EMQ’s With Lotus Thrones

Lotus Thrones Logo

EMQ’s With Lotus Thrones

Hi everyone! Welcome to another EMQs interview with USA based one man Post-punk/ Industrial project, Lotus Thrones. Huge thanks to main man, Heath Rave, 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 Heath Rave. I play almost everything on my recordings (drums, guitars, synth, vocals) outside of the frequent saxaphone additions by Bruce Lamont (Yakuza, Bloodiest) and the occasional guest. Like a lot of newer projects, this one started during the pandemic. I had been away from music for quite some time due to mental health and I finally reached a place where I could make music again. I started learning how to record with help of a ton of great friends and connections and here we are at album 2!

 How did you come up with your band name?

I’ve always been drawn to southeast Asian philosophy and found their deities incredibly beautiful, fascinating and powerful. Many sit upon a lotus throne when being presented in artistic forms and the two words together invoke the power of the delicate. 

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

I’m currently located in Philadelphia, Pennsylvania in the United States. Everything up down the East Coast is incredible and there’s a vibrant scene of multifaceted music artists from hardcore, to hip-hop, industrial and death and black metal. 

What is your latest release?

The Heretic Souvenir – album.

 Who have been your greatest influences?

Hands down for this project Killing Joke, Justin Broadrick from Godflesh / Jesu, Ministry and Trent Reznor / Nine Inch Nails. For me they define what is experimental and boundary pushing with no fear of stepping into any sounds they see fit. 

 What first got you into music?

My older sister and I cut our teeth on 80’s thrash and glam metal along with some new wave stuff. Skateboarding introduced me to punk rock in 80’s as well. We loved everything from Slayer to The Cure to The Misfits to Motley Crue. It was all fun and a little naughtier back then. 

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

I would love to work with Chris Connelly of Revolting Cocks /M inistry or the rapper Backxwash. It would be a dream to work with Youth from Killing Joke and the ultimate would have to be Peter Gabriel. 

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

Roadburn. The most all-encompassing and quality fest on the planet. Its highly curated and not overblown, and I would see a ton of friends. 

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

I’ve never received a weird gift from a fan. The greatest gift I every received was Toby Verhines messaging me about my music and discovering an incredible artist that helped make the vision happen for the new record. 

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

Whatever is good to you is good and you owe no one explanation of your feelings and tastes in art. Please purchase the vinyl!

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

David Bowie. 

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

These days, I really enjoy the fact that with technology I can create whenever I have time and however I see fit. I have so many sounds and ideas in my mind and there are no limits now. I try not to hate, there are things that are frustrating for sure, they are the same things make modern society difficult like social media and promotion. Adaptation is the key to survival and do want my music to be available to those who would enjoy it. 

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

Monetary compensation for streaming. 

Name one of your all-time favourite albums?

Peter Gabriel – 3 (Melt)

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

See, are we speaking science or preference? Because at the end of the day, the sonic quality of the Compact Disc is scientifically proven to be the best sounding format regardless of feelings, taste and societal expectations. I have them all though. I love my records, I love that I still have CD’s in my car. Tapes are cool to look at and downloads and streaming keep the soundtrack flowing all day. 

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

We’ve only played a few now as I’ve just gotten a live band together so they’ve all been special and learning experiences. 

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

I’m also a tattoo artist and a father so I’m usually doing a lot! 

Which five people would you invite to a dinner party?

Jaz Coleman, Crispin Glover, David Lynch, Chuck D, Sun Ra. 

What’s next for the band?

Getting this record out and some shows this year. I’m currently finishing up recording record 3 as well as a couple EP’s and an ambient project I’ve been working on. Tons of stuff. 

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

IG: @lotusthrones
FB https://www.facebook.com/lotusthrones/

Time for a very British question now. As an alternative to the humble sandwich, is the correct name for a round piece of bread common in the UK either a Bap, a Barm (or Barm Cake), a Batch, a Bun, a Cob, a Muffin, a Roll or a Tea Cake?

A Bap. Admittedly I had help as my friend from Yorkshire who lives in New Jersey stopped by today. 

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

Buy the record if you have a record player and thank you for all your support!

Disclaimer: This interview is solely the property of 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.

