue to note for this album is the lack of audible bass. Brushing that aside, this revolutionary band made their last attack. They've recently returned with a Slave Design remaster and a new track, but if they can make more than just that, and return to performing live, that's what the cyber metal realm really needs.....

Favorites: "The Line of Least Resistance", "Red Nova Ignition", "Hightech Versus Lowlife", "Challenger", "Into the Blackest Light", "Destruction and Bliss"

Sybreed has proven their worth in the heavily underrated cyber/industrial metal scene with their perfect one-two punch of Slave Design and Antares. Despite staying in the underground, they've had some of the more popular industrial/metal people working with them, such as Dirk Verbeuren (Soilwork) on drums in Antares, and Rhys Fulber (Fear Factory, Front Line Assembly) producing this album, The Pulse of Awakening!

With Fulber on board, Sybreed has maintained their sound while taking it to different horizons. And it seems like a lot of the Fear Factory influence is showing here, maybe even a bit of the djent of Meshuggah. Also the album title was inspired by Ergo Proxy.

We get the first taste of their usual sound in this album with "Nomenklatura", which is quite an amazing track to start with. Though not as much as "A.E.O.N." with incredible cyber-industrial metal genius talent! The synth-ambience really adds some that cyber effect. "Doomsday Party" is quite fun. Not as fun as that DragonForce track from 15 years later, but here, Sybreed have their own way of channeling 80s pop with its catchy chorus while staying metal. This more lively sound was first hinted in Antares, and it sounds like the coldness of Slave Design has been left behind. One track that I consider almost out of shape is "Human Black Box". As great as it is, the vocal distortion is a little too much and mechanical in an attempt to use a vocoder similar to Cynic.

Then there's the good "Killjoy", though far from great. After that, I'm reminded how excellent this album is with the aggressive violent "I Am Ultraviolence", with an explosion of heaviness to make up for those previous two slightly out-of-place tracks. The extreme strength of Strapping Young Lad being added here makes a lot more sense. The chaos is broken up by "Electronegative". The metal riffing over synth pulses should please anyone who likes industrial/cyber metal. For the next track, "In the Cold Light", who knew a depressive power ballad can fit so f***ing well in this genre? It's suitable for suffering in the despair of the bleak pandemic. The heavy final minute is so beautiful.

The more extreme influences shine again in "Lucifer Effect". It gets close to symphonic black metal, to remind some of Dimmu Borgir and Shade Empire. I love their cover of "Love Like Blood" by Killing Joke from that band's early new-wave era, with its cold feeling. The emotion can be expressed through the instrumentation more than the original vocals. The synth sounds mixed with booming guitars can blow you away more than Nine Inch Nails would ever. I like when covers stick to their band's usual style instead of just blindly following the original artist's footsteps, that's kind of the whole point of covers, I think... Props to this band for greatly standing by that rule! "Meridian A.D." has some great guitar grooves and vocals in the chorus. A bonus track before the finale is "Flesh Doll for Sale", which I like for its In Flames-ish sound. The 9-minute closing epic aspects continues in "From Zero to Nothing", sounding a bit like Tiamat's Skeleton Skeletron. In many editions, it ends with 10 minutes of ambience that I can do without.

It took a couple years for several of Sybreed's songs to grow on me, ever since I first discovered them via their Killing Joke cover, and after that, The Pulse of Awakening grew instantly to greatness. Still it can't beat the perfect starting duo. With all that, I'm prepared to take on their next album, their final one before their split. Awaken the machine!

Favorites: "A.E.O.N.", "Doomsday Party", "I Am Ultraviolence", "In the Cold Light", "Lucifer Effect", "Love Like Blood", "Flesh Doll for Sale"

Can you feel the emotion that comes from not just someone but something? Even the art that comes from music made by a band, as well as a successful film. It's essential for anyone with artistic and creative ability to give their work the emotion it needs, and there's a lot of it in this impressive work of art!

