Alice in Videoland
Official Facebook: www.facebook.com/aliceinvideolandofficial
After a four-year long break, the electropunk-band Alice in Videoland finally reunites. The band that has already reached cult-status with their twisted mixture of electro, punk, pop and synth music are considered to be pioneers within Swedish modern electro. May 2015 will be the date for the new single-release from the upcoming album, released at Diket Records.
We had released four albums and spent a lot of time on the road for eight years when the whole band felt like we had started to forget to have fun together, the spark had gone and we decided to take a break to do other stuff. Now we have found the joy of playing together again, says the songwriter and singer Toril Lindqvist.
In the beginning of 2014, Toril Lindqvist and Anders Alexander started writing together again, there was no stress and the goal was simply to have fun!
What started out as some playing around resulted in a whole album, stronger and with more heart than our previous material, but still with a lot of the unique Alice in Videoland-sound – says Toril Lindqvist. The first single ”Let go” will be release in May and later this year comes the album ”Forever”.
Alice in Videoland, who consists of Toril Lindqvist (vocals), Anders Alexander (drums, synth, guitar), Johan Dahlbom (bas, synth) and Martin Kenzo (guitar, synth), was founded in 2003 and has during the years released four albums, the latest was ”A million
thoughts and they’re all about you” (2011).
The records have been released in the USA, Canada and Europe and eight years of touring and over 400 gigs have resulted in devoted fan clubs all the way from Moscow to Angeles, millions of youtube -views, sold-out concerts in Russia, Belarus, Ukraine, Germany, Austria, the UK and the list goes on. The band reached one of its peaks when Mercedes Benz used their song ”something new” in their TV-commercial that was broadcasted on Television and movie-theatres all over Europe. Alice in Videoland where also played frequently back home in Sweden and became somewhat of a house band at the Arvika-festival where they shared the largest stage with bands like Depeche Mode, Kent and Kraftwerk. Since the break 2011 all of the members have been working on separate projects; Anders Alexander with his solo project Slangbella under which he released two albums, Johan Dahlbom started playing with the Malmöbased band Modern Love, Martin Kenzo had a kid and worked with his own music and Toril Lindqvist, who has been living in Austria for a couple of years, started writing for her side project Varja.
Official Facebook: www.facebook.com/BasszillaOfficial
Unleashed by award winning french DJ/producer from Germany, Resistanz is proud to introduce to the UK, BASSZILLA – monster of electronic beats!
Created in 2014, the beast began an assault on the dance floors of the german club and festival-scene with hard and merciless tunes, which – even in the same year – ended up with a headlining show at the Pley!-Festival together with stars like Westbam, Gayle San, etc. Only a short time after that, a gig with Niels van Gogh followed on from the festival success, aswell as many other shows across Germany and France.
With a unique mix of EDM, acid, nu-rave and death-electro, BASSZILLA released his first EP in May 2014 through label “darkTunes Music Group”, this carried the sound of BASSZILLA out of the club/festival settings and right into homes, car stereo’s and mp3 players of the fans. He has also released several « BEASTMIX » 1 hour live DJ set recordings which are free to download on iTunes and soundcloud.
Mankind has failed in stopping BASSZILLA with conventional weapons of reason and calmness, this monster of the beats is no ordinary one: He is BASSZILLA, hear his bassline roar!
Official Facebook: www.facebook.com/CYFERDYNE
Formed in Lancaster in 2010 with a vision of creating an exciting and diverse new Industrial sound – Cyferdyne were quickly snapped up by International Industrial Music Label DWA (Digital World Audio) – with their debut album “Genesys” following in early 2012 to critical acclaim. After another year in the studio and live shows across the UK, the band changed line up in 2013 with Andy McBain from Ritual Noise taking on production duties for their sophomore album “Keep Your Silence”. With a more polished and club friendly sound and a string of remixes from Aesthetic Perfection, Assemblage 23 and Noisuf-X – “Keep Your Silence” has been smashing dance floors worldwide.
After delivering “one of the stand-out” performances at Resistanz 2014 – the band now have a string of high profile shows under their belt – including support slots with scene legends like Icon Of Coil, Covenant and Aesthetic Perfection. For Cyferdyne, it seems the only way is up.