Naut – Hunt

Hunt Album Cover Art

Naut – Hunt
Season Of Mist
Release Date: 24/02/23
Running Time: 38:24
Review by Dark Juan

It is well known that Dark Juan is a Sad Old Goff ™ and is frequently to be found rattling around in the nether reaches of his musical archive looking for the bootleg copies of ‘Wide Receiver’ and ‘Jolene’ by the Sisters Of Mercy he knows are in there, because he recollects buying them from some dodgy fanzine or other many moons ago. Although I might have been wasted on any number of substances back then and it could be what is left of my memory playing tricks on me. Also, many moons ago, your favourite Hellpriest and sex symbol for the half-blind and wholly drunk wrote for another online zine and had the conspicuous delight of reviewing Bristolian Post-Punkers Naut. 

Ah, Bristol. A fine city indeed. Where I saw Ghost for the first time in the company of three quarters of Doomcrow (being the band I molested the guitar in when I lived in Wales) and the main place in Britain you can see the bridge leading to the wilderness where there be dragons. Cymru am byth, even though I am not Welsh. I left part of my heart there. I recollect giving the band a high score for their modern take on classic Gothic Rock and this time I will leave out all the descriptions of a skinny, pale youth with slicked back black hair and a tie-dyed long tailed shirt and leather strides trying somewhat desperately to make the ethereal wisps of girls with outrageous coiffures in The Banshee back in Manchester notice him…

Such were my teenage years. There is a point to this preamble and that is that Naut unashamedly take inspiration from classic Goth Rock. Now Dark Juan is somewhat older and considerably more grizzled and would eschew leather trousers as deeply uncomfortable when doing the silly Goth hands dance whilst fading in and out of view because of the fug of clove cigarettes suffusing a small room with conspicuous overamplification, he is able to look beyond the dark wonders of those halcyon times and hopefully give you an unbiased and honest review of the disc currently spinning on the Platter of Splatter.

“Hunt” is Naut’s debut full length release and it is one Dark Juan has been waiting for the correct moment to savour, being as I was such a fan of “Hit The Lights”, Naut’s debut recording. The influences are as you might expect on a Goth / Post-Punk record – The Sisters Of Mercy, The Jesus And Mary Chain, Fields Of The Nephilim and Siouxsie And The Banshees being the obvious ones. The Sisters are a prevalent influence right down to the drum machine that Naut employ after parting company with their drummer. ‘Damocles’ is a perfect melding of the sonorousness of the baritone of Gavin Laubscher and the sweeping majesty of a Sisters composition, yet with rather more muscularity than Eldritch’s mob. ‘8 In 3’ is a much Punkier affair, reminding this correspondent of the likes of The Damned in their more Goffik moments (see “Grave Disorder”), but still with that sinuous quality, that dangerous sexiness, that predatory yet fragile emotion that embodies proper Gothic Rock. The music is very percussion driven, like a throbbing diesel engine pushing a matt black, yet stained with rust, warship through the waves near a foreign, enemy shore on a mission of espionage. The power of Naut’s music is not derived from out and out aggression. It is derived from tight and focused emotional chi, delivered precisely on a single part of your body, calculated to break you down piece by piece, starting with stealing your heart…

The guitar work is masterful on this album, going from softly chiming notes to coarse and aggressive riffing with ease and fluidity but always retaining an extremely emotional quality, like when you’re both angry and desperately sad at the same time and you’re crying great snotty tears while strangling someone for what they have done to you. ‘Unity Of Opposites’ encapsulates this feeling exactly, the chorus being an impassioned, almost shouted refrain of “Blood on your hands!” repeated, while the synths of Laura Taylor wail and whoosh in typically ethereal fashion around the words. 

Mention of the work of the bass player, Andi Effe, must also be made. He, and Naut as a whole, understand the central importance of the bass guitar in Goth Rock. It is a growling, pack-leading predator searching for prey to sink its unfeasibly large fangs into – bass and drums are the foundations of this music and Naut execute it fucking perfectly.

Even though Naut sound absolutely classic in their music, there is something about it that drags all the old, good stuff kicking and screaming into the light of the 21st Century. It is timeless music, played with the kind of heartbroken passion that Goth Metal misses out on while the singers are exploring the upper reaches of their operatic vocal ranges. Naut is dirty, cellar and gutter dwelling vampirism, all faded grandeur and torn, yet fine raiment and dust-stained marble white skin coming to sink famished fangs into the throats of the beautiful people of a brightly lit modern city and it is, to be frank, fucking brilliant music.

