Tag Archives: industrial

Blackout: Do Kaos Krew Return With Their Best Album to Date?

The Finnish heavy industrial metal band Kaos Krew are back with their sixth album. According to the band themselves, “The album as such is not a concept album but consists of songs written during the period of possible energy crisis, therefor the title ‘Blackout’. It’s an interesting concept, and one I’m excited to check out!

After an slow organ build-up to open ‘At the Core’, we get into a fantastic guitar riff, stomping and heavy. I love the electronic stuff adding an element of melody and futuristic feel to it. The growled vocals fit perfectly over the top, keeping the feel brutal and heavy. The pace keeps pretty steady though the vocals do clean up a little for the choruses, making them a little catchier. The structure threw me off too, as we get the bridge before the second chorus. The drum work through it is incredible, a funky off-beat, and the guitars playing a solo melody is awesome. Then a final chorus-verse-chorus takes us home in style. This was a really interesting track. It’s a great way to open the album as it sets the scene perfectly for the band’s sound.

‘Retribution’ punches the listener straight in the face with a huge riff to start. We then get an awesome, epic riff that is mirrored by I think keys, but it almost sounds like a horn/string combo. It’s fucking awesome and real epic. The vocals are clean this time, giving the track more of a prog-metal feel. The chorus is even catchier than the previous one too. The track overall has a very European metal feel to it (of course); having elements of power metal and symphonic stuff alongside their unique sound. We get an awesome guitar solo to bridge the gap between the choruses, really giving chance for the lead player to shine. We also get a really epic extended bridge that I’m sure would go down a storm live. Especially with the strings coming back. This is an incredible song, and one that easily makes our playlist!

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‘Know Thyself’ feels like the perfect amalgamation of the last two tracks. It has the stomping pace and industrial riff of the first, while having the awesome electronic melodies and epic feel of the previous track. Then, to my surprise, it drops down into a cleaner, slower bit, and we get some incredible female vocals. It’s a very interesting and welcome change of pace. It all builds perfectly into a MASSIVE, heavy, screamed chorus, and I can’t get enough of it. The riff sounds incredible behind it, making it all sound so huge. The screams almost have an air of Johannes Eckerström to them. In fact, the whole song sounds pretty Avatar, in the best way. We then get an awesome extended bridge to end. The guitars riff out while the synths do an awesome job making it all sound huge. Another easily playlisted track!

Tracks like ‘Wake up’, ‘Strangers Gate’ and ‘Flame on’ channel similar vibes to ‘Retribution’, that more epic, power metal end of their industrial sound. All three are fantastic tracks, the latter even having elements of 70s/80s pop in there too. It’s another highlight track and one to make our playlist! However, they all have a similar energy and feel to them, so it’s hard to talk about them all without repeating myself!

I have to admit, I wasn’t expecting so many instrumental tracks. Three across the latter half of the album, ‘Raceway’, ‘Dark Circus’ and ‘Bounce’. The middle one is sludgy, Black Label Society-like track with plenty of pinch harmonics and some spoken word stuff. The latter is an equally stomping, bass-lead track that leans hard into the electronic stuff at times. The former, I do have slight issues with. While it’s a great, more hard-rock style track… is the riff not just ‘Slither’? Like I love the influence of a Slash-esque sleaze into the music, but c’mon, at least change it up a little guys! It’s a cool riff at least, and they really get their money’s worth out of it!

‘Electro Magnetic Machine’ is a really interesting track, it building up incredibly slowly across over a minute of epic electro stuff. It eventually explodes into a huge riff that you can’t help but bang your head to. Some more awesome growls come in over the top, making everything feel even heavier. The one and only chorus (I guess) stays heavy but almost channels a Muse-like energy. It’s a really interesting track and placed perfectly in the middle to break things up.

Album closer ‘Electric Masquerade’ is another interesting one. Opening on an Egyptian-like sound and riff, the heaviness soon comes in over the top. It’s almost another instrumental, aside for some spoken word stuff running through it. I kinda liked the almost robot-like voice announcing the track and continuing throughout. It reminds me of Machine Head’s ‘Imaginal Cells’, especially with the subject matter too. It feels like the culmination of the topic of the album, and honestly feels like a pretty fitting and epic conclusion musically, too. Any awesome way to close out the album!

