It’s no secret, I’m a huge fan of the guys from 4star. That perfect mixture of Eminem style hip hop rapping of Adam and that dense and contorted, drum’n’bass and dubstep flavored instrumentals of Peter with a taste of Subsource/Black Futures and roots back to Reznor and NIN, simply nailed me. While 99.9% of the current mainstream electronic/EDM scene it’s nothing but a (bad) joke and the underground it’s not allowed to surface, these guys fined a pretty cool breach of their own, they are dumb enough to play their own music and not to follow the trends.
While their debut album – Daylight (2011) – was taking to laugh most of the issues which bothered Adam, this time his approach it’s considerably darker and the whole set-up it’s more experimental, psychedelic here and there and… darker. Although I hate to use the “dark” label because I consider it inconsistent. But this second installment of 4star it’s less edgy and more gloomy then the debut album. Adam’s not joking anymore and he’s lyrics this time are more serious and tense. This album it’s not dark, but honest.
If there would be really free and alternative media, 4star would become stars. But there isn’t. And it’s a shame! This whole word is and honestly we can do anything about it. But as these guys have enjoyed tracking these songs, I have the luxury to enjoy their release. I feel lucky and so can you. Buy their stuff and help independent artists to stay on the scene. Or don’t and enjoy the 374th posthumous Michael Jackson album and the next 50 Cent release which it’s pretty much the same s*it with the previous and the following one, only the song titles are changed. Eventually.
Even if we might feel like it’s getting worst, they say: nothing changed. This is bad? This is good? Let’s hear it!! Read more 4star – Nothing Changed (2014)
The bad-ass of bad-bass celebrate 10 years of intense grinding with a fabulous 44 track, 99 minute mix which include his own tracks, but also remixes of some other leading artists such as Nine Inch Nails, Black Label Society, Semargl, and Black Sun Empire. Top of the best, this is a free download and you can grab it from his 
My Life With The Thrill Kill Kult rose to fame at the end of the 80’s by their hard beats, distorted vocals, dense and contorted instruments and bizarre film samples. It was something burlesque and something wicked about their music, something genuine. It was the troubled age of post-new wave and the dawn of the hard-industrial revolution and Franke Nardiello (aka Groovie Mann) with Marston Daley (aka Buzz McCoy) managed to merge efficiently the disco bass with the rocking wah-wah guitars and dabbling in some big bad burlesque brass. Some say that they are met over a few drinks in a bar in Chicago and soon find themselves touring with the band Ministry.
While the post-dubstep mainstream EDM scene is populated exclusively by plastic dolls, posers and annoyingly boring “copies of imitations”, it’s quite refreshing to listen to something powerful, modern, but still attached to the classic values and to the classic sense of the values such as “We Love You”, the 7th and probably the deadliest album by Andy LaPlegua, the one man army and the master mind behind the Combichrist machinery. Although the Ministry parallels are still there, Combichrist it’s definitively one of the best and most intense EDM bands from the scene and their Aggrotech aggression it’s always meaningful and genuine each time.
There are very few artists (bands) who still manage to surprise me these days. The 2006’s “Volk” was a peerless release, it’s quite impossible to overtake that album and Laibach definitively had a hard time to figure out what they should do next. True, meanwhile they released in 2008 “Laibachkunstderfuge” – a concept album, the laibachian interpretation of Johann Sebastian Bach’s “The Art of Fugue” (Lai-Bach-Kunst-Der-Fuge) – and in 2012 the original soundtrack for the movie “Iron Sky”. Also they released a mind blowing live album 
Zardonic never kept secret his soft spot for metal. He had previously some noisy and contorted collaborations with several bad-ass metal artists and definitively he will keep having this kind of violent audio clashes. His powerful metal roots are clearly detectable on his early demos, early demos which also now are made available!
I can think of and go back to several different stories. First of all, reminds me of the story of Cain and Able, the two sons of Adam and Eve. Cain was the first human born and Abel was the first human to die while Cain committed the first murder by killing his brother. On the other hand, directed by Orson Welles release on 5 September 1941, “Citizen Kane” was a drama which explored the life and legacy of the publishing tycoon Charles Foster Kane, played by Welles. Nothing of this are directly related to the latest Thot EP, but then again, everything in this world is somehow related and inter-connected. “Citizen Pain” is in particularly nobody, but he’s everybody and anybody, one of us and each one of us. Even the pain became meaningless nowadays. Or we became insensitive to the suffering of the others… and get comfortable with our own misery. 
Merging EBM/industrial aggression, dubstep drops and wobbling, and hardcore fury, Zardonic strikes again.
Blush Response was an electropop group formed sometime around 2000 and featured Billie Schubert, Trevor Gagner and Brandon Flowers, who left the band in 2001 and formed The Killers with Dave Keuning.