Expect nothing less than pounding bass drums, soaring vocals and synths, bucket loads of energy and most importantly, a cheeky sense of humour…
Official Website: www.godflesh.com
Industrial metal innovators Godflesh have announced the details of their highly anticipated full length A World Lit Only By Fire, set for an October 6 release on their own Avalanche Recordings label. The album arrives on the heels of June’s Decline And Fall EP, which was met with widespread acclaim for its effortless synthesis of the duo’s fan-favoured early albums, themselves ground breaking genre experiments that pioneered an integration of electronic music’s bombastic rhythms, metal’s bludgeoning force, and post punk’s aural atmospherics. Whereas the new EP succeeded by fulfilling listener expectations, the full length exceeds them; delivering a full force exploration of the furthest boundaries of Godflesh’s extreme sonics, and then pushing beyond them, detailing the rich musical experience accrued in the dozen year span and countless musical projects (Jesu, Final, Vitriol, Greymachine, Techno Animal, etc.) between recordings.
The duo, comprised of legendary talents of Justin Broadrick (also of Jesu, JK Flesh, Techno Animal, Pale Sketcher, and more) and GC Green, formed in 1988 in the same fertile Birmingham, UK scene that forged the talents of Napalm Death, Carcass, and Head of David among many others. Initially disbanding in 2002, the band resumed live performances in 2010 and began the arduous work of crafting a follow up to 2001’s Hymns. The resultant self-recorded ten song set mounts the thin line between high definition clarity and raw, visceral heaviness, inducing a meditative state via seething minimalism that hinges on ritualistic riff repetition and the tenuous membrane between anxiety-inducing dissonance and cathartic minor key melody.
Official Website: www.thegothsicles.com
7000 miles to sing songs about Nintendo…Resistanz 2016, the return of, The Gothsicles!
As it was in the beginning, so shall it be at the end. The act that first trumpeted the festival’s ascension from aquatic sub-domains return for the final tentacled embrace back into the salty brine. Chicago’s ocean floor troubadours, The Gothsicles, are honored to be part of this electric line-up, thereafter to commit Resistanz to the most venerated halls of the hallowed deep.
Video games & shit.
Official Website: grendelbandpage.bandpage.com
Having played a killer show at the second ever Resistanz Festival we are very pleased to announce Grendel are set to the return to our mainstage in 2016!
Grendel started out in 1997 under a different name, but due to the band splitting up the name was changed into the current one. VLRK continued under the name Grendel, which originates from a character in the old Anglo-Saxon tale ‘Beowulf’.
In 2000 Grendel’s first promo CD was released, featuring the instant club favorites “Strangers” & “Nothing Like Senses”, later to be included on their debut album. Within a very short period of time this promo was being played at many locations throughout the Netherlands and internationally.
Soon after, in 2001, the band got signed to the German label NoiTekk records and released their debut album, “Inhumane Amusement”. With the rising interest in harsh EBM/Industrial music, this album received a warm welcome by DJs, listeners and media alike, spawning a good number of dance floor hits.
In 2012, Grendel returned with their full length album, entitled “Timewave Zero” on Infacted Recordings (EU) & Metropolis Records (North America). This marked a new milestone in the band’s history, raising the band’s profile to a whole new level, gaining critical acclaim in the media, becoming a staple DJ record and topping scene charts world wide (including DAC & GEWC). With this record the live act was expanded and the band continued to develop it’s sound.
The band is currently completing work on their latest EP, “Age Of The Disposable Body”, which is to be released in late Summer / Autumn of 2015 by Infacted Recordings & Metropolis Records.
Official Website: www.harleylikesmusic.com
Hailing from the industrial wastelands of Sheffield, comes an artist wielding ancient Japanese technology – so finely and sharply tuned – the edginess will cut through the dance floor like a finely honed katana.
HarleyLikesMusic – aka Harley Raine – has indeed taken the humble Lo-Fi Nintendo GameBoy and mixed it up into a Hi-Fi storm – creating and crunching the boundaries of chiptune and electronica into a unique and focused experience at music festivals across the globe. His last full album release ’Game Changer’ is a genius work that truly shows a visionary talent within this young man’s abilities.
Respectfully well recognised amongst the UK and world Chiptune scene, HarleyLikesMusic is deservedly coming to Resistanz Festival once again in 2016 – You have a chance to catch his sound experience in a perfect environment: Do not miss this!
Official Website: www.iszoloscope.net
Since 1999, Iszoloscope has been pushing the abstract conceptualization of isolation and its induced altered states of consciousness into a powerful, ominous, and immersive world of dark sonic aesthetic that can be called its very own. Seamlessly bending stylistic constraints by creating a fusion of industrial, electro-acoustic, ambient, rhythmic noise, psy-trance and break-core; this artistic endeavor sets an exceptional standard in hybrid electronic music.