The Patented Dark Juan Blood Splat Rating System’s heart is racing, and it has turned all the lights off, lit an incense stick and is seated, transfixed in the dark as it listens to Naut. Way back when I reviewed their debut EP, I deducted marks for it not being Metal. Not this time. “Hunt” is as powerful as a Metal record, just not by sheer amplification or distortion or speed. Heartbreak and sorrow leading to tear-stained violence are what make this record special and it is being awarded a full 10/10 because it is so awesome. I don’t even care that it isn’t Metal. It’s close enough kin to count and I am prepared to fight each and every fucking one of you about it. We have a contender for record of the year and its only fucking February.

01. Dissent
02. All the Days
03. Gold & Death
04. Damocles
05. 8 in 3
06. Unity of Opposites
07. Nightfall
08. Watchers

Gavin Laubscher – Vox, Drum Programming, Songwriting
Jack Welch – Guitars, Percussion, Songwriting
Laura Taylor – Keys, Synths
Andi Effe – Bass Guitar


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.

pMad – Who Why Where What

Who Why Where What Album Cover Art

pMad – Who Why Where What
Sliptrick Records
Release Date: 29/11/22
Running Time: 50:17
Review by Dark Juan

Good evening, my dear friends. I write this missive to you for possibly one of the last times at Dark Juan Terrace, before Mrs Dark Juan and I quit it for new pastures at Crow Cottage. I don’t know what to think about it, because I have got used to this place and to go somewhere else is strange, although the upside to that is that in Sowerby Bridge my house will be within five minutes’ drunken stagger from no less than six fine hostelries, including two rather splendid live music venues in the Puzzle Hall Inn and the Blind Pig, where Ever-Metal.com’s own Hyperactive Metal Pixie ™ has played live.

In other news, I did daytime drinking with my work colleagues and now I am having a glass of port to wake me the fuck up again whilst I give “Who Why Where What” by pMad the benefit of my attention. This is the debut album from this Irish artist and it is described as “If The Cult and The Mission had a child this is what it would sound like.”

I don’t agree. What a fucking shock eh?

I hear the influence of The Mish clearly – but I hear the sound of Post-Punk and a bit of New Wave in there – there’s more Bauhaus and Blondie in the music than The Cult. I hear Cabaret Voltaire and Siouxsie And The Banshees and Waterglass and The Horatii and the bass-led sound of the Sisters Of Mercy, and the puckish sense of humour of The Cure on ‘Except Me’. I hear bits of Joy Division in the vocal performances as well as The Undertones in the phrasing of the singing. The only times I hear anything to do with The Cult is when pMad cranks up the distortion. There’s nothing in the compositions that indicate a desire to have a Manchester City fan playing a big white Gretsch guitar while a paper-thin man in a bandana and white shirt sinuously writhes as he howls goodbye in Italian  to Edie. 

Also, ‘Sisters’ is a sneaky little bit of work, the guitar work immediately referencing both ‘Temple Of Love’ and ‘Alice’ by the Sisters Of Mercy at the SAME TIME, that totally and utterly not a goth band because Andrew Eldritch threw a goth paddy and decided he wanted to be “An Industrial groove machine painted in the shiniest of yellows and blues”. Or something like that. I was coveting his United Federation Of Planets ice hockey shirt at the time.

The record has a pure retro sound – it could have been recorded in 1987. pMad has effortlessly managed to recreate the clove cigarette and neo-classical angst of classic Gothic Rock – ‘Horror’ even has a small flavour of Gary Numan in the vocal pattern and delivery; it reminds me rather a lot of ‘Stormtrooper In Drag’ and that is a fucking brilliant song, so all in all pMad’s doing all right as far as Dark Juan is concerned…

Being as we all know that Dark Juan is a sad old goff (mainly because he bangs on about it all the fucking time) it is fair to say that he has gone off on a nostalgic trip down memory lane and remembering the first time he heard the Sisters, and Naut, and The Jesus And Mary Chain, and Fields Of The Nephilim, and Bauhaus. The world has missed this unashamedly Gothic Rock, and Dark Juan for one is delighted that this Irish artist has brought it back into the daylight, where he’s abandoned it, blinking and disoriented, lusting after a pint of snakebite and a licorice cheroot.