Sybreed is a groove-ish industrial/cyber metal band from Switzerland, formed out of the ashes of Rain (those last 6 words can make a good song title). They're so underrated yet painfully overlooked, staying strong for 4 albums until their unfortunate split-up. Antares is their second album, and it's as incredible as their debut Slave Design. It took a couple years for several Sybreed songs to stick in my mind, and when they did recently, albums like this one had left an remarkable impact in my ongoing metal journey.

The starting track "Emma-0" has beats and synths rising from the distorted background before unleashing sinister guitar riffing. Vocalist Benjamin Nominét screams his heart out against life struggles mutilating and hurting him. Soilwork drummer Dirk Verbeuren stops by to deliver some powerful drumming, shining in the progressive "Ego Bypass Generator". I love the amazing "Revive My Wounds". The beat here is so d*mn good. "Isolate" is an epic ballad-ish track to tone down some of the relentless chaos of the other tracks. A bit isolated, while still awesome!

Then we have more of the flaming blasts in the dynamic "Dynamic". Then "Neurodrive" rolls through excellent guitar rhythms and some of the best vocals by Benjamin. That might have leave a huge influential mark on Neurotech, and is one of my favorite tracks here. "Ex-Inferis" is a two-minute interlude that would fit well in a video game. Well now that I think about it, a Sybreed song ending up on the radio or a movie/video game soundtrack would be interesting. Think HALO or Red Alert.

"Permafrost" has more of the riffing soaring through. The vocals end up sounding more spoken in "Orbital" which nicely adds some variation to Benjamin's distorted vocals as he continues to sing about a dark future. "Twelve Megatons Gravity" is a prime example of aggressive deathly electro-industrial metal. It is one of the most rage-filled songs I've heard in the genre that barely any other bands can reach. The closing track "Ethernity" is a polar opposite of that, an ethereal tranquil 9-minute epic. A couple bonus tracks are around in different editions, including the more technological "Technocracy" and the more in-line-with-their-usual-material "Plasmaterial".

Whether or not you're into modern industrial/cyber metal, you can't go your entire lifetime without hearing this legendary offering. It's a shame that not a lot of music listeners have come across such a masterpiece. This underrated band needs more well-deserved attention, d*mn it!

Favorites: "Emma-0", "Revive My Wounds", "Isolate", "Neurodrive", "Twelve Megatons Gravity", "Ethernity", "Plasmaterial"

So I've already checked out and reviewed a few albums by Mechina, a band known for its epic symphonic cyber metal sound and expanding conceptual saga throughout albums and singles. But the question is, what were they like before they started adding in those aspects?

The Assembly of Tyrants was recorded and released in 2005, over 5 years before their second album Conqueror in which they started making their sound more cinematic and forming a massive story in the lyrics. I actually love the debut slightly better than the next 4 albums. This simple raw style of cyber metal in a similar vein as Fear Factory and Sybreed is not as overproduced as their bombastic later material. Although the saga was yet to be established, I can hear the story quite well in these lyrics!

Some of the heaviest bits of Fear Factory can be heard in the opening track "Shattered Cry", as early as that band's deathly debut Soul of a New Machine. It's a real shame about drummer Scott Oloier leaving the band, because his pummeling drum-work hits so hard. Drifting through this cosmic vortex is the dark growls of David Holch that enhance the well-thought lyrics. "Reclamation of Mortal Nature" proves that this band can sound killer even at a time before adding a bombastic truckload of symphonics and female vocals to their subsequent releases. Awesome, but I prefer the Tyrannical Resurrection version. That EP is where half the amount of the songs in the debut were re-recorded two years after. Next up, "Clash of Cultures" takes the atmospheric sorrow further. Holch has tried an earlier attempt to give his vocals a clean singing effect.

Attacking in different tempos is the long "Machine God". Then we head into one of two instrumentals, the electronic "Apothica". The next two tracks are from the band's two earlier demos that are basically the Fear Factory Concrete of Mechina, starting with "Skin Deep". The riffing by Joe Tiberi can break things apart, alongside Holch's growls, "Draw thy weapon for pain, just for the kill". The other track "After Image" has Scott Oloier has his brother Jon (on bass) battling it out with the other guys' instrumental talents. The keyboards that are later proven to be performed by Tiberi fits smoothly with the aggressive instrumentation.