Establishing itself as an experimental music project in the late nineties on the radiophonic landscape of Ottawa, Canada; Iszoloscope quickly gathered momentum through weekly broadcasts and renditions at local alternative electronic music events. In 2001, Iszoloscope gained world-wide attention performing at the German underground music festival Maschinenfest and releasing its debut album, “Coagulating Wreckage”, on Belgium’s Spectre Records.
As of Today, Iszoloscope has remixed countless artists, appeared on dozens compilations, produced 4 full length albums on the European labels Ant-Zen & Spectre (“Aquifère”, “Au Seuil du Néant”, “Les Gorges Des Limbes”, and “The Audient Void”) along with several EPs and collaborations on the labels YB-70, Ad Noiseam, and Spectre. Iszoloscope has also executed 5 successful European tours, and a myriad of shows at international events across the planet from Australia to Japan, to Europe and North America.
“A stentorian hum emanating from an unfathomably far point beyond the human experience”
Official Website: www.facebook.com/ivardensphere
Since it’s inception, iVardensphere has continually shrugged off conformity, bent the concept of genre and carved out a sound unlike any other. A fluid blend of tribal, cinematic, noise, techno/industrial, ambient and downtempo, this group of 5 delivers, not only in terms production, but as a crushing live act as well. iVardensphere often has upwards of six drummers on stage including African hand drummers and Japanese Taiko drummers. Set against a wall of heavy electronics and analog synthesizers, this show really is something to see.
The members of iVs have a strong industrial pedigree. Aside from iVardensphere’s founder and mastermind, Scott Fox, ESA’s Jamie Blacker and Iszoloscope’s Yann Faussurier round out the production team while Sean Malley (Servitor Sanctum) and Chuck Murphy (Idolatry) bring additional live and studio drumming thunder.
Official Website: www.lab4.com
Lab4 (Les Elston, Adam Newman) are multi award winning writers and producers of Hard Dance and EDM . With a career spanning two decades and ten studio albums for labels inc Avex, Resist, Tidy Trax.
Lab4 have also worked on many high profile advertising campaign for the likes of Bacardi, Reebok (Superbowl), Pepsi, BBC, Coca Cola and Auto Modellista by Capcom.
During this time Lab4 toured extensively gaining huge followings in Japan, Australia, The Netherlands and of course the UK.
As a result of the extremely popular live shows Lab4 received many awards and accolades including Best Live Hard Dance Awards PA 2004 – 2006 and Top 20 Most Influential Electronic Bands of All Time in Loud Magazine Japan. In 2009 Lab4 were approached by GodsKitchen to work on the sound design for the Boombox Global tours for 2009 and 2010.
In November of 2013 Lab4 also secured their first major motion picture track placement for the upcoming Sci Fi Movie “Time Lapse” starring John Rhys-Davies (Lord Of The Rings), Danielle Panabaker (Mad Men, The Flash).
2014 witnessed Lab4 headlining and co/headlining huge international events along side Showtek, Steve Aoki, Yoji, Sean Tyas, ASYS in Japan, Australia and the UK.
Lab4 are currently working on new releases for their brand new VantaBlack label and also writing for other well known hard Dutch and UK & US labels.
Massiv In Mensch
Official Website: en.massivinmensch.com
Answering the calls from their fans, Massiv in Mensch, makes their “UK debut” at Resistanz 2016!
Founded in 1993 by Daniel Logemann and Mirco Osterthun, and at first the band had other names, before they settled on Massiv in Mensch in about 1995/96. After deciding to move from instrumentals to songs with lyrics about human defects and decadence, their debut CD Belastendes Material (2000) brought the band to WGT for their first appearance. Noted releases that followed were Menschdefekt (2003), Clubber Lang (2006), and Meanwhile, Back in the Jungle (2008). These along with their last release, The Cortex Zero Effect (2013), all found their place on the Deutschen Alternative Charts (DAC) and the GEWC.
The band usually records their lyrics in German and their lyrics are often humorous, filled with wit and irony. Even though they have only a few songs in English they have a strong fan-base in the UK and North America.
Not attached to one sound Massiv in Mensch have covered the spectrum of the electronic music genre. Each CD shows the range of the musical abilities of the band and they never would be content with producing only one sound or genre on a CD.