The production is rich and full even if there are some occasions where pMad’s vocal limitations are on display (opener ‘Who Am I’ being an example) and there are times where his bass guitar overpowers everything else, but this is a minor gripe indeed considering the amount of fun I am having sipping port and being transported back to The Banshee in Manchester and not being able to see my way to the bar because of the fug of clove cigarettes and hairspray and tripping over minute ladies with coiffures taller than themselves and boots that added almost a foot in height.

Tracks 9-13 are remixes – They encompass Darkwave and Futurepop, primarily – ‘Youth (MeMory Mix)’ being rather reminiscent of something Ladytron might have released. The remix of ‘Sisters’ gives us the kind of eight-minute plus epic that Eldritch was so fond of subjecting us to back when he did anything like, you know, RELEASING A FUCKING NEW RECORD, but it’s such a good track it totally stands up while almost doubling the runtime. Throughout the whole album, though, there’s a warmth, a knowing nod and wink to the listener that lets you know that pMad is with you – he’s a similar age and has listened to all the same music you have and he wanted you to hear what he could do compared to all the classics. It gives us a classic sounding record that is somehow relevant today.

So, all in all, this is a fucking cracking listen if you’re of a certain age and still wear black nail polish, or you’re a young neophyte who wants to discover what Goth sounded like before Metal kids started recruiting operatic sopranos to front their bands…

The Patented Dark Juan Blood Splat Rating System really, REALLY loves pMad and his 80s-tastic Goth and Roll. It’s the perfect soundtrack of the musical voyages of discovery Dark Juan went on as a kid in his bedroom back in a dirty mill town just north of Manchester, where the alternative and the different were frowned upon and despised. pMad brings back the feeling of wonder and excitement when your correspondent had been to Vibes Records in Bury, and had taken a punt on a record by Alien Sex Fiend rather than just shelling out on Sepultura’s latest thrashatopia, and getting it home and reading the inlay studiously so I knew every word by the next day. 9/10 – A mark has been deducted because Metal fans might not find it suitably bruising, but Dark Juan fucking loves this album. I can take or leave the remixes though – they seem a bit… pointless, really, and makes Dark Juan wonder whether pMad needed to pad out his album a bit.

01. Who Am I 
02. Broken 
03. Medicine 
04. Except Me 
05. Sisters 
06. Youth 
07. Horror 
08. I Am 
09. Who Am I (pMad reMix) 
10. Youth (pMad reMix) 
11. Sisters (Extended Keira Mix) 
12. Horror (hoMe Mix) 
13. I Am (Me Mix)


pMad – All instruments and vocals


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.

Munly & The Lupercalians – Kinnery Of Lupercalia; Undelivered Legion

Kinnery Of Lupercalia Undelivered Legion

Munly & The Lupercalians – Kinnery Of Lupercalia; Undelivered Legion
Alternative Tentacles
Release Date: 26/08/2022
Running Time: 39:48
Review By Alex Swift

Since this is the first piece of music I’ve heard from Jay Munly, I was interested to learn that it is the first of a trilogy of new albums, with the following two coming from his other projects, DBUK and Slim Cessna’s Auto Club. I do wonder why his three current bands need to be distinguished from one another given that they all seem to be made up of the same bandmates, but similar to Devin Townsend’s (meaningless, by this point) use of different monikers for what is essentially his solo career, the differences may help to distinguish between styles or different artistic philosophies. The album itself has a full sound with many top-notch textures. The percussion is active and gives the tunes a strong base. The piano, synthesiser, and melodica all make fantastic soundscapes, as do the cello, banjo, and acoustic guitars. Even the bass has a distinctive voice, keeping the beat with the drums and interacting with the many counter melodies and rhythms. Munly meanwhile has a deep, melancholy baritone. It all makes for an excellent sound. 

Before the banjo bursts in with a fantastic riff, the record begins to fade in with handclaps. Thanks to the multiple layers of sound building up, ‘Ahmen’ gets quite arresting while it’s operating at full speed. The bouncy vocal and the harmonies that accompany it are what make the song catchy. A special mention should be made for the organ work as well as the background voices, which take the opener to a whole new level. Compared to the roaring opener, ‘Ben Asher’ starts out more atmospheric and sombre, but I like how the speed gradually ramps up when the drums come into play toward the middle of the song. The way Rebecca Vera contributes a stunning background voice as this song grows into a kaleidoscopic swirl of atmosphere towards the conclusion is also fantastic. A solid foundation of sound is created by the bass, which is dominant on ‘Doder’ together with the continuous driving drumbeat, delicate melody, and shuffled guitar rhythm.  Despite Munly’s unique melodies, his vocals stay lively and lush, complementing the immersive quality of the track.

