Gothminister – Pandemonium

Pandemonium Album Cover Art

Gothminister – Pandemonium
AFM Records
Release Date: 21.10.22
Running Time: 33:42
Review by Dark Juan
9/10

As I maintain my watch over the horrors of the world outside, I sometimes ruminate about the lives of the people who wander past the window of Dark Juan Terrace. I sometimes find it incredible to think that those (to me, I’m sure their families and significant others love them very much) unimportant collections of cells have lives as richly varied and complex as my own. Anyway, I was surprised to discover that there actually is a word for it – this noun is “Sonder”, and it is apparently a particular and peculiar kind of sorrow. You are all aware that I am a sufferer of mental health issues that compromise my ability to see others as people and make my mixing with others quite troublesome and difficult to cope with, which is why I tend to restrict myself and remain indoors. Granted, sometimes I wish I could be more outgoing and social, but it is something I have come to terms with a long time ago and it no longer gives me the same sadness. I have everything I need, and I am content. I have Mrs Dark Juan until she gets bored of me or gets an improved offer, employment, a home and all the music I can shake a forest of sticks at, and some good friends in the Ever-Metal.com  team and the music world at large and I am well-fed and watered and safe and in no danger of dying of COVID anytime soon thanks to vaccinations, which means I should be pretty fucking grateful really…

One thing I am very grateful for is Gothminister, of whom I have been a fan since 2003’s “Gothic Electronic Anthems”, and their spasmodic and batshit insane mix of Electronic Body Music, Industrial, Goth and Metal is still just as mouthwatering now as it was then. The title track of this new offering, “Pandemonium” is as gloriously out to lunch as anything that Gothminister have ever released, as the band gleefully twist and break joints and change articulations and sew music into horrific new shapes and then spray it with glitter paint and send it off to terrify the neighbours. It is a dangerously sparking, jerky, spasmodic thing that is overloading on every single influence it can drag into its capacious, stainless-steel toothed maw. 

Utilising a method of song-writing that appears to be forcibly artificially inseminating Deathstars with the seed of Static-X, Funker Vogt, Ministry, Suicide Commando and Type O Negative and then training the resultant offspring to perform in a perverse, skin-tight PVC-clad circus of horrors, Gothminister occupy a very niche…. niche in music. The man himself, Gothminister (Bjørn Alexander Brem) is in possession of a remarkable set of pipes that can encompass Hard Rock pathos, Metal aggression, bass crooning designed specifically to relieve goth girls of their underwear in short order and furious roaring, leaving the slightly confused listener just which persona is going to make an appearance next. 

The music is just as unusual – shiny American style polished Industrial Metal is violently mated with Gothic choirs, squealing guitars, binkly-twonk keyboards, rampaging Electronic lines, overtly sexual crooning and the fucking kitchen sink and the entire contents of the pantry and the whole thing is an over-produced, gloriously pompous and overblown epic that somehow just WORKS and is utterly and absolutely insane despite the fact it should be a slimy, shuddering, many-tentacled thing that needs to be shot to be put out of its painful, misshapen misery.

‘Run Faster’ chucks the entire record on its head after I have written the above, however, and what with the band previously busily bludgeoning what’s left of your synapses with hypergothic electronic based anthems, this song offers a speedy, stripped back deathride, with some finger-flaying riffing and only a bit of overcooked pomposity in the middle eight and break, otherwise only using a bit of stabby Terror EBM keyboard in the background, and this streamlined song only goes to underline just what kind of moodily-lit vampire-obsessed underworld Gothminister normally inhabits. Contrast this with the likes of ‘This Is Your Darkness’ with its underpinning of Gothic Futurepop Electronica and a mid-paced, downtuned guitar riff that successfully melds Metal and EBM without being as utterly, all-consumingly batshit as the first half of the album, which really does have to be heard to be fucking believed as it really does defy all description. 

I have been seated here for a good twenty minutes, in absolute silence, trying to come up with ways to describe the indescribable madness that is a Gothminister album. Purists will fucking hate the band, as they don’t easily sit in any one camp. However, if you are intrepid and willing to let yourself be sucked into lushly produced, blood slick hellmouths masquerading as records, then you might well be impressed and beguiled, if not enchanted at the splattered, crimson splendour of it all. A Gothminister album is an experience not unlike being torn to pieces by a bunch of Cenobites who appreciate aesthetics – they might be industriously flaying the skin from your face while you scream, but then they will stop and regard some kind of exquisite stone scrollwork and pause in what they are doing and discuss the quality of the craftsmanship with you, before sighing in appreciation of the work and returning to vigorously vivisecting your visage.

Production-wise, this record hits all the right notes. If you like extremely over-produced, highly polished music. Everything site perfectly in the mix, including the voice of Gothminister himself, which is unsurprisingly quite forward in the mix but not to the detriment of everything else, like, say, the absolute arse clenching horror that is a Warrior Soul production job that is all Kory fucking Clarke and very little else. There are the odd bits of arrangement that jar a little, and the drums sound totally artificial although there is a human drummer called Chris Dead (possibly not his real name) credited on the record. The guitars are pin sharp, and their tone is produced to within an inch of its life and then a bit more just to make sure, but this is all part of the aesthetic. It has to have a kind of artificial quality for it all to work – a kind of surreal, manufactured, Industrial black netherworld where demons are fused with battle machines and hell is an endless line of humans heading for the meat grinder, looked down upon from a gloriously appointed, luxurious, dark-panelled office where the overseer wants for nothing, where delicious viands are piled carelessly upon a groaning trestle table and rich, claret wine is there for the quaffing…

I’m running away with myself again, aren’t I? Let me drag myself back to reality and get the Patented Dark Juan Blood Splat Rating System (det patenterte Dark Juan-systemet for blodsprut) to score this motherfucker, eh? 9/10 for another brilliantly executed mindfuck from the Gothminister and his minions.