The second instrumental, "Assembly Intro" (also titled "Warfog") has some ambient serenity. The main part of the album ends with the 8-minute title epic. It's a true masterpiece highlight that greatly foreshadows what's to come later for this band. The bonus track "Clash YSAF mix" is an instrumental remix of "Clash of Cultures".

If there's anyone who, at the time of the debut's release, thought the band would go down the same path as Fear Factory and Sybreed, their second album Conqueror definitely says otherwise. Until then, The Assembly of Tyrants is essential cyber/industrial metal that anyone in The Sphere should get. Though if this dark futuristic sound had guitar solos and better production, it would've been 5-star perfection. Still it already displays Mechina's unique abilities. The best place to start before the bombastic rest!

Favorites: "Shattered Cry", "Reclamation of Mortal Nature", "Clash of Cultures", "Skin Deep", "The Assembly of Tyrants"

Following the good yet messy Empyrean, Xenon rises slightly higher with a better stylistic balance to prove the uniqueness of Mechina. And it can surpass Conqueror as well. Xenon continues to build up from what the band had in the previous two albums. As always, you can expect the djenty rhythms, keyboard melodies, and orchestral majesty, courtesy of Joe Tiberi. Plus some cool vocals, both clean and unclean. As much of a great achievement as this is, again the bombastic epicness tires me out...

It's not just the style that's more balanced, but also the production. The riffing machinery is taken to the front stage. Now you can hear the distorted grooves soar through the cosmos. Also appealing is the drumming by David Gavin. Sadly, he would leave the band after this album, and the drumming in all subsequent albums is programmed.

"Cepheus" is a bonus track in the Compendium edition of the album, and a pummeling 10-minute epic. It's my favorite track of the entire album and makes up for whatever mess the main album would have later, just like Empyrean's Compendium bonus track "Andromeda". It would be better if "Cepheus" was Xenon's ending or near-ending epic though. The title track that opens the main album is filled with f***ing underrated epic cinematic cyber metal to love! You can just imagine travelling through lightyears of space and centuries (even millennia) of time. But it can't work as an individual track when it segues straight to "Alithea". Then "Zoticus" marks another wonderful highlight, having a more upbeat tone compared to the rest of the album.

"Terrea", on the other hand, is rather terrible, going back to the messy side of the previous two albums. It is made up for by the glorious "Tartarus". You can swim through different dimensions ranging from cyber to deathly, as a saga unfolds, almost competing with Marvel, Star Wars, and even The Elder Scrolls. A truly dark ethereal collision! "Phedra" doesn't do much for the album, but I still approve. "Thales" is another brilliant standout. It can actually be enjoyed well as an individual track, with its more direct feel and not having to bleed into another track.

Going through "Erebus", there are female vocals and well-composed symphonics that you can hear in Nightwish. But it is blended with the metal heaviness that brings things closer to Xerath. A true theatrical gift! "Amyntas" is kind of a weak track to segue into, though not really a stinker. Their attempt to go all-out The Amenta in their last full song doesn't work out as much as it should. Then it all ends in dark tranquility (not the band) in the outro "Actaeon", a nice reprise to the title track's piano intro.

Xenon has a lot for you to get used to, but eventually you can embrace this multi-track cyber metal symphony and remember the more impressive moments. Joe Tiberi continues to reign as a master of epic futuristic cyber metal, with more releases appearing throughout the next 10 years, to be heard through space and time....

Favorites: "Cepheus", "Xenon", "Zoticus", "Tartarus", "Thales", "Erebus"

Turmion Kätilöt is an amazing yet strange band of Finnish industrial metal. The lineup consists of talented members with funny stage names; vocalists MC Raaka Pee and Shag-U, guitarist Bobby Undertaker, bassist Master Bates, keyboardist RunQ, and drummer DQ. The lyrics can cover everything from sci-fi to beautiful girls. And the band have been on a roll throughout their tenure that has already reached 20 years! Yet I didn't get turned on by their music until last year.