This is continued on to ‘Jehu’ where the myriad of tones and rhythms offer your ear a lot to process in this tune, and despite my best efforts to focus in on one aspect, other sounds kept preventing me from doing so. ‘Mahout’ is, thankfully, a lot more focussed, albeit in a deeply experimental way with changeable tempo work, a vocal choir and yodelling, which listeners will either despise or be impressed by. On ‘Mattie’, the band does an outstanding job with the intro, which quickly gives way to a lavish symphony of sound. Extremely deep and ominous, this tune surrounds itself with a gloomy rhythm and uneasy countermelodies. Vera’s vocal on the bridge really stands out to me and provides a lot of interest, especially when the divergent vocal lines begin to build on top. Following this, ‘Polpot’ has a delightful beat that, again approaching a soothing sound due to the wandering bass and percussion. 

The final song opens with an ominous synth prelude that transports us deep into a creepy, mysterious wood, fitting the title of the song, ‘Scarebeast’. Oddly, though, after the banjo and vocals enter, the song adopts a tone that is almost victorious or hopeful. Even if it’s challenging to follow, the story is compelling. Overall, the album finishes on a sombre note that makes me want to check out the other two instalments of this trilogy, if only to hear how the ambient and experimental sound built throughout this project is continued. Although it has a peculiar feel, it also demonstrates a desire to venture outside of traditional – or even logical – notions of genre and convention.

01. Ahmen
02. Ben Asher
03. Doder
04. Jehu
05. Mahout
06. Mattie
07. Polpot
08. Scarebeast

Jay Munly – Vocals & Banjo
Slim Cessna – Vocals
Lord Dwight Pentacost – Guitar
Rebecca Vera – Cello
Andrew Warner – Drums


Disclaimer: This review is solely the property of Alex Swift 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.

Exit_International – Black Junk 10th Anniversary Re-release

Black Junk Album Cover Art

Exit_International – Black Junk 10th Anniversary Re-release
Say Something Records
Release Date: 17/09/21
Running Time: 41:02
Review by Steven Hooke

There existed a time in the UK alternative scene where our sad, decrepit little rock produced some of the world’s finest music. From 2008-2013, the likes of Hawk Eyes, The Defiled, Exit Ten, Feed the Rhino, and loads more took genres struggling to maintain relevance, and intrigue in audiences, and gave them a much-needed kick up the arse. Tucked away in the rolling fields of Wales, in the cruel shadows of Bullet for My Valentine, Funeral for a Friend, and Skindred, laid the angry, snarling, face-shredding, bass guitar-hailing trio known as Exit_International.

A dual-bass guitar-fronted act, incorporating Post-Punk, Hardcore and Noise in one handy little motif later to be known as “Noise Pop”, Exit_International are celebrating the 10th anniversary of their debut, “Black Junk”, with a vinyl re-release and remaster. Fans of the original release will no doubt be unsurprised to hear that the album sounds right at home in today’s setting. With artists such as Code Orange, Jamie Lenman, Haggard Cat, Turnstile, and Melted Bodies pushing the boundaries of Punk and Noise already, E_I feels right home with said company, with their shrieks of “why so cynical?” and “she’s got a chainsaw”.

Remasters tend to be a relatively divisive medium, especially for music made in the modern age. But what it does to “Black Junk” is make the sound so much fuller, breathing new life into songs such as the previously muddied, ‘My Mouth is Your Mouth’, which now sounds fantastic, and the realisation of a ‘Jump in the Fire’-esque riff on ‘Sex W/ Strangers’. The staple track ‘Chainsaw Song’ continues to sound absolutely incredible, but now with extra emphasis on the muted sliding riff on the second half of verses, and some underrated drum work from Adam Thomas. The repeating vocal hooks of ‘Shake Your Bad Ass’, ‘Body Joyrider’, ‘Voices’ and the like still sound and feel like they could tear open a 200-cap room with no hesitation.