TRACKLISTING:
01. Abgrund (Abyss) 
02. Pandemonium 
03. Demons 
04. Star 
05. Sinister 
06. Kingdoms Rise 
07. Bloodride 
08. Norge 
09. Run Faster
10. This Is Your Darkness 
11. Mastodon

LINE-UP:
Bjørn Alexander Brem (“Gothminister”) – Vocals
Eirik “Blodøks” Øien – Bass
Glenn “Icarus” Nilsen – Guitars
Ketil “Turbo Natas” Eggum – Guitars
Christian Svendsen (“Chris Dead”) – Drums

LINKS:

Disclaimer: This review is solely the property of Dark Juan and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Anti-Clone – Human EP

Human EP Cover Art

Anti-Clone – Human EP
Self-Released
Release Date: 16/09/22
Running Time: 17:22
Review by Dark Juan
8/10

Good afternoon – I am still pet sitting and suffering from concussion, yet I continue to bring you Very Good Things from my bed of pain and suffering as Mrs Dark Juan creates some new and terrifying creatures in the kitchen. As I currently can’t see straight due to a blow to the head I gave myself, it has been decreed that I should not move much. As I am due to wrangle recalcitrant young gentlemen tomorrow, I disagreed and got what can only be described as a rather unpleasant telling off and instructed to remain on the sofa or my ankles will be “Miseryed”. Having remembered just what happens in that story, my arse hit the sofa faster than a hot dog disappears down a fat bastard’s throat and here I remain, at least more compos mentis that I was yesterday after twatting my own cranium, and therefore I have taken it upon myself to have a listen to a young British band and their latest release – these being Anti-Clone and the record is called “Human”, being a five track EP recorded in Manchester.

On the first play, the listener is grabbed by a rather huge production, with big, BIG guitars, a bottom end with more bottom end than a room full of cloned Gemma Collinses having all been at the dessert trolley and destructive, fucking loud drums. The sound is absolutely fucking colossal, lads, lasses and all other genders. The whole record is played with considerable verve and energy as well. There’s a clear sense of purpose running through the performances of the entire band and a rather needle sharp, cruel focus throughout each song. I’ll attempt to be brief, this time, rather than waxing lyrical as I do normally. Mainly because my head is fucking pounding right now but that’s just cranial trauma…

The record opens with ‘Human’ and it is a song about the horror of being human, how we all lie to each other and how entire populations can be deceived by their leaders, especially in wartime. It is a satisfyingly bludgeoning opener as well, vituperative and venomous with a chorus that would not be out of place in a Mudvayne (in their make-up and Math Metal years) or Powerman 5000 song. This is followed by ‘Punish Me’, and this rather masochistic song is about being unable to walk away from toxic or damaging situations in life. However, it does espouse the fact that sometimes the only thing to do is let go. Musically we delve into the realms of Emo, with a huge chorus that young boys with swoopy Adolf Hitler haircuts and more eyeliner than their stripy-trousered girlfriends will absolutely go gaga for, complete with mosh-worthy Korn-lite breakdown in the middle.

And so it continues – Math Metal meets Emo meets the kind of 90’s Alternative Metal of prime PM5K, Rob Zombie and Human Waste Project with added Korn and Adema for that bit of Nu-Metal bite. It’s actually a really intoxicating mix that works splendidly with the vocals of Peter “CLΩNE” Moore, a man who can ape the baritone of Marilyn Manson (‘End Of The World’ – loving the middle eight of this song though!) just as readily as the impassioned howl of Chino Moreno and the guttural roar of Jonathan Davis. This latter is eminently displayed on the closing song on the EP, a cover of batshit insane Icelandic murder pixie Björk’s ‘Army Of Me’. It’s a Nu-Metal classic twenty years too late, but it’s still fucking brilliant.

And that more or less sums up the sound of the EP. Anti-Clone wear their influences openly and honestly on their collective sleeves and the band and the record are all the better for it. There’s no pretending that they are trying to play something innovative and new (unlike GLDN, see my review on them and see just why it pissed me off) but what they do play, they do fucking WELL. And although these are new compositions, they manage to offer a warm sense of familiarity and of being in on the joke. 

So if you are the kind of person who loves Powerman 5000, Korn, Human Waste Project and Mudvayne, Team Satan 666 ice hockey shirts and having make-up that has you looking like a melted panda, Anti-Clone have you splendidly covered. If you don’t, well, you’ve backed a loser here, but the sheer exuberance of the performance should win over a fan or two and as far as purchasing goes, it’s a bloody good British Metal record and worth a punt for anyone, even if it is faintly derivative along the way. I have heard megabucks bands with miles shittier songs and production jobs than this. I want to hear more Anti-Clone and I want it now!

The Patented Dark Juan Blood Splat Rating System awards Anti-Clone 8/10 for a fine EP that successfully manages to hark back to sounds that were popular in the near-past but drags them into the 21st century. Marks are deducted for the release being an EP (not long enough) and for them skirting a little bit too close to Nu-Metal now and again. Otherwise, though, crushing and satisfyingly meaty.

TRACKLISTING:
01. Human
02. Punish Me
03. End Of The World
04. Spiteful
05. Army Of Me

LINE-UP:
Peter “CLΩNE” Moore – Vocals
William “26” Richardson – Guitar
Pat “KAKES” Godin – Bass
Drew “ALPHA” Moore – Drums

LINKS:

Disclaimer: This review is solely the property of Dark Juan and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

GLDN – First Blood EP

First Blood EP Cover Art

GLDN – First Blood EP
Self-Released
Release Date: 22/07/22
Running Time: 15:52
Review by Dark Juan 
5/10

Well, today has been a right day of ups and downs, and it’s only 12:48 at the time of me settling to write some stuff that literally one person in Somalia reads. I will not be sated and will keep doing this until the mighty Ever-Metal.com juggernaut has conquered North Korea and the righteous power of metal topples the Kim dynasty and Juche communism is brought to an end, and the victory parades will celebrate the day a better world was won. Yes, that was a VNV Nation lyric I managed to shoehorn into a metal record review. Anyway, since I have got home from wrangling young gentlemen, I have had to take to task a fucking gammon dickhead for having a bash at my friend Sarah as she has an Eastern European surname, discovered that the biggest joke I have ever heard or seen is my current bank balance, had to warn a teenager about the dangers of sending unsolicited dick pics and the fact it will be all over social media in a day or two, and when the inevitable fallout happens it will be HIS OWN FAULT, and have had to make coffee in an effort to stimulate my poorly abused brain cells into some spasmodic form of life in order to provide you with concise and precise information about the Brooklyn, NY based GLDN and their latest EP, “First Blood”.

GLDN are the brainchild of one Nicholas Golden, who appears to be another of those really irritating bastards who can play everything and sing as well, and “First Blood” is the debut record from him. The blurb states that GLDN is, “An unnerving and rage filled world [of GLDN] where boundaries are pushed and your comfort is NOT paramount! Daring and transgressive, GLDN cannot be contained, nor put into a single musical category – with elements of industrial, metal, and crust punk with passionate and furious vocals.” 