Standing by in the category of bands that should've been accepted in the Metal Archives but aren't, their disco-fueled industrial metal sound shall please both club dancers and metalheads. Reset brings us back to the Spellgoth era in terms of the quality, not reaching the perfection of the albums afterwards, but still better than Perstechnique.

"Yksi Jumalista" (One of the Gods) begins with an Egyptian-sounding EDM intro before the hammering riffing. The vocals dance around the keyboards and guitars. The chorus maintains both the EDM vibe and that riff. The song is quite a fun bouncer, even with the strange lyrics. "Päästä Irti" (Get Loose) starts off almost deathly, and then it's time to dance again. The catchy energy can really kick things up a notch. D*mn, this can get the metal/dance crowd smiling. The metal guitars fit perfectly with them beats! "Pulssi" (Pulse) sounds a little closer to Mushroomhead at times, but the guitar solo brings it closer to Beast in Black, especially when it's that band's guitarist Kasperi Heikkinen who's performing it. "Sina 2.0" (You 2.0) heads into the electronic side of the band, with some guest vocals by Netta Turunen, daughter of MC Raaka Pee.

"Musta Piste" (Black Dot) brings back the perfect glory of the rest of the Shag-U era, specifically Universal Satan. Same with "Trauma", which has violent bursts of industrial metal to infect the EDM vibes. "Otava" (Big Dipper) once again has a bit of Mushroomhead, while also throwing some Fear Factory, Waltari, and even in the 8-bit synths of HORSE the Band, to make a unique combo. "Se Mitä Et Näe" (What You Don't See) has another brilliant sound from the start, with dark electronic synths that plague the industrial metal sound (in a great way), complete with a Rammstein-ish anthemic chorus. Not much disco, but the heavy riffing and electronics are in great balance.

"Once Dead" is OK, but not that interesting. Ditto with "Puuttuva Naula" (The Missing Nail), which is a little too poppy. It's the weakest song here, though not enough to be a stinker. Following this is "Schlachter" (Butcher), a wonderful remix of the debut's "Teurastaja", featuring Chris Harms of Lord of the Lost. I might just love it more than the original! Finally, we have the 8-minute "Reset 7 (Not to Be Continued)", which has nice dance-y industrial metal, but the Babymetal-like J-pop moments are a bit too much.

Wait a minute... "NOT to Be Continued"?! Is this awesome band going to end after this?!? I sure hope not! Reset has a lot of the band's catchy energy, apart from a couple odd but still good tracks towards the end. The band shall stay alive and continue making even the most serious headbanger dance and smile!

Favorites: "Päästä Irti", "Pulssi", "Musta Piste", "Otava", "Se Mitä Et Näe", "Schlachter"

Mechina is one of the more unique metal bands out there. But I would've loved them more if I discovered them 10 years ago when bombastic symphonic epicness was still my thing. Now it's quite tiring when the Nightwish-esque aspects of symphonics and female singing overpower the guitars. This is actually the first time female vocals are used here, though I'm not sure if those are real or programmed. Still, Empyrean is a well-structured potential soundtrack for Star Wars or any other epic sci-fi film franchise...

The quality would've been higher if there was more variety. That's the main issue when the album is following a conceptual saga with tracks seguing into one another to make a huge-a** suite. If they had more ideas to add to their creativity, some tracks would be better appreciated.

The Compendium edition actually has a few bonus tracks, and the first one right at the start is "Andromeda", a 9-minute epic released shortly after Conqueror. It's not all about headbanging and soloing, but rather a truly epic space journey. You can find a lot more in just 3 minutes instead of just DragonForce guitar soloing (which I still like). Although I love this epic, I think this would fit better in the Conqueror album as its near-end epic. Symphonics float through the drum/guitar attack as David Holch looks up to the cosmos and tears it apart with his brutal growls. All done practically better than in Conqueror! Those heavy climatic moments mixed with pleasant bliss would certainly give the Star Wars soundtrack more impact. And there's also the energy of Fear Factory, a band whom Mechina would cover one of their songs as another bonus track...

