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Finnish Artist Suzi Sabotage Bears Her Fangs With Wrathful Darkwave Single “She-Demon”

https://fed.brid.gy/r/https://post-punk.com/finnish-artist-suzi-sabotage-bears-her-fangs-with-wrathful-darkwave-single-she-demon/

Erdling – Mana Review

By Samguineous Maximus

If you’re like me, then your experience with German industrial metal largely revolves around Rammstein, the fun, if not inconsistent, institution that still somehow sells out arenas worldwide with their patented brand of simple riffs, simpler grooves, and deep-voiced German monotone “singing.” If you’re also like me, then listening to Rammstein became a lot less appealing when allegations surrounding frontman Til Lindemann arose, tainting my ability to enjoy the band. Thankfully, Germany is nothing if not efficient, and for every aging industrial Goliath there’s a newer, sleeker unit revving up on the assembly line. Erdling is one such machine, and they’ve been honing their brand of Neue Deutsche Härte since 2014. 1 My simian overlord, Steel Druhm, found their 4th record, 2020’s Yggdrasil, to be competent enough, if not a tad underwhelming. Since then, the Krauts have kept busy, releasing 2 albums in quick succession and garnering a respectable (and I presume mostly German) following. Now, they’re back with Mana, a lean collection of 11 tracks readymade to soundtrack a Berlin nightclub. Has Erdling crafted a delectable enough display of dance-inducing industrial to fill the void?

Mana is what happens when Rammstein and Crematory’s industrial template slams into the glossy, market-tested sheen of Amaranthe. No, Erdling doesn’t have over-processed female vocals or cringe-inducing rap parts (thank Wotan); instead, they take the clear craftsmanship and studio-minded sheen of a more commercial-oriented Euro sound and apply them to a beefy industrial metal core. The result is a batch of sleek, pop tunes that feel precision-engineered to get your fist pumping and stick in your head for days afterwards. The essential ingredients—straightforward Nü-tinged riffing, simple but danceable grooves, and monotone but charismatic German spoken vocals are all here—but they’re arranged in razor-tight formation and often spruced up with garish synth leads or autotuned choirs. Nearly every track on Mana sits around the 3-minute mark, featuring absolutely zero fluff or overlong vibe-killing sections. We have the tried-and-true methodology of ABABCB 2 applied throughout with just enough variety to keep things interesting. For most albums, this slavish devotion to formula would turn me away, but luckily for Erdling, they’re incredibly proficient in their execution.

A full listen of Mana delivers industrial metal banger after banger in rapid succession. The single “Dominus Omnium” showcases Erdling’s command of the style, skillfully building from eerie, restrained verses that highlight vocalist Neill Freiwald’s sinister delivery, into massive, synth-drenched choruses backed by layered guitars. Throughout the album, Erdling nods to various major European metal acts, adding variety and keeping the tracklist feeling fresh. “Los Los Los,” for example, is driven by an Amon Amarth-style melodeath riff but leans more into dance territory, complete with a flashy EDM lead that shines throughout and, of course, an earworm of a chorus. “Miasma” draws from the folk metal playbook, centering its chorus around a natural minor progression you’ve probably heard in dozens of Alestorm tracks. Another element that sets Erdling apart from many of their industrial peers is their lead guitarist. Ole Anders delivers several impressive solos and tasteful lead melodies across the album, adding a dynamic edge to even the more traditional cuts. Tracks like opener “Aurora” are pulled out of complacency by fiery, harmonized guitar work that keeps things from feeling too safe.

Now, it’s not all glühwein and glowsticks. Mana is a formulaic record by design and by limitation. Erdling commit to their template with near-militant discipline. There are no breathers, no tempo shifts, no moody detours. If you’re hoping for a left-field ballad or something vaguely introspective, keep walking. That said, the B-side introduces some welcome variations, like the blast beats and blackened vocals on “Alles dreht sich,” or the somber clean guitar textures on the closer “Sternenschimmer.” The album doesn’t evolve so much as it sprints headfirst into your chest for 37 minutes straight. But that also makes it endlessly re-listenable. Where most industrial albums sag under the weight of their own cyberpunk cosplay, Mana just keeps throwing punches. It’s the kind of record that’s over before you notice, only for your body to demand you hit play again like some kind of blood sugar-crashing dancefloor junkie.