This is all well and good, but GLDN’s world actually appears to be tinkly-bwomp NIN-esque squelches with a Marilyn Manson aping baritone and a very similar sounding scratchy howl. It is neither daring nor transgressive. Daring and transgressive would be recording heavy metal records with hurdy-gurdies, and getting Katy Perry and one of these drill stars who wear sunglasses over balaclavas, and look fucking ridiculous, think they are dangerous when really they are a spotty teenager from rural Buckinghamshire with arms and legs like pipecleaners, and basically fuck about near a hired Lamborghini in their videos, which all seem to be filmed on the same street in Tower Hamlets [without actually touching it because just out of shot is an aggressive and angry owner with a baseball bat who has warned the youths to not touch it] while rapping about how shit their life has been and how they are scared they are going to get stabbed, and calling it Drill Metal and expecting the leather and denim and New Rock clad hordes to accept it without question.

Pardon me. I have digressed. Indeed, a number of the songs being offered on “First Blood” sound like “Antichrist Superstar” era Brian Warner bumping uglies with “The Downward Spiral” version of Trent Reznor. 

Let us dwell upon that mental image for a moment or two.

Horrifying, isn’t it? Or possibly one for the wank bank, depending on your point of view.

The sound of GLDN is somewhat enhanced by some tasty, buzzing guitar, but too often this is cut up and the loud-quiet-loud dynamic sometimes wrecks some promising brutality by slowing everything down, so Nicholas can do his best Trent Reznor crooning over a bit of dissonant piano, or electronic wooshing. There’s no boundaries being pushed here. This EP sounds like the year 1996.

Opening offering ‘Gravedigger’ kicks off with an electronic beat and bassline before metallic guitar cuts in for 12 beats and the faux-emotional crooning starts, extremely reminiscent of the delivery of Filter’s Richard Patrick, and the chorus sounds like it could have been written by Deftones. The middle of the song has some throat mangling howling a la the God Of Fuck. In fact, the whole song sounds like “Title Of Record” era Filter. Not a bad influence to have, but it borders on copyism.

This continues on the title track. Pure Marilyn Manson, but a mix of Spooky Kids era Mazza and “Antichrist Superstar” including a lyric that could have been written by the man himself – “They always look so pretty when they’re on their knees.” It’s all overblown and perverse sexuality, wild gyrating, demented roaring, sequenced, layered and multi-tracked guitars and not very much substance. ‘Ripe’ is more of the same – dissonance, baritone rumbling, a simple bassline, lyrics about hypocrisy and lots of downtuned guitar and roaring on the chorus, before going to a swooping, gothic-tinged middle eight on the synth, and then a heavily-produced solo that’s just a load of drawn out notes rather than fretboard gymnastics that segues neatly back into the chorus. So far, so still Mazza Manson.

‘(harmful if swallowed)’ (sic) is a bit more interesting, with a piano playing a wrong note deliberately that increases the sense of menace in the music nicely, but it’s just a bridging piece, and that makes me fucking furious because the music and that harsh, dissonant piano could have been turned into something magnificent, and it has just been wasted.

‘This Must Be The Place’ is just a slightly more electronic Marilyn Manson song. I know I keep coming back to him, but this is the overwhelming influence I hear. This particular song would not sound out of place on “Antichrist Superstar”, even the chorus sounds like it belongs on the title track of that august record and would fit the song quite seamlessly. I’m struggling to contain my disappointment here. Normally I would launch into some horrible bullshit and be mean to Nicholas, but I have become acutely aware lately that I am trashing the art of creators and they pour their heart and soul into it. All I do is tell them that they are either a) very good at it, b) average, c) rubbish or d) Warrior Soul. Mainly because I am a faile… RETIRED musician who was REALLY shit at playing music and if you can’t do it you write about it instead. Unless you’re EM’s Rory. He can do both, the annoying knobjockey. 

DISCLAIMER: Rory isn’t an annoying knobjockey. He is a fine gentleman. Rob Sutton is, though! Wink, wink…

Last offering on this six-tracker is ‘Parasite’ and it is far and away the best song on the EP, where he leaves Mazza alone for a bit and combines an aggressive, angry howl with a creepy clean voice, punchy, speedy drumming, and full on metal guitar with extra fizz and fuzz, lushly produced and brimming with a life all its own.

The EP does benefit from a decent production, with no one thing overpowering the other, but it has a curiously lifeless and flat quality that is difficult to describe, and although GLDN promise much in their press release, claiming elements of metal, industrial and crust punk, all I have heard is mainstream 1990s gothic industrial metal that the emo teens of the day would have gone fucking gaga over, that instead offers this grizzled old metal bastard a curiously warm and nostalgic feeling, rather than slavering excitement. It’s all a bit uninspiring, to be honest. I haven’t even got my old baggy Menace jeans out to relive the 1990s vibe.

The Patented Dark Juan Blood Splat Rating System is disappointed. It was expecting something visceral, wild and incendiary and instead got the spavined love child of Trent Reznor and Marilyn Manson.

Which brings us back around neatly to that mental image we shared before.

You’re welcome.

5/10. 

TRACKLISTING:
01. Gravedigger
02. First Blood
03. Ripe
04. (harmful if swallowed) – This is not me having some kind of seizure and losing command of English. This is how it is written. It is making my internal grammar Nazi fucking FURIOUS!
05. This Must Be The Place
06. Parasite

LINE-UP:
Nicholas Golden – Everything

LINKS:

Disclaimer: This review is solely the property of Dark Juan and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Priest – Body Machine

Body Machine Album Cover Art

Priest – Body Machine
Cleopatra Records 
Release Date: 15/07/22
Running Time: 35:03
Review by Rick Eaglestone
7/10

Floating away from their past musical endeavours, Ghost alumni Priest look to create an entirely new entity with their album “Body Machine”.

Immediately the album grabs your attention, with synth laden ‘A Signal in the Noise’, which is followed up by a track that wouldn’t be out of place on an And One album, ‘Ghost Writer’. It’s sprinkled with splashes of the 80’s and yes, vocally, there are some similarities in places to the bands past projects, but it’s quite catchy. My highlight track comes in the form ‘Hell Awaits’. No, it is not a Slayer cover, although if it were done in this style I absolutely would not object in the slightest! But I digress, great beat and nice sampling throughout. Top tune!

The album continues much in the same direction. ‘Phantom Pain’ could easily be viewed upon as some kind of VNV nation, and I found myself already lining up similar albums to spin after listening to this one, before the band decided to break out their inner Trent Reznor with ‘Blacklisted’! 