Returning to the WGT in 2005 and 2012, the band has played shows all over Germany, Belgium and the Netherlands. With a new CD due out in the latter part of 2015, the band is ready to travel to meet more fans around the world!
The band lineup for Resistanz is Daniel Logemann (Keys, Vox), Sara Peel (Vox), Jonathan Millat (Guitar), Marwin Voß (Bass), and Muck Kemmereit (Drums).
Modulate Sound System
Official Website: www.facebook.com/modulate
What is Modulate Sound System? The sound of jacked up dirty beats at an old skool rave in a run down warehouse club with the best bass rig you’ve ever heard…arms reaching for the lasers with a big stupid grin on your face. Modulate Sound System takes you on a journey through their music and influences with one rule: if it works on the dancefloor, it’s in.
Rave, techno, rock, dirty electro, chunky house, searing trance lines and chest crushing kick drums. Then take all that, hyper edit, remix on the fly, loop, sample, fuck it up and spit back out in a unique experience somewhere between a DJ set and a live show.
Official Website: www.neonsol.com
Bringing a slice of modern day synthpop to Resistanz Festival, we are proud to welcome onto the 2016 line up, an act that is very much worthy of your attention, Neonsol!
Neonsol came to being in 2009, formed by a Copenhagen couple; Nina Io and Jesper Io (live vocals and keys) and later joined in 2012 by Canadian expat Frédéric Scarfone (production, sound design, arranging and live drums/effects),who has previously worked with Memmaker and Iszoloscope.
Neonsol’s palette of dreamy synth harmonies, growling basslines and mixed male and female voice, coupled with their energetic and engaging live performances has garnered interest among the European dark electro audience. Over the past 3 years, Neonsol have been expanding their horizons and their fanbase, making appearances outside Denmark and setting crowds in motion in Trondheim (Norway), Manchester (UK) and Malmö (Sweden).
In late 2013 the Manchester label AnalogueTrash signed Neonsol, and a year later the trio released their first digital single, Citadel followed shortly after by their 2014 debut album, Ecliptic, which was warmly welcomed by reviewers and entered the playlists of several radio stations and club DJs. A new EP is expected in 2016.
Official Website: www.neuroticfish.com
Neuroticfish is the electronic music project of Sascha Mario Klein (Keys, Vocals) and Henning Verlage (Keys, Production). Originally founded as alter ego of Sascha Mario Klein in the early 1990s, Neuroticfish experiments with elements of Synth-Pop, Industrial and EBM to create their own blend of electronic music: “Music For A Paranormal Life”, a musical concept that observes life beyond normality.
Inspired and influenced by the sound of Skinny Puppy, Nine Inch Nails and Depeche Mode this concept analyses neurosis’s, paranoias and emotional dependencies and their effects and distils it into a clear and emotional vocal performance with naive pop melodies over harsh and technoid beats.
The songs are about these inner monologues in which you confront a person, telling him exactly what you think of him. Then having done so, one leaves the battlefield, head up high in putative triumph. Or these perfect, razor sharp retorts full of venom, wit and intelligence which one has never uttered in reality. Unfortunately, also the remorse one feels over verbalized emotions which have better remained unsaid.
With songs like “Skin”, “Velocity”, “M.F.A.P.L.” and “The Bomb” Neuroticfish have taken the alternative dance floors by storm and for more than a decade their songs are played in clubs worldwide.
At the 2008 Wave-Gotik-Treffen in Leipzig Neuroticfish announced the closing of this project to take a break and recalibrate their artistic focus. In 2012 the slogan “A sign of life?” was found on their homepage neuroticfish.com and soon rumours went viral about the reunion of the project. In June 2012 the official Neuroticfish Facebook page confirmed the reunion stating that they are back in the studio and working on new songs.
On March 22nd 2013 the highly anticipated first “Sign of life” took place as a life performance at the Matrix Bochum, Germany. The promotional “Limited Behaviour EP” was released alongside and featured 3 new songs and a remix of “I don’t need the city”. A week later the next sign of life took place at the Resistanz Festival in Sheffield and again proved that Neuroticfish are back and here to stay.
Official Facebook: www.organdonors.dj
The Organ Donors are an anomaly in the modern dance music scene, spanning multiple genres and setting musical standards for well over a decade. Embodying the very nature of what is now known as EDM.