But for now, we're at the main part of the Empyrean album, starting with the build-up intro "Aporia". It leads to "Asterion" with some of the best riffing you can find here. Keep that in mind before the atmosphere takes the focus elsewhere. Things continue to sound steady in "Interregnum" as it begins. However, that's where the attempt to stitch tracks together becomes more obvious. "Imperialus" kicks off after building up from the previous track, and you can never hear it as a singular song. Once you're finished with "Anathema", you would think, "Wait, that long song was 3 tracks?!" Luckily, that track has amazing keyboard atmosphere to go with the heavy wrath.

"Catechism" is just a flat sh*tter, basically this album's "Internecion". It leads to this album's skippable midway interlude, "[Cryostasis_simulation__2632_01]", which just has some female dialogue over soft orchestra. But then we have "Eleptheria", which is perhaps the most well-executed highlight here, never as poorly aging as the other tracks. It segues to the title track, keeping up the momentum with incredible keyboards and vocals. Sometimes, simplicity can add to memorability.

"Infineon" is another memorable track that you can listen to at home or anywhere. "Terminus" drives through as a 10-minute epic, but it's too lengthy and complex for its own good. I still enjoy long progressive epics, just to make myself clear. It's just that, well, "Andromeda" had it all better.

Heading back into the Compendium bonus tracks, there are two covers, starting with the one for "Zero Signal" by Fear Factory. While the original song is still amazing, Mechina gave it an epic enhancement, filled with futuristic atmosphere before ending peacefully with a piano outro. But just like the original, it's doesn't quite reach highlight status. The mind-blowing "Ordinary World" is basically that Duran Duran ballad gone epic cyber metal. Of those two covers, I love this one more.

As cinematic and Fear Factory-infused as this album is, it seems the writing is a bit messy in Empyrean. But at least some tracks like most of the second half and the bonus tracks show a promised path towards the better Xenon (review for that later). Empyrean is best experienced in the V.2. remastering or the deluxe Compendium edition....

Favorites: "Andromeda", "Asterion", "Anathema", "Eleptheria", "Empyrean", "Infineon", "Ordinary World" (Duran Duran cover)

I've already been familiar with Neurotech via a few later songs and several of those long Symphonies. And now it's time for me to explore further back into the discography of one of the most underrated acts of one of the most underrated subgenres of all, cyber metal. Blue Screen Planet is a two-track EP with the first track being a 10-minute epic and the other being a laid-back instrumental of almost the same length.

Similarly to Mechina's Conqueror, Blue Screen Planet marks Neurotech's transition from a standard industrial/cyber metal band to one that's more symphonic and setting up a conceptual universe. Also similarly to that Mechina album, it doesn't entirely pay off as it should...

"Part I - Axiom" is a bombastic journey of symphonic cyber metal... Well, too bombastic. Some parts are overdone, which very much exemplifies the paraphrased adage, "Too many ingredients spoil the broth." While this epic is still solid, his 10-minute explorations are better explored in the later symphonies. Interesting how I like the instrumental "Part II - Revelation" more. Most metalheads and more upbeat music listeners can't go past the first half of this serene Hans Zimmer-like composition, but I can! It's amazing how magical this piece sounds as it transports you out of the harsh reality of Earth into the astral plane. It works well with the video game No Man's Sky. So instead of unleashing metal in maximum power, let the cool ambience move you into this different dimension. By the 5th minute, you'll already be one with the multiverse.

The origin of Wulf expanding the soundscapes within his Neurotech project is all in this EP. Lots of great ideas from calm to blasting, from soothing piano to crushing guitar! Though the instrumental is more balanced than the epic. As beautiful and intriguing as this EP is, it's more of a side-order than a main dish....