80’s vibes return with ‘Perfect Body Machine’, which is perfectly aligned with the following track ‘Techno Girl’, giving the album another dynamic. But then normal service is resumed with ‘Crystalline Lace’.

The final two tracks, ‘Nightcrawler’ and ‘Keep on Burning’, finish the album off neatly, whilst still maintaining the aesthetic that has run through the course of this release.

It’s not what I had expected going into this, but I am leaving pleasantly surprised. 

‘A Signal In the Noise’ Official Music Video

TRACKLISTING:
01. A Signal in the Noise
02. Ghost Writer
03. Hell Awaits
04. Phantom Pain
05. Blacklisted
06. Perfect Body Machine
07. Techno Girl
08. Crystalline Lace
09. Nightcrawler
10. Keep on Burning

LINE-UP:
Mercury – Vocals
Salt – Keyboards
Sulphur – Keyboards/Programming

LINKS:

Disclaimer: This review is solely the property of Rick Eaglestone and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s with PROCESSOR

Processor Logo

EMQ’s with PROCESSOR

Hi everyone! Welcome to another EMQs interview, this time with Swedish Industrial Metal/ Rock project, Processor. Huge thanks to main man Johan Isaksson for taking part.  

What is your name, what do you play, and can you tell us a little bit about the history of the band?

My name is Johan Isaksson and I am the one called Processor. I produce Industrial Metal and Indie Rock music both to my artist name and for others. I’m really a keyboard dude, but I distort everything I touch so that’s how it became Rock/Metal.

How did you come up with your band name?

You might think that the band name comes from a Processor in a computer but that’s not the story. I saw a wood processor harvesting forest and I thought that would be a cool name, so the absolute first pictures of Processor was taken with logs. (lost now). After that it was just Processor (and I know that it is not google friendly) 😉

What Country/Region are you from and what is the Metal/Rock scene like there?

I’m from middle Sweden, and some bands that are close by where I live are The Hives, Millencolin,   and Truckfighters.

What is your latest release? (Album, EP, Single, Video)

Who have been your greatest influences?

Radiohead/Ennio Morricone

What first got you into music?

Movies I guess. “Escape from New York”.  John Carpenter made a great movie score that just made me want me to do the same.

If you could collaborate with a current band or musician, who would it be?

Health or Mick Gordon

What’s the weirdest gift you have ever received from a fan?

100 Swedish kronor back in 1998 in an envelope with the message “send me some music to this address”. It was before the Internet and really nobody knew I existed. Really odd but I burned down some music for the dude and posted it.

If you had one message for your fans, what would it be?

You only have one life – do what you feel and you will not regret it!

If you could bring one rock star back from the dead, who would it be?

Freddie Wadling

What do you enjoy the most about being a musician? And what do you hate?

Being creative is the most enjoyable thing to be.

The thing I hate is that I have a daytime job, so I can’t put that extra effort to do the best mix in the world.

If you could change one thing about the music industry, what would it be?

The royalties should go up so a decent studio dude like me can make a living.

Name one of your all-time favourite albums?

“OK Computer” by Radiohead

What’s best? Vinyl, Cassettes, CDs, or Downloads?

Downloads is the best for getting the right foldback for the music.
CDs are naturally equal but messy, I think.
Vinyl is a way of life not quality… vinyl is like an efx band compression on the mix – not natural but I get that people like it.
Cassettes that’s just too much band compression and bad noise.
I prefer Downloads or streams
😊

If you weren’t a musician, what else would you be doing?

A poet. Or something creative

Which five people would you invite to a dinner party?

Peter Gabriel, Ossy Osbourne, Dave Ghan, John Carpenter and Mick Gordon

What’s next for the band?

New music coming up July 14

https://distrokid.com/hyperfollow/modestybeastandprocessor/stand

What Social Media/Website links do you use to get your music out to people?

https://www.facebook.com/profile.php?id=100063518838328

Jaffa Cakes! Are they a cake or a biscuit?

Biscuit for sure!!!

Thank you for your time. Is there anything else that you would like to add?

Thank you for having me!

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s with KOLLAPS

Kollaps Logo

EMQ’s with KOLLAPS

Hi everyone! Welcome to another EMQs interview, this time with Australian Post-Industrial project, Kollaps. Huge thanks to main main Wade Black for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

My name is Wade Black. I write the songs in Kollaps and play various instruments, so I would presume that most would recognise my position in the band of that as a “producer”. 

The band has a rich history of touring and things spiralling out of control regularly yet somehow it perseveres, and I hope that this is the dismay of money. I would be quite disappointed of the band was viewed as anything other than a plague, or a blight.

How did you come up with your band name?

Well, I had very little time to come up with something that had any true meaning and so I decided on the name “Kollaps”, which as you may know is a very revered record by the pioneering Industrial band Einsturzende Neubauten. For many years I considered this a mistake as by my own hand I had unwittingly placed myself in the shadow of giants however in recent times I feel like the band has grown into the name and we’ve become so distinct with our own sound and message that it does not bother me so much. I also feel that Industrial music has some kind of duty to speak about society, the ever disintegrating world around us and personal turmoil, and this kind of very real world, dark subject matter and so the word “Kollaps”, or “collapse” in English poses various questions and suggests a state of being or set of circumstances that I find to be quite succinct and accurate about my personal worldview. So now I’ve become quite fond of the name once again.

What Country/Region are you from and what is the Metal/Rock scene like there?

I am from Australia, and I now live in Italy. I hate the majority of metal and rock music so I would have absolutely no idea, I’m afraid. I live in the forest in a town in Switzerland called Lugano and mostly I do my best to ignore people until it is time for me to me to be shipped around in a van on tour.

What is your latest release?

Our latest release will be out on June 24 via Cold Spring Records. It is called “Until The Day I Die”. Kollaps is also releasing a self-produced video called “I Believe In The Closed Fist”.

Who have been your greatest influences?

My greatest influences are non-musical. I take great influence from the world around me, conversations, history, my emotions. Ideas and impressions of the world bleed and seeps into the music.

What first got you into music?

When I realised the profound effect that it has had on me and others; I began to value it as a very powerful medium of expression. As a listener and consumer of music I have to say I do not have many interesting stories to tell you about that.

If you could collaborate with a current band or musician, who would it be?

Rectal Hygienics or DUMA.

If you could play any festival in the world, which would you choose and why?

Roskilde Festival. Because we are playing there, and it will be hideous. 

What’s the weirdest gift you have ever received from a fan?