Their solo productions, remixes & albums on some of the worlds largest record labels have seen them enter the UK charts, gain support from the worlds leading artists, headline some of the planets biggest dance events and help pave the way for this modern, boundary free era of dance music.
This year will see them take their equally pioneering two-man DJ show around the world, including both the Chicago & Las Vegas legs of the Electric Daisy Carnival, Defqon 1, Colours & Creamfields as well as once again ripping it up at highlight club shows in the USA, Canada, Australia, Europe & Asia.
Their latest release ‘Dance Floor Killa’ has gained support from: Ferry Corsten, Nicky Romero, Lange, W&W, Marcel Woods, Sean Tyas, Scot Project, Johan Gielen, Marcus Schossow & many more…
Official Facebook: www.facebook.com/petrolbastard
Making their Resistanz debut in 2016, here’s PETROL BASTARD!
Petrol Bastard are the pubic hair in the dinner of conformity. Loud, offensive, colourful, fast, hilarious, and full of swearing and bad dancing. A techno-punk assault from Leeds that will leave you covered in bruises, cheap cider, and someone else’s vomit. Petrol Bastard have been offered support from everyone from UK Subs to The Cheeky Girls, and with a 4th album on the way they show no signs of slowing down and growing up. Tesco Value Prodigy – affordable shite for the skint and disillusioned masses.
Randolph & Mortimer
Official Facebook: www.facebook.com/randolphandmortimer
Randolph & Mortimer began as a studio only project fusing classic 80s Industrial and Electronics influences with a punk rock ethos and underground techno sounds. Part electronic music and part art experiment collaborations with Manchester’s visual Engineers Meat Cassette led to some well received videos, these were followed up by the $ocial £utures €P – the debut release – a limited edition cassette released in 2014 on Texan label Young Cubs.
The $ocial £utures €P threw everything into the furnace resulting in a wide range of sounds – from straight-up EBM to grinding techno, from bass heavy synth to minimal post punk. The €P saw R&M pushing the right buttons, gaining quality reviews and inclusion in various 2014 ‘best releases’ lists.
A remix of the LA’s new Industrial stars 3Teeth followed which catapulted Randolph & Mortimer’s profile to another level – a fast paced blast of Industrial punk and raw electronics that led to support from high profile blogs like Electronicbeats.net and Earmilk.com and more recently a remix for Italian Electro label Trashz Recordz of Static Starlight resulted in exposure on Industrial and EBM dance floors.
The Randolph & Mortimer sound machine has since transformed into a full blown live show, forged in the rehearsal rooms of the Steel City, it has become an audio/visual overload combining Meat Cassette’s visuals with the full on electronic action of the Randolph & Mortimer sound system.
Randolph & Mortimer are currently finishing the second EP, which will be out late 2015 and there is also a remixes EP coming out on Trashz Records and a remix of Cyanotic for Glitch Mode due out before the years end.
Official Facebook: www.facebook.com/seraphimsystem
In its time Resistanz has attracted acts from all corners of the Earth – but in an interplanetary first we welcome for 2016 the bass invader from Sirius, SERAPHIM SYSTEM.
Signed on the strength of a truly stellar remix for fellow DWA act RAVE THE REQVIEM’s hot-selling debut album, SERAPHIM SYSTEM’s own first album for DWA “Deadly Force” released at the tail-end of 2014 boasts a sound likely to appeal to those into hard-hitting instrumental electronics like NOISUF-X, TERRORFAKT, X-Rx and anyone left lamenting the untimely apparent loss of SAM.
Upcoming second full-length “Automaton Assisted Annihilation” adds elements of hip-hop and consequently a greater use of vocals – as SERAPHIM SYSTEM’s BL4KJ4K puts his own spin on the swaggrotech sub-genre being pioneered by fellow DWA artist RUINIZER.
In a genre not generally known for its sense of humor, behind his body-armor and brutally effective industrial beatdown BL4KJ4K’s sampling, songtitles and self-proclaimed insistence on being “a cyborg from Sirius” should be sufficient indication that he is not taking himself too seriously (or should that be “Siriusly”).
This is aggressive “fundustrial” at its fearsome finest – hard-and-heavy bass music with a healthy side order of noise and black humor to go.
Once again DWA and Resistanz bring you the stars of tomorrow, today. Truly out of this world.