The previously-13 track album brings along with it some semi-new material from the group, with never before released tracks, ‘Lay to Waste’, ‘Hex Lover’, and ‘Black Junk’. ‘Lay to Waste’ starts with a suitably treacle-thick bass riff, with an accompanying drum roll that slowly turns into a bastard son of Helmet and Pulled Apart by Horses, complete with a discordant piano interlude. ‘Hex Lover’ has big Melvins energy, with a huge, fuzzy, sludge riff as the centrepiece of the track, with some gorgeous bass tones sprinkled about as well. Finally, the unappointed title track, a Reuben-tinged bounty of rolling riffs, lo-fi vocal trade-offs, and a drop desperately calling out for a sea of flailing limbs. All three tracks are incredible and could easily have found their way on the initial release.

Like many of the forgotten turn of the decade generation, Exit_International have split up and gone their separate ways, returning only for this cruel (yet very hospitable) reminder of what we missed out on. Fortunately, it is never too late to discover a hidden gem, and a “Black Junk” with a fresh, bigger sound, some brilliant bonus tracks, and the same energy as snorting a sherbet Dib-Dab, is more than deserving of your time.

01. Glory Horn
02. Sex W/ Strangers
03. Voices
04. Shake Your Bad Ass
05. Bowie’s Ghost
06. Body Joyrider
07. Sherman Fang
08. Chainsaw Song
09. My Mouth is Your Mouth
10. Lights Out
11. King of the Junkies
12. Blindfolds
13. Hey Disciple
14. Lay to Waste
15. Hex Lover
16. Black Junk

Scott Lee Andrews – Vocals, Bass
Fudge Wilson – Vocals, Bass
Adam Thomas – Drums, Percussion


Disclaimer: This review is solely the property of Steven Hooke 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.

Broken Links – Conflict::States

Conflict::States Album Cover Art

Broken Links – Conflict::States
Release Date: 30/04/2021
Running Time: 55:13
Review by Wallace Magri

“Conflict::States” is the fourth, self-released, album from Broken Links, a three piece UK based band that delivers a pleasant mix of All Goth Rock styles: Post-Punk, Dark Electro and Alt/Pop Rock. Regarding the lyrics, according to lead singer/guitarist Mark Lawrence on the press release, “People are living in a world where they think they have choices. There are no choices. We’re on borrowed time. This album is a statement of awareness to all the shit holding society back.”

I totally agree with him about the fact that we have pre-oriented choices in our lives, there is nothing such as free will – unless free will means that you are able to choose from things, which are previously selected for you, to make you feel amazed with what you didn’t need in the first place. It really feels, to me, that we are all living in a cage!

If that is so, I would rather keep on listening to Dark Electro as much as I can, because it relates to my state of mind, since I know that the digital society is just a tedious version of the boredom I felt back in the 80’s. And that is from the era that Broken Links seems to rise from, reminding me of bands like Bad Religion, Depeche Mode, Siouxsie and the Banshees, early Nine Inch Nails and a little bit of Manic Street Preachers.

Even though, in these days, an album that takes nearly an hour to listen to is almost an insult to the digital music industry, the fact is, that you can just keep the songs going here, because “Conflict::States” has many high quality songs that keep the listening experience very stable. So, I am gonna choose some of the songs that most caught my attention to give to you my impression of the overall album.

‘Pioneers’ reminds me of post-punk era Blondie, as heard in the 80’s classic song ‘Heart Of Glass’! It has a darker and heavier approach, for sure, but the pop appeal appears in the pre-chorus, thanks to the melancholic vocals. On ‘Antibiolitics’ the dark side of Broken Links is highlighted, and I just loved the drum and bass power of the song and also the solo, played over a contrasting scale, with an oriental vibe to it.

On ‘Cold War’ the Industrial Metal element arises sublimely, at the beginning, to meet the Goth Rock approach of the band, falling into a melodic chorus which has a fondness to post-punk. ‘Fatalism’ follows in the same direction and the vocals remind me of Trent Reznor’s singing attack at its best. In any case, the organic instruments are the main body on all the compositions. Broken Links are able to provide a quite unique sonority on these songs, and on the whole of “Conflict::States”.

I will tell you now that if I lived in the UK and Broken Links came to my town, I wouldn’t miss the chance to catch them playing live, just to have my night painted black with well-arranged Goth Rock songs. So, I advise you to show up, if and when they come to your town.