I received a beautiful and unexpected gift from a Japanese fan who flew all the way to Copenhagen to see Kollaps. It was drawings of myself and the band. I was very moved and taken back by this.

If you had one message for your fans, what would it be?

Do not listen to your friends and family.

If you could bring one rock star back from the dead, who would it be?

Oh, surely we could use the power of resurrection on someone more interesting? But under the circumstances that it had to be a rock star, I would evoke this divine incantation on Jim Morrison.

What do you enjoy the most about being a musician? And what do you hate?

The freedom to my ideas as I wish and to talk about the world strictly as I see it means a lot to me and is something that I appreciate greatly about the path that I have chosen. In saying that, being a musician often puts me in contact with human beings and I find this probably to be the most negative aspect as I often find myself quite over socialised.

If you could change one thing about the music industry, what would it be?

I actually love that the music industry is completely insane and dysfunctional and toxic. I would probably make it worse if I could by taking more money off musicians and donating it to Spotify. 

Name one of your all-time favourite albums?

“Even The Flies Won’t Touch You” by Rectal Hygienics

What’s best? Vinyl, Cassettes, CDs, or Downloads?

I like vinyl because I’m a c**t and a hipster.

What’s the best gig that you have played to date?

I love performing at Wroclaw Industrial Festival in 2018 but I would say also that Roadburn Festival in 2022 was also a wonderful experience.

If you weren’t a musician, what else would you be doing?

Well it is fortunate that I enjoy being a musician as I feel, and I often tell people, that I had no other choice in the matter and so truly I do not think there is another universe where my life had the potential to turn out in a different way.

Which five people would you invite to a dinner party?

No one famous or of culturally historical significance. 

What’s next for the band?

Our new album “Until The Day I Die” will be released via Cold Spring on June 24.

What Social Media/Website links do you use to get your music out to people?

www.facebook.com/kollapsmusic
www.instagram.com/kollapsmusic

Jaffa Cakes! Are they a cake or a biscuit?

I have no fucking idea what that is!

Thank you for your time. Is there anything else that you would like to add?

Thank you for taking the time.

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s With FRAU FLEISCHER 

Frau Fleischer Logo

EMQ’s With Frau Fleischer 

Hi everyone. Welcome to another EMQs interview, this time with French Industrial / Electro Metal band, Frau Fleischer. Huge thanks to Greg and Franz for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

Greg: Hi, we are Frau Fleischer, we play a mixture of Industrial / Electro Metal fused with Cabaret & Goth influences. Franz & I have known each other for more than 15 years and when he started this new project he just called me like “Hey I’ve got this new idea for a band, I’m working with a young singer wanna try something ?”. And here we are a year later we have released our first album & a new single and it’s only the beginning.

How did you come up with your band name?

Franz: After drinking several glasses of wine, beer… classical story…

What Country/Region are you from and what is the Metal/Rock scene like there?

Greg: We come from France, but live in different areas. Franz lives in the South of France in the beautiful city of Nice & I live far from everything in the beautiful mountains called Les Vosges. The French scene is pretty small and it is still hurting from these last 2 years. Hopefully things will get better soon. 

What is your latest release? (Album, EP, Single, Video)

Greg: Our very last release is our single ‘Fashion!’. It has been released on digital formats on all the streaming platforms. It’s a great song that will allow you to bang your head and shake your ass! At the same time we are still promoting “When the Sun’s Down”, also available on streaming and it’s available in the physical realm. It’s a lovely digipack, we took the time to make a beautiful object that makes you wanna buy it and not just stay on Spotify only.

Who have been your greatest influences?

Greg: First of all Metallica and in particular James Hetfield. I’ve already begun to play the guitar when I discovered Metallica, but as soon as I listened to their music I knew playing the guitar was all that mattered to me. Apart from them, I listen to a broad range of music and influences can come from a lot of places. Today I listened to Napalm Death, Godflesh or Morbid Angel and then I switched to Nick Cave, the music of Philip Glass, Tom Waits and then bands like Hocico, Suicide Commando or Wumpscut. I’m even enjoying the music of Dua Lipa these days (laughs).

Franz: Lots of things from Faith No More to Madonna, from French Pop to Rammstein, or Industrial music, Electro, Gothic things… too many things to resume in few words.

What first got you into music?

Greg: My dad has always listened great music & has great tastes. I can remember finding LP & singles from Pink Floyd, Santana or Queen at home and the power, the voice of the electric guitar touched me deeply. Then I started to listen to bands like The Scorpions or Iron Maiden, but as soon as I discovered Metallica and the whole Death Metal scene from the late 80’s early 90’s I was hooked and all I wanted was to play guitar. Later I’ve found out I really wanted to learn all I could about music: song-writing, arrangements, the recording process…

Franz: Same things my family always listens to music at home, in the car during holidays travels…Lots of French music like Gainsbourg or Mike Brant, but also a lot of Classical music at home. I started to listen to bands like Metallica, Iron Maiden when I was 16 and later, like I was always in a record store when I was not at school I have discovered a lot of other things from Gothic to Black Metal.

If you could collaborate with a current band or musician who would it be?

Greg: There are many! At the top of my head, I would say Meshuggah, Chelsea Wolfe or Radiohead. I think we will challenge each other and come with a unique blend of music. If any of them are reading this, please send me a message! 🙂

Franz: RAMMSTEIN!!!!!!!!! Of course!!!!!

If you could play any festival in the world, which would you choose and why?

Greg: I would choose Glastonbury Festival as it is embracing each and every genre of music across the spectrum, from Rock and Pop to Minimal House, Techno and full-throttle Drum ‘n’ Bass. The audience is great and I’m sure we would have a lot of fun on and out of stage!

Franz: I want to play everywhere so I can’t choose.

What’s the weirdest gift you have ever received from a fan?

Greg: Maybe not the weirdest but for sure it was very unusual and a very nice surprise. I was on tour in Japan with another band and a fan offered me a pendent he created himself. It’s got the shape of a guitar pick with my flames tattooed on my forearms. I was speechless and I still got a hard time believing it happened! A very unexpected and amazing gift!

If you had one message for your fans, what would it be?

Greg: Set yourself free, be who you wanna be, live and let live and the people who judge you are the jealous who are trapped. You know better, you deserve better, you are better !

Franz: Houaaaa….nothing else to say! 

If you could bring one rock star back from the dead, who would it be?

Greg: Only one is tough! Maybe Dimebag Darrel because his death makes no sense, he still had more to bring and Pantera would have reunited if Dime was still there. They would have, wouldn’t they?