Official Facebook: www.terrolokaust.com
Lauded by the likes of GRENDEL, NACHTMAHR, SOMAN and REAPER on its release, Spanish duo Terrolokaust’s 2011 album for DWA “God Loves The Violence” justifiably generated rave reviews and catapulted the band to prominence in the electro-industrial scene.
A quantum-leap in songwriting and production compared to the band’s 2006 indie debut “Gas”, “God Loves The Violence” was built on simple, powerful programming, topped with expressive and versatile vocals – an album of melodic beauty and passion containing a rich variety of sounds, and one made with an obvious appreciation of both electronica and alternative rock.
Subsequently sublicensed in its basic version to Infacted for the EU, the album received a 2CD special edition from DWA, while the band signed to concert booking agency Neuwerk and maintained a high public profile playing shows like Wave Gotik Treffen, Summer Darkness, Vampire Party Live and Revolution in Germany, Belgium, The Netherlands, The UK, Greece and Spain alongside acts like COMBICHRIST, NACHTMAHR, AESTHETIC PERFECTION, GRENDEL, MODULATE, SOMAN, FADERHEAD and STRAFTANZ.
“God Loves The Violence” was launched with the still-evergreen club classic single “No Control”, followed later (on DWA only) by the equally catchy “Your F**king Drugs” on CD. The album also included a cover of Ministry’s “Just One Fix” which the band shot as their first promo video.
2013’s follow-up “Spit The Poison Out” again boasted jaw-dropping production-quality and songwriting skill easily on the same level as major label acts, as TERROLOKAUST once more walked the line between rock and electro with an assurance and accomplishment that others can only dare to dream of successfully carrying off – producing another epic masterpiece totally unlike the majority of music currently marketed as “industrial”.
Equally at home singing and writing exquisitely anguished lyrics in English or their native Spanish, as effortlessly in control of their own material like the stomping single “The Way It Must Be” or covering Korn’s “Falling Away From Me” and making it their own, Terrolokaust have become past masters at rocking out and bringing both the bass and beats.
“Spit The Poison Out” spent 8 consecutive weeks in the Top Ten of the Deutsche Alternative Charts, peaking at #3, and was the band’s first US release – sublicensed to Vendetta. The album also led to the band’s first vinyl releases in the shape of 2 further singles “The Way It Must Be” and “Scars That Never Heal”, released by DWA on 7″ and 12″ formats respectively, and a second promo video – for “The Way It Must Be”.
Slowly but surely, Terrolokaust started to become a fixture on the German festival circuit, and DWA arranged a first major European tour for the band – spending 3 weeks on the road opening for AESTHETIC PERFECTION/FADERHEAD. Guitarist Aury increasingly became integral to the live presentation, joined even for some shows by a live drummer.
In May 2015, shortly before shows in Spain with S.I.T.D. and a return to the main stage of Wave Gotik Treffen alongside COMBICHRIST, NACHTMAHR and FIXMER/MCCARTHY, Terrolokaust announced online that the title and front cover artwork for a new album had been finalised with DWA – being readied for release later this year…
Official Facebook: www.facebook.com/youthcodeforever
Born in 2012 out of a Los Angeles bedroom, Youth Code is the creation of Sara Taylor and Ryan George. The band made their spontaneous live debut at LA-based record store Vacation Vinyl’s employee showcase. Word of the incendiary live performance quickly spread and was followed by release of the well-circulated, coveted, Demonstrational Cassette which saw the band hone their semi-improvised initial set into something altogether more muscular and lean.
Soon after, Youth Code was invited to release a limited edition 7 inch single with the legendary Genesis P-Orridge’s label, Angry Love Productions. The single quickly sold out and saw the band receive praise from industrial heavyweights including Skinny Puppy and Front Line Assembly. Shortly after the single’s release, the band signed on with label DAIS to release their 2013 self-titled full length, which was met with widespread critical praise from outlets as far ranging as Pitchfork and MetalSucks.
In 2013, Youth Code brought their brand of Industrial to audiences all over the US on supporting gigs with AFI, Nothing, The Body, Suicide Commando and a stint at SXSW that had Tucson Weekly call Youth Code the, “Best Surprise of the Festival”. Regarding the SXSW performance, The LA Times added, “The band [Youth Code] is a perfect balance of muscular synth drums, white-noise analog pulses and singer Sara Taylor’s defiant shrieks. It’s harsh stuff, but never less than riveting to watch, and a perfect rebuttal to a festival that looks ever more like a [sic] A-list party than a place to truly hear something new. Thank God Youth Code was there to fix that at the end.”