Overall: This is an awesome album! Though, I have to admit, it does feel a tad front-loaded. Those first three or four tracks are so good, and I was ready to start handing out a 10. However, a large part of the latter half of the album is more instrumental based, bar a couple of songs. It’s not an issue, but I feel it could have maybe been arranged a little better to spread out the vocal-lead tracks a bit more. Still, as an album as a whole, it’s excellent, and so great to just sit down and listen through in one sitting. The band are amazing throughout, and I can’t give it any less than…

The Score: 9/10

New Music Mondays: Staind, 3TEETH and More!

You know the drill by now. A collection of great new music for us all to check out. Let’s do this!

Staind: Confessions of the Fallen

Joe: Let’s get the obvious out the way, Aaron Lewis isn’t the best of guys. And yes, Staind feel like a meme band these days, like a lot of their counterparts from their era. However, having said that, their return album is pretty good. Don’t get me wrong, it’s still Staind, but at least you’re getting exactly what you’re expecting and wanting when you put it on. The band sound phenomenal, and if you were a fan of them back in the day, you’ll love this. And there’s even some surprisingly heavy riffs and even some screaming in tracks like the opener and title track. Honestly, I’d put ‘Cycle of Hurting’ or ‘Confessions of the Fallen’ up there with anything from their back catalogue.

Yes, it’s formulaic early 2000s radio hard rock/metal. However it never tried to sell itself as anything else. If you are a fan of the band like I am, you’ll love this. The two aforementioned tracks, alongside expected ballad ‘Here and Now’, are all major highlights. Staind are back, and sound just as good as they did in 2001. 8.5/10


Joe: When this gets heavy, it goes hard and is awesome. That that riff in ‘Acme Death Machine’ is amazing, especially after the build of the verses. The breakdown also pops off in that track. And heck, unlike a fair bit of synth-heavy industrial music, I actually like the slower, more subdued synth bits too. This band have always been so good at perfectly balancing the dynamics of heavy and not so that when the guitars come in it all sounds MASSIVE and the heaviness is very earned.

Considering I’d always thought, although 3TEETH are good, they always seemed to be missing something to push them to the next level. I could never place what it was. However, damn did they find it. This album feels like a coming of age for the band. Every track seems to be a radio-metal banger; catchy electro-verses building to big heavy riffs and HUGE choruses. Everything about it works, and seems miles ahead of their last album. They feel like a modern day Rob Zombie these days, and that’s a very cool thing.

The ‘it’ that they were looking for might be Mick Gordon. The Doom guitar god gives the five tracks he’s on so much more umph and heaviness. And his low-tuned, heavy riffs fit so well with 3TEETH’s sound, it’s a match made in heaven. As much as I love ‘ALI3N’ or ‘Scorpion’, there’s no denying how much Gordon adds to the likes of ‘Slum Planet’ or ‘Merchant of the Void’. And holy crap, ‘Paralyse’ featuring Ho99o9 too is phenomenal.

Don’t get me wrong, I completely understand this band won’t be for everyone. Heck, if anything they’re going to be pretty niche. But if you are into synth-lead industrial stuff, big riffs or even darkwave stuff, you’ll love this. 9/10, this is fucking awesome!

Anastacia: Our Songs

– Future Joe here coming to you from after he’d written the review. It wasn’t until hearing the blatant cover ‘Forever Young’ that I did some digging and realised that this whole album is covers of German rock songs. We don’t normally cover cover albums here on New Music Mondays. However, not only are a fair few of the tracks different and translated to English, but the album is really fricking good. and I’d already written the whole review hear enough. So you can have it anyway! It pays to research early, kids! –

Joe: One of pop-rock’s biggest names from the early 2000s is back with her eighth studio album, and first since 2017. Surprisingly enough (for me at least, knowing only her hits), it’s pretty country. ‘Best Days’ is the perfect opening track, building the sound up more and more into its huge, infectiously catchy chorus. And Anastacia’s voice arguably fits even better over the country rock sound here than her more grungy early work. ‘Now or Never’ continues on from the opener perfectly, building on the vibe and sound even more. Tracks like ‘Beautiful’ and ‘Born to Live’ are incredible ballads, while ‘Still Loving You’ feels like old school Anastacia.