At the end of the day, Erdling aren’t here to challenge the genre’s boundaries; they’re here to perfect it. Mana is a polished, addictive blast of industrial metal that would feel equally at home in a sweaty Berlin club or as fuel for your next deadlift PR. The songwriting is tight, the hooks hit hard, and the band understands exactly what kind of experience they’re delivering: 100% efficiency, zero filler. Is it deep? No. Is it innovative? Not really. Is it a blast and addictively replayable? Absolutely. Until Rammstein either implode or redeem themselves, Erdling just might be the Neue Deutsche Härte fix we need.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Out of Line Records
Websites: erdling.rocks |erdling.bandcamp.com
Releases Worldwide: October 17th, 2025

#2025 #35 #Alestorm #Amaranthe #AmonAmarth #Crematory #ElectronicMetal #Erdling #GermanMetal #Industrial #IndustrialMetal #Mana #NeuDeutscheHärte #Oct25 #OutOfLineMusic #PopMetal #Rammstein #Review #Reviews

🎥👇Videoclips released in July you should definitely check out:

#DerWegEinerFreiheit
#LordoftheLost x #WithinTemptation
#MAVIS
Hei'An
#ABBIEFALLS
ten56.
#OrbitCulture
#SignsoftheSwarm
.
.
.
#SeasonofMist #NapalmRecords #OutOfLineMusic #deathcore #metalcore #oktoberpromotion #metalmusic #metal #heian #tenfiftysix #videoclip

#TheMetalDogArticleList
#Blabbermouth
RAMMSTEIN's TILL LINDEMANN Releases New Single And Music Video 'Und Die Engel Singen'

https://blabbermouth.net/news/rammsteins-till-lindemann-releases-new-single-and-music-video-und-die-engel-singen

#RAMMSTEIN #TillLindemann #UndDieEngelSingen #OutOfLineMusic #YouTube #Vinyl #CD #Merchandise #August2025 #Single

📍Patronaat 🇳🇱 19/1/2025 📷Sethpicturesmusic #bloodredhourglass 💿 #outoflinemusic 🤘
Permission from BO to photograph from the balconyClose-ups are taken during the first 3 songs of the set
Raato Custom Guitars | #Dingwall Guitars |TILL DAWN THEY COUNT | #CONTRAPROMOTION

📍Patronaat 🇳🇱 19/1/2025📷Sethpicturesmusic
#bloodredhourglass💿 #outoflinemusic🤘Permission from BO to photograph from the balconyClose-ups are taken during the first 3 songs of the set
Raato Custom Guitars | #Dingwall Guitars |TILL DAWN THEY COUNT | #CONTRAPROMOTION

📍Patronaat 🇳🇱 19/1/2025
📷Sethpicturesmusic
#bloodredhourglass💿 #outoflinemusic
🤘

Permission from BO to photograph from the balcony
Close-ups are taken during the first 3 songs of the set

Raato Custom Guitars | #Dingwall Guitars |
TILL DAWN THEY COUNT | #CONTRAPROMOTION

Tariot – Drag Me to Hell Review

By Dear Hollow

Look, I’m one of like three metalcore apologists at Angry Metal Guy HQ,1 and I’ve had it up to here. No more sticky noted car, printer wrapped in festive holiday paper, or the squirting flower trick, okay guys? Plus the rubber rat with “BREAKDOWNS” scrawled with Sharpie was going too far. I already get my seven daily lashes from the Most Holy Gorilla when the punishment of metalcore promos seemed insufficient. As we approach the holidays, the last thing I want to do at the office Christmas party is to open my bonus addressed to “sellout.” Don’t even fucking think about it. And Jesus, Tariot sure ain’t helping my reputation. As such, I’m writing this review hunched over the keyboard like a monk in deep meditation to prove to the higher-ups that I’m working on some doom record or blackened prog album. As you may have guessed, Singapore five-piece Tariot is metalcore, featuring frantic fry vocals, noodly guitar fills, and breakdowns. Shit, hi Holdeneye, just working on that latest dissodeath review haha. No, no delays, and no -core influence. Of course all my reviews are always on time! Anyway, Drag Me to Hell is tough-guy metalcore through and through with some touches of post-hardcore, electronic, and nu-metal – like if August Burns Red, Cane Hill, and Our Last Night had a child. Look, I don’t like it any more than you do, would you quit that dry heaving? Go to the bathroom if you need to. Drag Me to Hell is an album with its moments but thanks to its confused structure, weak pieces, and excessive length, I’m comfortable keeping Tariot on the down-low.