Franz: Lemmy! But Lemmy is not dead cause’ Lemmy is God!

What do you enjoy the most about being a musician? And what do you hate?

Greg: To be able to create is fantastic and what’s even more fantastic is to be able to share our creations with our fans and all the energy that goes back and forth during a show is insane. That’s the good part. “The music industry” is the most awful thing on Earth and basically a scam, but thanks to the internet, musicians can now take their business firmly in hand and do not need to rely on middle men to share their music. It’s a lot of work and during the day, you are lucky if you play a bit of music, but it is so much rewarding to be in control of our fate.

If you could change one thing about the music industry, what would it be?

Greg: I would remove the “industry” from the “music industry”!

Name one of your all-time favourite albums?

Greg: It is a very complicated question for me! My answer could change every hour of the day (laughs). Well, right now, I would say NIN’s “All That Could Have Been” because it’s like the best blend of a lot of things I love in music : it’s Metal, it’s Industrial, a bit of Goth, the 2nd disc Ambient is pure genius and all in all I’m a great fan of Trent Reznor.

What’s best? Vinyl, Cassettes, CDs, or Downloads?

Greg: Vinyl of course ! Cassettes and CDs and even downloads are a thing of the past. Streaming is a great way of listening to music when you always are in a train or a car like me.

What’s the best gig that you have played to date?

Greg: With Frau Fleischer, the last one we played in Nice was awesome! The club was sold out, everyone was dancing, screaming and jumping the vibe was awesome! We can’t wait for more gigs. Promoters who read this: we crave playing live, write to us please!

If you weren’t a musician, what else would you be doing?

Greg: Even though I can’t really imagine doing anything else, I think I would still be a creative. Maybe a movie maker?

Which five people would you invite to a dinner party?

Greg: It’s a tricky question as I’m not a social animal. When I’m not on the road, I enjoy staying home with my cats and my girlfriend. 

Franz: Same for me, animals are welcome, people tolerated….

What’s next for the band?

We are already working on new songs & Madame la Bouchère (Die Frau Fleischer) is going to evolve. We can’t say much right now but prepare yourself for your fair share of surprises.

What Social Media/Website links do you use to get your music out to people?

Franz: You can find us everywhere I think, on FaceBook here: 
https://www.facebook.com/fraufleischerbandofficial/
Instagram here: https://www.instagram.com/fraufleischerband/ 
Twitter here: https://twitter.com/FrauFBand 
But also buy stuff here: https://fraufleischerband.bandcamp.com 
https://www.ftf-music.com/shop/shopfraufleischer/shopfraufleischer.htm
Or simply visit our page here:
http://www.fraufleischerband.fr 

Jaffa Cakes? Are they a cake or a biscuit?

Franz: I don’t like orange sorry….

Thank you for your time. Is there anything else that you would like to add?Franz: Thanks for this interview and supporting our music… Follow us, listen to our music, buy music, watch videos… But the most important thing is to come to the concerts… we need you!!!!!

Frau Fleischer Promo Pic

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Omnibael – Rain Soaks The Earth Where They Lie

Rain Soaks The Earth Where They Lie Album Cover Art

Omnibael – Rain Soaks The Earth Where They Lie
Cruel Nature Records
Release Date: 04/02/22
Running Time: 39:25
Review by Dark Juan
9/10

It is 15.07 on April 3rd and I am only just getting round to doing this review. It has been a fairly trying few weeks, where murder has been thought about on many occasions. It has not been committed but there are a number of people on my shitlist who would be being found in parts, in bin bags, throughout the UK right about now had they continued to stoke my ire. Therefore, I apologise and once I have this one and Sleepwulf out of the way, I can actually review current releases. I might have been being a bit grumpy and rather less than productive.

This has been a public service announcement. Please form an orderly queue to the left and I’ll see you as soon as I can.

Omnibael, then. A duo who shroud themselves in secrecy and don’t allow anyone to know their identities or appearances and especially their names. Although a bit of digging has revealed Stoke-On-Trent as a possible location. This would be for reasons of security, as they perform some of the most gut-churning, sludgy Industrial music it has ever been my pleasure to hear. So visceral it is, there is a UN Resolution against it because it is extremely challenging to listen to and has been known to cause nausea, vomiting and insanity among listeners with less self-control than Dark Juan. If they played this album to General Noriega to keep him awake, there would have been absolutely no invasion of Panama by the US, as he would have topped himself after 12 seconds flat because it is frankly an insane, bloodied, flailing wall of noise heading straight for you at terminal velocities. 

Needless to say, Dark Juan is quite enjoying it.

The casual listener should approach Omnibael with caution. It is not the American style of polished, Electronic Industrial with verses and choruses and things like that. It’s two demented motherfuckers with drum machines, samplers and all kinds of equipment and the perverted desire to take sounds and fuck them up beyond all healing, then bolt the poor bastards on to other mutilated noises. Basses crackle, fizz and fuzz and get chopped up as screaming feedback meets the sound of pans and body parts being thrown at walls and single chords get looped and extended and blasted back at themselves. It barely qualifies as music in parts, such is the sheer sonic terror and the wall of noise Omnibael creates as it steamrollers everything. In short, this is fucking INDUSTRIAL. 

There is zero concession to beauty here. Everything is oily, smoke belching black. Wastelands of rubble and half-starved children surround factories shitting out armaments and pollution. Rivers chock-full of industrial waste feed mycoprotein farms and steel presses and stamps clang and crash in a staccato, off-tempo rhythm as welding robots leak carcinogenic lubricant and send sparks showering over a filthy, petrochem flooded factory floor and the humans in there are merely OPERATORS, abject slaves to their machines… The orgasm has disappeared from the human condition completely without neurologists noticing, breeding is just another mechanical act and love isn’t a thing anymore. All there is, is a miserable, short, grease streaked, ill-nourished and disease filled existence where beauty and nature have died beneath a sinister grey pall of pollution and fallout and all there is left is production.

I do so enjoy it when a band conjures up pictures in my imagination. It’s such a jolly place.

Not since the days of Throbbing Gristle have I heard industrial quite like this. Inventive, painful to listen to and absolutely brutal. If you like Throbbing Gristle, Whitehouse and the like and lo-fi, zero production Black Metal, you’re gonna love this. If you want NIN mark 2, fucking avoid this, because it’ll let your brain out through your ears after turning it to milkshake. ‘Flowing Backwards’ being a prime example, as it builds from mechanical clanking to the sound of several thousand war machines warming up en masse and just keeps building and building and building until it actually fucking hurts to stay with it. Maschinenklang done fucking right. Off key, visceral and batshit mad roaring and screaming and howling abound and masquerade as vocals and give an unexpectedly plaintive human element to the sheer overwhelming power of the wall of deliberately mutated sound hitting you right in the back brain.

