A pounding beat immediately sets the track in motion before waves of distortion and abrasive industrial textures crash in. Then comes Story Beeson’s astonishing vocal performance, a primal, metal-infused roar that transforms ‘ANIMAL’ into something altogether more ferocious. Fans of White Zombie will find plenty to love here, with the band’s uncompromising energy and industrial edge echoing the same thrilling intensity while carving out an identity that’s unmistakably their own.

The accompanying video perfectly amplifies the song’s relentless atmosphere. Performing inside a cage, the band are surrounded by grainy, surveillance-inspired visuals that reinforce the themes of control and resistance while matching the track’s raw, visceral energy. It’s a full-scale industrial rave that bombards the senses from every angle—and it’s impossible not to get swept up in the chaos.

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LA’s Purest Form is on a quest to set you free. Their S/T EP, out now, bolts together heavy metal and EBM for a modern industrial sound that combines the cathartic freedom found both on club dance floors and in sweaty mosh pits. Formed in 2023, the band consists of guitarist and programmer Madison Woodward (Fury, Object of Affection), bassist Riley Joyner (Pocketknife), and vocalist Story Beeson (Choking on Ash, Vacant Future), who were brought together by fate to make bodies pulse to machine metal noise and release us from the mundanity of our daily grind. They’ve also released a sinister, striking video for the EP’s closer ‘Self Destruction.’ The track leans further into influences such as Ministry, Godlfesh and Sepultura. “It’s about one’s outward ego / inner self and the complicated battle between the two,” tells the band. The video was directed / shot by Jeremy Stith and “was inspired by 1990’s ‘Begotten’ with costume and aesthetics as well as Wim Wenders camera work,” notes Beeson. Watch it below.

Germany’s hottest modern metalcore unit, SETYØURSAILS, tears up the scene once again. After extensive touring with Annisokay, Emil Bulls, Cypecore and Lord Of The Lost, and last year’s outstanding festival performances at Summer Breeze and Fullforce, the Cologne based outfit recently announced the new studio album and drops its brand-new second single, ‘Lately’. Their second full-length via Napalm Records, entitled Bad Blood, will be released on April 12, 2024 and features 10 hard-hitting tracks, shaking the listener to the core. Cut from Bad Blood, ‘Lately’ drops with an official music video and showcases the versatile vocal expressions of frontwoman Jules, ranging from vicious screams over powerful singing to compressed whispering, while raging drums and heavy guitar support the catchy refrain. Vocalist Jules Mitch on ‘Lately’: “‘Lately’ shows the intimate, vulnerable side of us that we have never revealed before. Coming to terms with your demons is never easy, but writing a ballad about it and publishing it is even harder. I hope that people find themselves in this song and understand that they are not alone.” [via Outburn]

Industrial-tinged and true crime-inspired electronic duo SKYND is the dark creative outlet and the alter ego of its lead singer, Skynd, and producer and multi-instrumentalist Father. They are known for taking inspiration from inexplicable and brutal criminal cases and the mystery surrounding unsolved deaths, and transforming them into songs to remind us of the darkness within the human psyche, while taking great care to avoid any glorification. Small clusters of songs have been released as EPs, titled in numbered chapters. SKYND conclude Chapter V, with the release of ‘Heaven’s Gate.’ Heaven’s Gate was a religious group, commonly regarded as a cult, that formed in 1974 and is most well known for one of the world’s largest mass suicides of its members in March 1997. Skynd ponders, “What personality and psychological factors are at play in people who readily submit their lives and wills to cult leaders such as Jim Jones and Marshall Applewhite? How can they not see these people are barking mad? The madness of the cult leader is usually not apparent when the person first joins. This is the second case I have written about a cult. Two cults that cannot be compared with each other and yet they have some (or a lot of) parallels. As incredible and bizarre as Heaven’s Gate seems, there are still cults today that brainwash their followers. The whole concept of cults fascinates me because it’s always the same thing. Usually the takeover of your freedom, your thoughts, etc. is a very gradual process. And the taking away of a little piece of your freedom or identity is not seen as a big deal. It’s just a small sacrifice for a good cause. The trouble is, those small sacrifices add up until they’re a huge pile of sacrifices. But by then you’re so indoctrinated into the group that it really doesn’t matter to you that much. You’ve bought into the group’s message and mission. The group is your “family” now. It’s their influence that drives you rather than your own inner voice of reason. Marshall Applewhite and Bonnie Nettles (known as Do and Ti) were able to appeal to members by reaching out to people disillusioned with society and religious spaces. Heaven’s Gate first ran into a major problem in 1985, one that confronts many “prophetic” religious leaders, cult or otherwise. When Ti passed away in 1985 due to liver cancer, her body did not ascend per Heaven’s Gate’s theology. So, Do had to adapt his teachings to this observable contradiction of the cult’s beliefs. I personally blame Marshall for continuing anyway, even though he knew it was a total lie.” [via Metal Planet]

Brace yourselves for a musical powerhouse as MuddiBrooke unleashes their latest single, ‘Float,’ a track that not only packs a punch but also carries echoes of the iconic bands of the 90’s Indie Rock scene. ‘Float’ is a sonic force to be reckoned with, delivering an electrifying blend of harmonies that draw you in with a deceptive sense of calm before hitting you with intense drops, transcendent melodies, and satisfying distortion. As the track takes listeners on a rollercoaster of emotions, the vocals stand out as a distinctive element, reminiscent of the ethereal sound that characterized All About Eve’s music. Anna says – “’Float’ comes from the feeling of elation, after being set free from a long-lasting, dead-end situation.” [via Rock News]

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They’ve just announced their debut S/T EP and share first single ‘Broke’ – a dystopian, anthemic tornado of metal machine energy, a titanic neo-industrial achievement that captures the modern frustration of an increasingly isolated society that demands both punishing adherence to capitalism and the deconstruction of community to make space for technological advancement.

“It’s about the fear of artificial intelligence and the possibilities it could hold for further separating us from ourselves and from each other in society,” Beeson explains. “I’ve been afraid of AI for years. There’s a dystopian idea that your authentic self could be replaced by something artificial. Technology could take us away from our true selves. That’s the root of industrial music to me.”

The video, shot in a basement in the San Gabriel Valley by Kristopher Kirk and Jeremy Stith with a VX1000, is influenced by iconic, provocative post-punk videos from artists like Depeche Mode and NIN, but feels distinctly rooted in the mood of 2024 with its cyberpunk undertones.

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