‘Pioneers’ (Official Video)

01. The Day Called X
02. Replicas
03. Pioneers
04. Antibiolitics
05. Cold War
06. Eras
07. Monolith
08. Fatalism
09. T.T.O.
10. Zealots
11. Year XI

Mark Lawrence – Vocals/Guitars
Phil Boulter – Drums
Lewis Betteridge – Bass


Broken Links Promo Pic

Disclaimer: This review is solely the property of Wallace Margi 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.




Hi Everyone. Welcome to our new EMQ’s interview with Bochum, Germany based Post-Punk band INADREAM! Huge thanks to guitarist Thorsten Wüllner 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 Thorsten. I play guitar in a post-punk band called “INADREAM”. INADREAM was founded by Frank (voc), Dennis (bass) and me in 2016. By then we didn´t have a drummer, so we had to rehearse with a drum computer. In the beginning of 2017 Achim, who played together with Frank in his first band 20 years ago, joined the band. It was just in time because the first concerts were already booked. So we played quiet a few local concerts including club gigs and festivals. In 2018 and early 2019 we visited the “Megaphone Studios” where we recorded our debut album “No Songs For Lovers”.
How did you come up with your band name?
We wanted to find a name that unites all the different styles and genres that influenced us. Even if it sounds kind of romantic, everything can happen in a dream. You can have sweet dreams or nightmares. So are our songs. A straight rocker can be followed by a Ska-Track. You never know, what comes next, but it always sounds like INADREAM.
What country are you from and what is the Metal/Rock scene like there?
We are from Germany. The Rock/Metal scene here is still alive. On the one hand you don’t get much airplay on radio or TV, but you also have festivals like Wacken with around 80.000 visitors every year.
What is your latest release? (Album, EP, Single or Video)
We will release our first Album “No Songs For Lovers” on November 15th 2019 via Echozone. Prior to that, two singles/videos ‘Red Light’ and ‘No Song For Lovers; will be released.
Who have been your greatest influences?
The biggest influences for the band are Pixies, Chameleons, Joy Division and a lot of German punk bands from the 80’s as well as many different hard rock bands like Buckcherry, Backyard Babies or Gluecifer.
What first got you into music?
That was our bassist Dennis. He is my cousin and a little bit older than me and he always gave me some cassettes where he recorded the latest rock and punk songs when we were kids. Well that was in the early eighties.
If you could collaborate with a current band or musician who would it be?
I think that would be the Pixies or the German punk band Fliehende Stürme.
If you could play any festival in the world, which would you choose and why?
I am not a festival guy. I prefer club gigs –loud, hot and sweaty.
What’s the weirdest gift you have ever received from a fan?
I think the weirdest thing is, that I never received a gift from a fan. Maybe the other three got gifts and didn´t tell me.
If you had one message for your fans, what would it be?
Support new music! If you have never heard about a band before, it does not mean it´s bad. Get out of your comfort zone and go to concerts and listen to new records
If you could bring one Metal/Rock star back from the dead, who would it be?
I have to say Lemmy.
What do you enjoy the most about being a musician? And what do you hate?
The best thing is playing live. It´s pure adrenaline! But I also like being creative. Four people in a rehearsal room, writing songs and creating something from nothing! That´s pretty cool. What really sucks, is the business stuff.
If you could change one thing about the music industry, what would it be?
I would love to see, that music is recognised as something special again and not just as consumable, that is endlessly available.
Name one of your all-time favourite albums?
Guns N’ Roses – “Appetite For Destruction”.
What’s best? Vinyl, Cassettes, CD’s or Downloads?
I grew up with Cassettes but now I prefer Downloads or CD´s. But if you ask the others in the band, the answer would definitely be Vinyl.
What’s the best gig that you have played to date?
We played a gig as support for Fliehende Stürme in June this year. Big stage, great sound and a great audience!
If you weren’t a musician, what else would you be doing?
We all still have regular jobs. So I think, we would be doing, what we do, but with less joy and fun.
Which five people would you invite to a dinner party?
I would invite my three band members and two really good cooks.
What’s next for the band?
Right now we are focused on the album release. We will be playing some concerts to promote it and start recording the video for the single ‘No Song For Lovers’. We are also writing new songs that we hope to record in 2020. So we are pretty busy right now.
What Social Media/Website links do you use to get your music out to people?
Right now we use Facebook and YouTube.
Jaffa Cakes! Are they a cake or a biscuit?
What are Jaffa Cakes?
Thank you for your time. Is there anything else that you would like to add?
You´re welcome. It was a pleasure.
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 both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.