Favorites: Both tracks, though I like "Part II - Revelation" more.

From 2011 to 2015, Disturbed was on hiatus. During then, vocalist David Draiman decided to form his own temporary project, Device. If you'd like me to give you a hint at what Device, it's like Disturbed with a more industrial edge...

People already knew Draiman's plan to make more industrial material from some teasers. The industrial side comes from the other member of the project, Geno Lenardo, ex-guitarist of Filter. The heaviness Disturbed fans have expected is blended with electronics for some decent results. It should be noted though that Lenardo was replaced by Will Hunt (Evanescence) and Virus (Dope) for the couple live concerts performed by the band.

Straight into heaviness is "You Think You Know" which rocks out as if Disturbed never had that hiatus, while having a bit of Nine Inch Nails. Draiman's singing is quite strong here, "You think you know but you're horribly blind, you think you know that the story's defined, you think you know, but your heart has gone cold inside." Sounding closer to Disturbed is "Penance". The drumming rhythms and vocal grunts are still around while having some electronic synths. Following this is "Vilify", the best choice for the band's first single. It's a perfect highlight of Draiman's strong vocals.

For their cover of the 80s glam ballad "Close My Eyes Forever", taking the respective places of Lita Ford and Ozzy Osbourne is Lzzy Hale of Halestorm and Draiman, and the song is given a modern electronic twist. "Out of Line" stands out well as another one of Black Sabbath's members, Geezer Butler performs his audible bass, while Draiman and System of a Down's Serj Tankian both sing their perfect lyrical views of the world. The haunting "Hunted" continues taking on the electronic metal fusion as they've done throughout the album so far, showing that they can do it well without relying on guests. "Opinion" rips through with searing soloing by Tom Morello of Rage Against the Machine, having more of the spotlight than in Linkin Park's "Drawbar".

"War of Lies" has some of the nu metal riffing of early 36 Crazyfists. "Haze", which has Avenged Sevenfold vocalist M. Shadows, is another solid collab. These guest appearances really help boost the quality of the album in most cases. The last guest vocalist is Glenn Hughes, known for his solo material and his time with Black Sabbath and Deep Purple, in "Through It All", a nice sentimental rock ballad. I don't really like the bonus tracks enough to mention, except for their cool cover of Nine Inch Nails' "Wish".

You just have to admit how much outer thinking Draiman has with his work. He can really expand his boundaries beyond the band he's usually known for. It works well with some solid standouts, though not so much for a lot else. And the project would stop once Disturbed was revived....

Favorites: "You Think You Know", "Vilify", "Out of Line", "Opinion", "Haze", "Wish"

By the middle of the 1990's, Chicago industrial metallers had become very much a stable inclusion in my life. From the time that I first discovered them through their 1989 breakthrough fourth album "The Mind Is a Terrible Thing to Taste", I'd been captivated by their exciting high-tech world of future-thinking music for the coming robot apocalypse, but once Ben discovered them then things started to escalate as we explored each important release from their back catalogue together. 1988's "The Land of Rape and Honey" was very popular in our household during the first part of that decade but it was the trio of "The Mind Is a Terrible Thing to Taste", their 1990 live album "In Case You Didn't Feel Like Showing Up (Live)" & the incredible career-defining 1992 fifth album "ΚΕΦΑΛΗΞΘ [Psalm 69]" that really took things to the top rung of the metal spectrum. "ΚΕΦΑΛΗΞΘ [Psalm 69]" had quite simply changed our worlds so there was huge anticipation around the release of their follow-up during the first half of the decade. Unfortunately though, the four-year gap between albums saw my attention veering off further into extreme metal territory &, by the time 1996's "Filth Pig" finally saw the light of day, my enthusiasm had waned a touch. Ben would purchase the album on CD & it would be some months before I actually got around to hearing it as I was no longer living at home. By the time I did, I'd already had the chance to hear & read a little bit about "Filth Pig" which was generally thought to be a step down for Ministry so it's hard to say whether that left me with any internal biases or not but the album did seem to me to be a little disappointing when compared to the three that came before it. I still quite liked it but it didn't get many replays after those first few listens & I haven't returned to it since so my memory of what it contains was a little hazy going into this week's revisit. Thankfully though, I've been rewarded for the faith I've kept in band leader Al Jourgensen because "Filth Pig" is a very solid record in its own right, if not the classic that so many people would have been hoping for.