Jesus holy high Christ in a chariot driven sidecar. I LOVE this record.

Although I adore it, this is a record for purists and experts though. You have to know Industrial music and its history in order to fully appreciate it. You can’t have just got into Extreme music or Industrial and expect to understand this. You aren’t able to correlate Omnibael’s music with the likes of Nitzer Ebb, or NIN, or Ministry or Red Harvest. It’s unique. Melody is ground under the hobnailed jackboots of endlessly marching cybernetic infantry. It’s Skinny Puppy and Throbbing Gristle and Whitehouse all mixed into one poisonous, dangerous form. It’s heavy as fuck, heavier than an armoured regiment of your mothers in neutronium panties and actually painful to listen to loud. It’s like an extended aural aortic aneurysm. 

What a fucking album. Not one, by dint of the fact that it is more sonic sculpture than music, that I will be humming when hoovering Dark Juan Terrace, but one that I will play when I am on my own (that will be later when Mrs. Dark Juan abandons me to watch Norwegian forest pixie Aurora in Leeds later) and the room is dark and I am full of beer and I have my cans on.

The Patented Dark Juan Blood Splat Rating System awards a sparkly and shiny 9/10 to Omnibael for an almost perfect Industrial record. Fucking brilliant, chaps. Fuck yes!

TRACKLISTING:
01. Mind Is A Mess
02. Last Days
03. The Repetition
04. Nothing Tastes Better Than Deceit
05. Rung Keep
06. Sound Of The WWII Story
07. Flowing Backwards
08. Lost Days
09. Shut Out The Light

LINE-UP:
Two people who don’t want you to know who they are, so I can’t tell you who they are either.

LINKS:

Omnibael Promo Pic

Disclaimer: This review is solely the property of ‘Dark Juan’ and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

DIVISION: DARK – Prophecy

Prophecy Album Cover Art

DIVISION: DARK – Prophecy
Drakkar Entertainment
Release Date: 11.02.22
Running Time: 45:13
Review by Dark Juan
7/10

Three fucking minutes.

That’s all it took for me to sit down and write the titling for this review before the furry terrorist twats I permit to live with me at Dark Juan Terrace started fucking me about. This after me attempting to repair a fan (failed), producing enough snot over the past week to fill an Olympic swimming pool, trying not to spread said contagion to my new colleagues, whilst training up for my new role (I have ceased to wrangle young gentlemen. The final straw came when I described a Bordeaux as a claret, which it FUCKING IS and the godless heathen bastards claimed that in fact a claret is a Chateauneuf-Du-Pape. Which it fucking ISN’T. I resigned in disgust the very next day, especially when they were discussing headwear for a formal occasion and I recommended Locke & Co of London and they said that an NY Yankees snapback was acceptable. Hopeless cases, indeed. They didn’t even know what a potage spoon was. Instead, I am now in charge of the wranglers of young people rather than wrangling them personally. I’ll be cracking the whip, don’t you worry.)

So, now the furry wankers of the household have settled down (as soon as I typed that, the Dread Lord Igor Egbert Bryan Clown-Shoe Cleavage-Hoover leapt up and started shouting at the perfectly innocent passer-by traversing the window. Quadruped arsehole), I shall tell you about the record I am listening to, being DIVISION: DARK’s (yes, the band name is in capitals. Sigh… just write your name like normal people, for fuck’s sake) debut platter, called “Prophecy”.

I have had absolutely no luck in finding out who the people behind the band are. They operate from a position of mystery (rather like Vessel from Sleep Token) and there doesn’t seem to be any information about personnel. OK. That adds a layer of mystery that I am enjoying. However, as I am supposed to be reviewing the damned thing, I’d quite like to know who’s playing what (even if they called themselves a load of Shameless Ghouls, I’d take it). 

The music is a strange brew of Rammstein-esque German language Neue Deutsche Harte (Lex of Megaherz appears on the record on “Bevor Wir Wieder Asche Sind”), heavier Deathstars and the odd EBM flourish (Blutengel appear to be a particular influence and Chris Pohl, Lord Of The Razor-Sharp Cheekbones and Dropper Of All Goth Girl Panties features on “They’re All Hypocrites”), combined with the gothic stylings of famous Halifax miserablists Paradise Lost and the pomp of anthemic female fronted bands like Schysma and Evanescence. It’s… confusing. 

There are several different languages employed (Spanish, German, English) and the music is not all that original. Industrial Nightwish with NDH keyboards, basically. Where the averageness of the music is made up though, is with some of the guest vocalists whose performances range from the merely tedious (Isra Ramos until his chorus) to ridiculous levels of commitment (Steffi Stuber, who appears to have come to the conclusion that she doesn’t need to be able to breathe after her performance, so has decided to sing her heart and lungs out and leave them on the vocal booth floor). Also giving it their absolute all on “Promise” are Saeko Kitamae and Dead Venus’ Seraina Telli, whose operatic styles combine to devastating effect and considerably enhance the music they are singing over by being just this side of fucking demented wailing. That ragged edge makes their song a highlight of the album, because if they went an inch further with their performances they would have turned into caricature.

I wish the music was more inventive because most of the vocalists turn in powerhouse performances and the actual music doesn’t do them justice, and the likes of Megaherz’s Lex appear to phone it in because the style of DIVISION: DARK is so similar to his day job. I have to hand it to the girls on this record. Their voices add that Gothic and Operatic dimension that this album needs (Anneke Van Giersbergen’s waspish, angry-sounding, unusually phrased delivery is beautiful yet unsettling on “Wrong”).

The production of the record and the mix are actually pretty good. Everything is easily discerned although it does suffer from a ridiculously over-produced guitar sound that makes it sound almost sequenced rather than played. It’s the same complaint I have about Evanescence’s debut album though. It’s too artificial and needs to sound more organic. As far as debut records go though, it’s not bad at all. The songs need to change up tempos sometimes, as they all seem to be that mid-to fast paced stomp that Industrial Metal always employs. However, for vocal variety you can’t go wrong as you have the full gamut from the deep throated, baritone, sensual seduction of Lex and Chris Pohl, through the full throated vocal attack of The Agonist’s Vicky Psarakis (both clean and guttural) to the swooping and gorgeous gothic magnificence of Scarlet Dorn.