Hey Maddog! No, I’m not trying to find the good in metalcore – ’tis foolhardy! Oh hi Doom_et_Al, found a new melodic black metal album to give 4.0? Nice. Anyway, Tariot actually features a few moments of excitement across its forty-two-minute runtime, even if the best feels like a knockoff Crystal Lake. While graced with wild guitar licks throughout, the best tracks balance the typical nimble riffs with densely crushing punishment. “Obsidian,” “Hell Hole,” and the previously released single “The Devil Inside Me” bring bottom-scraping heavy breakdowns to the song climaxes, which balance neatly with the fretboard wizardry and more urgent and aggressive tempos. Former Novelists vocalist Tobias Rische brings a much-needed grounding to “Alas,” while the vocals of Fairuz Ramlan add heat alongside one of the best riffs of the album in “Grave Future.” Used sparingly, nu-metal adds a tasteful intensity that nearly flies off the rails in tracks like “Alas” and “Hell Hole,” recalling acts like recent MouthBreather and early Darke Complex. The second half is the clear winner, with more infectious energy coursing through it. Oh hey Thus Spoke, haha, yeah metalcore sucks haha.2

The problem with Tariot’s Drag Me to Hell is twofold: there are weak songs present and those that are solid sound too much like previously established metalcore fare. Most damningly, the cleans that pervade always waver on the edge of out-of-tune, most painfully present in the aptly titled “Rain On My Parade,” “Eternal War,” and “Life of Nothing” which derail any energy with either post-hardcore- or grunge-influenced mediocrity that teeters into bad territory often. While not entirely detrimental, it leaves a bitter taste in solid tracks like “The Devil Inside Me” or “Lament,” which come unnervingly close to ruin. The nu-metal effect gets too much, especially in tracks like “Metamorph,” whose awkward gang vocals and mismatched climaxes worsen it, and “Hell Hole,” whose rap-influenced closing portions do not fit. Even some less problematic tracks like intro “Death by Seven” and “Eve” pale in comparison to their surrounding highlights (or nadirs) by sheer lack of memorability. However, even Tariot’s best still conjures the spirit of Crystal Lake’s “Prometheus” but missing the necessary charisma.

Ultimately, while the second half of Drag Me to Hell amps the intensity after a painful first half derailed by haphazard cleans and awkward nu-metal influence, but it feels largely like Tariot’s touchdowns in garbage time throughout a deceptively long forty-two-minute runtime; by the time “The Devil Inside Me” hits, the attention span would understandably be run thin. Tariot’s highlights are already mimicry at best with speedy riffs, thuggish breakdowns, and barked vocals, but given a horrendously inconsistent tracklist, it is difficult to recommend Drag Me to Hell for even most metalcore fans. So I guess maybe the sticky noted car was deserved.3

Rating: 1.5/5.0
DR: 6 | Format Reviewed: 160 kbps mp3
Label: Out of Line Music
Websites: tariot.bandcamp.com | facebook.com/tariotsg
Releases Worldwide: November 24th, 2023

#15 #2023 #AugustBurnsRed #CaneHill #CrystalLake #DarkeComplex #DragMeToHell #Electronic #MemphisMayFire #Metalcore #Mouthbreather #Nov23 #Novelists #NuMetal #OurLastNight #OutOfLineMusic #PostHardcore #Review #Reviews #SingaporeanMetal #Tariot