It probably would have been very easy for Ministry to pump out "Psalm 69 Part II" & continue their rise up the ranks of the commercial metal ladder but "Filth Pig" is an altogether different kettle of fish. It's a much darker, less immediate & far less accessible record than people were expecting with some major creative differences to previous works which in many ways reflect the mentality of Jourgensen at that particular point in time. There are very few up-tempo moments on "Filth Pig" & you won't find many goth club anthems like "NWO", "Just One Fix" or "Jesus Built My Hot Rod" either. Instead we get a slower, druggier & more introspective record with much less of a reliance on electronics & samples. The use of dissonance in the guitar work often borrows from genres like sludge metal & noise rock & you'll struggle to identify anything that touches on the thrash-inspired riffs of "Psalm 69". In fact, this is a much less riff-based record in general. Jourgensen's signature heavily-effected gurgly vocals are still there & are a feature of the album but his lyrics reek of someone that's in quite a lot of pain, who holds a fairly negative view of the world & who is struggling with their own infamy to an extent. The brief touches of tongue-in-cheek humour & a fair chunk of the brightness & excitement had been sucked out of Ministry, at least from a surface level, so "Filth Pig" requires a deeper investigation if you're to uncover its value which can be found in the fact that this is indeed some dark & heavy shit at times.

The tracklisting kicks off in very strong fashion with the first two tracks (industrial metal opener "Reload" & the slower sludge metal dirge that is the title track) both being very solid indeed. In fact, I'd suggest that the title track is a genuine Ministry classic that sits comfortably alongside the band's best work but things drop off a touch for the remainder of the A side. "Lava" & "Useless" are both pretty decent but I really struggle with "Crumbs" which has a very loose song structure & sounds completely underdone. Things pick up significantly for the start of the B side with a string of three excellent pieces in a row, ending with the brilliant industrial metal anthem "The Fall" which is the other clear highlight of the album for me. As with the A side though, things descend back to a merely acceptable level for the closure of the album with the last two rockier tracks (including the popular cover version of Bob Dylan's "Lay Lady Lay") failing to meet the same sort of standard as the more captivating first part of each side. When viewed holistically, the stronger material clearly outweighs the less essential stuff but I do think that the tracklisting could have been evened out a bit to ensure a more even spread of the better songs rather than bulking out the start of each side with the back end feeling a little less vital.

I've noticed that "Filth Pig" seems to be tagged as an industrial sludge metal record on some competitors websites & I can kinda see where they're coming from but that's not entirely accurate as the sludge component isn't regular enough to warrant a primary tag. Despite the fact that this is a less electronically reliant record than we'd come to expect from Ministry over the years, "Filth Pig" is still first & foremost an industrial metal release with the sludge & industrial rock components playing more of a supporting role. It's a very good one too & it's made me reassess my position on its merits. While it may not compete with the classic trio of releases I mentioned previously & is undeniably a step down from the lofty heights that Ministry were playing during their peak creative period from 1989-1992, I do think that "Filth Pig" should still be regarded as an essential release for those with a penchant for their particular brand of heavy music. Yes, it's probably the least impressive thing they'd done since their early synth pop & EBM records of the mid-80's but that's not to say that it's won't still be a quality inclusion in your collection that offers a point of difference from Ministry's previous work. I don't believe I've heard anything Ministry have released since this record (at least not the full releases anyway) but I'm led to believe that there's not a lot of meat on them bones so I'd suggest that this gives "Filth Pig" even more value for fans who may be desperately trying to revisit the band's heyday. This is a largely overlooked & mildly underrated release in the band's back catalogue that deserves a little more attention in 2024 than it generally receives so I'd encourage you to check it out.