Not bad. Not jaw-droppingly wonderful, but a damned fine record to listen to at 3 a.m. on the A1 north of Edinburgh.

The Patented Dark Juan Blood Splat Rating System awards DIVISION: DARK 7/10 for a record with rough edges but considerable promise. It would be interesting to see what the band themselves came up with without chucking in other vocalists though.

TRACKLISTING:
01. Eve (feat. Isra Ramos)
02. Stärker Als Gott (feat. Anna Lux & Eric Fish)
03. Twisted Game (feat. Vicky Psarakis)
04. Bevor Wir Wieder Asche Sind (feat. Lex)
05. (They’re All) Hypocrites (feat. Chris Pohl)
06. Division:Dark (feat. Seeb)
07. Der Letzte Tanz (Dino Serci & Otto Dix) Shouldn’t Otto Dix be fucking painting fat lasses instead of dancing?!?
08. Still Meinen Durst (feat. Frank Herzig)
09. The Art In Artificial (feat. Scarlet Dorn)
10. Destination (feat. Steffi Stuber)
11. Promise (feat. Saeko & Seraina Telli)
12. Bound Together (feat. Anna Murphy)
13. Wrong (feat. Anneke van Giersbergen)

LINKS:

Disclaimer: This review is solely the property of ‘Dark Juan’ and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s With ATTRITION

Attrition Logo

EMQ’s With ATTRITION

Hi Everyone! Welcome to another EMQs interview, this time with UK Dark Industrial Electronic act, Attrition. Huge thanks to main man Martin Bowes for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

Martin Bowes… I sing and use a lot of electronic instruments… I have a studio full of them here!
ATTRITION was born in Coventry at the end of 1980… originally a post punk guitar / bass / drum line up, it soon transformed into a more and more electronic band. Then later still took on classical influences in violas / cellos / violins… creating music from dark rhythmic electronic / industrial songs to more atmospheric soundtracks… We have released something like 30 albums to date and toured all over the world…

How did you come up with your band name?

It was derived from “War of ATTRITION”… a name used to describe the First World War… my Grandad had fought on the Western front and was wounded at Ypres in Belgium in 1917. It held a bizarre fascination for me. I finally recorded an album of WW1 War Poetry (of all sides) in 2015 with Anni Hogan (Of Marc and the Mambas fame).

What Country/Region are you from and what is the Metal/Rock scene like there?

I’m from Coventry, UK… the scene is actually really picking up again after a quieter few years and Covid of course… helped by the fact that a lot of money was put into Coventry during its year as City of Culture.

What is your latest release? (Album, EP, Single, Video)

We are completing our new album, “The Black Maria” this year, and in the meantime have just had a 40 year collection released on US label Sleepers Records…on Vinyl and digital formats… you can listen to it on out official Bandcamp site.

https://attritionuk.bandcamp.com/album/a-great-desire-1986-2004

Who have been your greatest influences?

Musically I’ve been influenced by punk and the post punk of bands like Joy Division, PIL, Magazine, Cabaret Voltaire etc. etc., but so much of everyday life influences what I do and what I write…

What first got you into music?

Punk rock in the late 70’s blew me away and totally inspired me to make music. I started out writing a fanzine, “Alternative Sounds” here in Coventry (ran 18 issues from 1979 – 1981) then knew I had to start a band…

If you could play any festival in the world, which would you choose and why?

We have played many over the years and we’ve toured all over the world… on 4 continents so far… so I can’t say there is a festival I need to play, but I’m always excited with every gig we do, from the smallest club to the largest stage. I actually prefer the atmosphere in a smaller club than in a field!

What’s the weirdest gift you have ever received from a fan?

That some fans named their child after one of my songs… ‘A girl called Harmony’ to be exact… our most well known song (from 1991)… I’ve since met 2 women in the USA that were named after it….
best review ever!

What do you enjoy the most about being a musician? And what do you hate?

I love the freedom to create, and the travel it has meant and meeting so many like minded people… like a world music community if you like… and with my work in my studio (The Cage) producing and mastering for other bands has meant I can live outside of the mainstream world a lot of the time… I’m grateful for that.

If you could change one thing about the music industry, what would it be?

A good question… it has changed in so many ways over the past 40 years… but in other ways it is pretty much the same… it’s always about dedication and hard work and belief in yourself. I do like the way that there is a lot more independent control of your own career now, although it still needs the same amount of work as record companies and booking agents would put in. I think sometimes bands think they can bypass everything and I don’t think they can. I like the fact that there are so many formats for music these days too… from Vinyl to streaming and YouTube and merch sales… I like it…so in answer I don’t think there is much I would change right now!

Name one of your all-time favourite albums?

Joy Division – “Unknown Pleasures”.

What’s best? Vinyl, Cassettes, CDs, or Downloads?

I love the fact that there are so many ways of listening to music… they all have their good points and as long as people are into listening to music, in whatever format, then that’s fine by me!

What’s the best gig that you have played to date?

Some amazing ones over the years. its so hard to choose just one. Playing places like Hawaii, Tokyo, Siberia… places I’d always wanted to go to has been an incredible journey. Oh, and one of the worst places we played was CBGB’s in New York…. But I’m still glad we played there…

If you weren’t a musician, what else would you be doing?

I started out as an art student, painting and sculpting… dropped out for music… so I guess I would still be an artist. I often think of returning to that later in life. During lockdown I started to learn to make videos and made my first last year for our last single… do check it out here…
ATTRITION – The Alibi –
https://www.youtube.com/watch?v=u-yAqSkzybE

What’s next for the band?

We are so pleased to be out performing again after Covid. We’ve played 4 shows in the UK so far, but talking to European promoters and further afield… we hope to play the South American tour soon, that was scrapped in 2020. In the meantime I am completing the long awaited new album, “The Black Maria” and hope to release this, in all formats, by the end of this year.

What Social Media/Website links do you use to get your music out to people?

I try to be very active on social media… so here are few to try!
www.attrition.co.uk
www.facebook.com/ATTRITIONMUSIC
http://attritionuk.bandcamp.com
www.youtube.com/user/attrition
https://twitter.com/attritionuk
https://sptfy.com/attrition
www.thecagestudios.co.uk

Jaffa Cakes! Are they a cake or a biscuit?

Haha…. I have been vegan for 23 years and can’t even remember what they are like! 

Thank you for your time. Is there anything else that you would like to add?

Thank you for the interview… I hope people will explore the music further…

Martin Bowes, Coventry, England. March 2022

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.