I do have to say, however, that the second half of the album isn’t quite as strong as the first half. Don’t get me wrong, the duet with Peter Maffey, ‘Just You’, is an incredible, epic ballad. And ‘Supergirl’ is a damn good, empowering single. All of it is still good. However, none of it quite lives up to the lofty heights of the first four tracks. Still, 8/10, this is a great album!

Brent Cobb: Southern Star


Cannibal Corpse: Chaos Horrific

Joe: And now for something completely different. Jim Carey’s favourite death metal band are back with their 16th album. Now, while I haven’t had the chance to dive into much of their extensive back catalogue, I really found myself enjoying their last couple of albums, and I’m a big fan of Corpsegrinder. So, I was pretty excited to check this out!

The band didn’t disappoint. They are still just as in your face as they were with their debut, yet with better production and (controversially) better vocals. The playing, especially the balls-to-the-wall drumming, is hugely talented and admirable, and Fisher growls his lungs out from start to finish. And of course the guitar soloing is a massive highlight throughout too, falling somewhere between King and Hanneman in style. Highlight tracks include ‘Frenzied Feeding’, ‘Fracture and Refracture’ and single ‘Blood Blind’.

much like with 3TEETH, I get that this album definitely won’t be for everyone. However, if anyone reading this is into traditional death metal, or just the heavy stuff in general, check this out! 7.5/10

Death Dealer Union: Initiation

We’ve already reviewed this awesome album. Check it out here!

Pkew Pkew Pkew: Siiick Days

Joe: The Canadian punk rockers are back just a year after their last release with their fourth studio album. Honestly, growing up in the early 2000s and my right of passage as a child being Tony Hawk games, hearing a modern band still keeping that skater punk vibe alive so successfully is amazing. Don’t get me wrong, it’s not quite Blink 182 or Goldfinger, there’s a mixture of indie and modern sounds in there too, but the skeleton of skater punk is definitely what it’s built on.

Tracks like the opener, ‘Read Receipts’ and ‘Learning to Share’ are all massive highlights of the album. Honestly, it’s just nice to hear more upbeat, less serious music these days. As much as I like an emotional ballad, a bouncy track about not wanting to read someone’s messages immediately is sometimes exactly what I need. It’s chilled, upbeat and a lot of fun, feeling like a mixture of Rancid, Lagwagon and NOFX.

Thy Art is Murder: Godlike

Max: Thy Art is back with another punchy and impressive album that allows them to continue to demonstrate how talented they are as a group. The guitars and drums are exactly what you’d expect, punch and intense, but they also show the development and progression of not only the musicians but also the overall genre of the band as well. This continuous development has meant that whilst the album is very clearly and comfortably Thy Art, there are points throughout where the changes make enough to push a song from being good to great. Now final thoughts before the score, the vocals on the album have been done by an unnamed individual, and they are incredibly impressive and I cannot stress that enough so they definitely deserve some credit for this. 8/10


Joe: So I checked out the band’s previous album, ‘NULL’. You can check out my thoughts on it here. Considering this is the 2nd part to last years album, I can’t help but share fairly similar sentiments towards this one. Outside of a few heavy, chunky riffs, musically this isn’t for me. Noise rock has never really been my thing and, while I feel like I can appreciate it a little more a year on, between the hardcore vocals and the messy drums and guitars, I got bored easy.

However, at least after reading around about the album, I at least have a pretty great appreciation of it as an art piece, and get what they were doing. The band state ‘VOID articulates the despondency that followed the pain so vividly expressed through NULL’. Both albums are based around the same event and written and recorded in the same time frame. It’s the emotion felt after the sadness. And when listening to the albums together, the concept does shine through rather masterfully.

It just still doesn’t grip me, sadly… 4/10. In retrospective, this is the score for both parts as a whole, and a good 2.5 of it is down to the idea.