For fans of White Zombie, Prong & Godflesh.

Ministry have made it big in pioneering the American side of industrial metal, with their 3 albums from 1988 to 1992 being commercially successful. With their 1996 album Filth Pig, the band's sound became darker and heavier than before, almost reaching sludge territory. According to founder Al Jourgensen, people hated the album. They wanted the humor and electronics of Psalm 69, but the album doesn't have much of those. I still like the heaviness though.

Darkness is often what I look for when I want to take a break from the brighter reality. And sometimes, darkness can be a bit intimidating. It can also have a bit of humor, from the literally meat-headed young American politician in the album cover. A whole lot you can find in the dark...

"Reload" is a short violent introductory song practically picking up where Psalm 69 left off. I was hoping for that kind of excitement in the title track, but it goes for a little too long and has almost given me brain damage. "Lava" is equally as long as the previous track, but it flows well in the riffs and vocals, almost like a march to a Southern battle. "Crumbs" is OK, but crumby in some places.

"Useless" fits well with its name, being far too weird for its own good. "Dead Guy" has awesome lyrics and nice groove. "Game Show" is the long 8-minute epic of this album. I wouldn't say it's bad in any way, but it's still a little weird and not something I would listen to on the daily.

"The Fall" seems to fall in quality but can stand back up for some time. Bob Dylan's "Lay Lady Lay" has been given the cover treatment here. It has a more alternative edge, a bit like Killing Joke at that time. No wonder it easily became a radio single! Really cool psychedelia there. Finally, "Brick Windows" brings back some earlier experimentation. Fantastic lyrics in this one!

Other things to mention about Filth Pig include the solid production and instrumentation. Those help keep the general quality stable, even in the lower half. There's nothing with switching gears to a heavier sound. A lot of us here are up for something like that. I just think a few of the songs in the album could've had better execution....

Favorites: "Reload", "Lava", "Dead Guy", "Lay Lady Lay", "Brick Windows"

I’ve never been a fan of Godflesh’s style of repetitive and simple Sludge Metal focusing on textures, nor was I very much on board for their overly rhythmic and still simple Industrial Metal. The issue is, none of the instruments are ever doing enough. Drums are slow, simple, and often play the same beat an entire song. Guitars scarcely compose something that could be considered a riff, usually opting to add fuzzy heaviness without much direction. Vocals always a bit too monotonous and occupying an unflattering middle ground between aggressive and lethargic. Industrial sound effects were, once more, too repetitive and too few to have much impact on the music.

Well, one of those things changed on Us and Them. The band adopted a very significant Drum and Bass influence for this album. Because of this, the rhythm section picked up a ton in intensity and complexity on many of the tracks. Sure, it’s still repetitive as all hell, but a faster paced, energetic and powerful beat backing their miserable tracks does wonders for entertainment. It’s all machines, but their previous drummers did everything in their power to sound like soulless robots anyway, so that’s no loss.

The unfortunate thing is, none of the other weaknesses were alleviated. Guitars are incredibly boring and minimal. The bass actually has some really cool moments, which is awesome! It finds itself playing lead more often than not, which just does more to highlight the rhythm section as the ultimate strength to this album. As cool as the rhythm section is here, it can’t offset the other incredibly boring aspects of the album. The band has incorporated more Industrial sound effects here, and this is a blessing and a curse: at best, the minimalistic songs gain some much-needed layers of density and intrigue; at worst, an incredibly annoying sound clip will repeat 30 times over, doing everything it can to ruin the song for you.

Special mention to the final tracks “The Internal” and “Live to Lose,” which show them building atmosphere and mood to great effect. Closer in sound to the Cold World EP material, which was the band at my absolute favorite. These songs are awesome and appeal to my tastes so much more. When the band builds atmosphere in addition to their trademark texture and rhythm, it elevates their music exponentially. Unfortunately, they rarely ever do this, and texture by itself proves something that will never appeal to me.