With the release of A Place To Stand and an opening slot on The Alliance Tour with Industrial legends Skinny Puppy and VNV Nation, Youth Code are ready to take their place as the torchbearers for a new wave of Industrial Music.
Official Facebook: www.zardonic.net
Fists raised in the air. Bodies, heavily perspiring, crush against each other and threaten to burst through steel barricades. Security forces gaze forward with a mix of aggression, tension and fear. Monstrous decibels pound each and every human in the chest, relentless, overpowering, captivating. Is this some club consumed by fiercely “kvlt”dystopian noise? A festival tent, throbbing with oppressively jagged electronic grooves? Are there headbangers hoisting cups of beer, or Millennials enthralled in rapturous joy?
It’s none of it, yet all of it. It’s Skrillex meets Slayer. It’s a singular entity. It’s ZARDONIC.
Zardonic is as much as “band” as it is a concept, an idea, a perfect flashpoint and balance between divergent styles joined together through a prism of aggression, atmosphere and absolute immersion. Zardonic is a symbol, an icon, a mask; increasingly as ubiquitous in the international hard EDM and heavy metal underground as the mask worn by Deadmau5. Zardonic is also a person. Venezuelan born Federico Augusto Ágreda Álvarez is a multi-instrumentalist, DJ, composer and mixer, whose fingerprints dirtied remixes from Australian speedcore merchants The Berzerker, long-running Norwegian black metal titans Gorgoroth and massive standard bearers Nine Inch Nails.
“Zardonic isn’t just about noise; it’s very musical. The notes, melodies, progressions – it’s all very metal. It’s rich in a way that’s hard to achieve with a lot of heavy EDM music,” says Ágreda. “That’s what makes it exciting for me. There’s noise in there, sure, but more in the spirit of the way Trent Reznor is able to build songs from the noise.”
Ágreda’s alter ego is the penultimate Frankenstein monster, built from body parts like the industrialized angst of the legendary Ministry, the savage contrarianism of German “digital hardcore” rabble-rousers Atari Teenage Riot, and the attitude of screamo-singer-turned-cult
Fans familiar with Zardonic’s work via his appearance on releases issued by DJ Dieselboy’s SubHuman: Human Imprint and Skrillex’s OWSLA label will recognize the signature blueprint within the new material. But Zardonic’s definitive work expands into a heady mind trip through extreme metal inspired electronic music, inclusive of drum n’bass, with the same signature sound warped through various tempos. Dubstep isn’t in the recipe, but fierce vocals, guitars, break-beats, hardcore and Glitch burn brightly.
Scottish DJ Calvin Harris, Dutch DJ/producer Tiësto and likeminded electronic mavens were doing their thing, but the crossover impact of EDM in recent years is undeniable, particularly with the introduction of more intense noise. “The house DJs, the trance DJs, it felt like a closed niche. Skrillex blasted the doors open for the more underground sound,” Ágreda explains. “Not all of his music is up my alley, but most of it is; I have a lot of respect for him. And dude, if it wasn’t for that one track he put on a free OWSLA compilation for me, I’d say at least half of my fans wouldn’t know who I am.”
A handful of metal acts have introduced EDM elements into their songs, but nevertheless remain confined to the heavy metal scene and heavy metal fans. A Zardonic performance at an EDM festival, mixed down as club tracks, boasts huge subs go head-to-head with the hardest of electro out there, enhanced by distorted extreme guitars. It’s the perfect balance of the two worlds, fully capable of dominating in each.
“Most of the club DJs and electronic music producers that tried to put some metal elements into their music, it was pretty much just drum and bass tracks or electro tracks with a couple of samples here and there, chopped in. It wasn’t like they were composing actual metal songs,” Ágreda points out. “Ministry were pioneers, but that was still metal, that wasn’t ‘club’ music. It was the same thing with Atari Teenage Riot. I love both of those bands. What I’m trying to do is take Zardonic even further than before.”
The eOne Music debut of Zardonic accomplishes that very goal, with confident force. “We’ve worked hard to keep that exact needlepoint – something that works very well in the clubs, but when you play it at home, it takes on a whole new dynamic.”
It’s that brilliant blend behind the burgeoning fervor for Zardonic around the world. Whether performing for 10,000 people in Russia, headlining festivals across South America, dominating Europe and Japan, Zardonic represents an immediate yet timeless musical apex striking a nerve across nationalities and false boundaries of any kind.