(BOG REVIEW) "ELEKTRIKILL" (INDUSTRIAL/DARK ELECTRO) "MACABRE MASQUERADE" (RELEASED SEPTEMBER 1ST, EVOL MUSIC GROUP)
1. Macabre Masquerade
The intro begins with a dark, atmospheric tone featuring a demonic narration welcoming us to a Macabre Masquerade, reminding us to watch out for vampires and demons, and to beware that ghosts have infiltrated our machines.
The narrator also reminds us, the wolves are howling, their appetite insatiable, warning that you may get a visit from the dark one himself in this hellhole.
The track runs with the atmosphere above from 0:00 to 0:25 until the drum drops at 0:25, which is nicely done. It sets a growing mood, which is of a lurking presence until the narration arrives. Imagine a sinister hype man announcing the run of events for the night. This drum drop continues throughout the track, emphasizing the narrator’s words as if someone were striking percussion as he speaks.
At 1:37, the narrator announces that eternity is a long time, and Bog really liked how ELEKTRIKILL set up this outro from what is essentially a giant build.
At 1:42, the demon narrator lets out an evil laugh, which sets up the transition into Vampire Blond (Revamped), which is one of Bog’s favorite bangers from the previous album.
2. Vampire Blond (Revamped)
As Bog is scribing this, let him share that this runs smoothly and the cyberpunk feel is amped up on this remixed version. Yes, the vampires and neo-industrial punks are back to dance in a futuristic city at night. Vampire Blond (Revamped) is slower than the previous version and has more of a cyber-industrial sound, but there is a sick line in the intro with an almost dubstep feel. This track would easily work remixed as dark DnB for sure.
Thinking aloud again, but the remix potential, as already demonstrated with this version, screams opportunity.
The audio is already strong; all levels hit—lows, mids, and highs—and there is a Halloween horror sample to really give this an appropriate sound for the coming Halloween celebration night at the end of next month.
From 0:00 to 0:07, the synth is so sick, and Bog’s maw was moist to lap this sound up. It opens the track beautifully with an industrial cyber line drop at 0:07-0:08 that made Bog shout loudly, “oooooooo!” Then the beat itself drops in to take us into a calm, consistent stomp. The audio was particularly clean in this section of the workflow, and Bog likes how this has been structured already. This track would be mega to drop live, and Bog can see the smoke clearing (sometimes pocket fans help with that—just not if you direct the smoke in the direction of your significant other. Less on that, as it was a lesson in situational awareness).
At 0:19 comes the vocal drop, which is clear and has the tone to flow with the music. It just dawned on Bog that this track also made him think of a movie from your time. Atomic Blonde, is it? Bog’s mind can wander, but the lyrics about “she walks the Russian streets at night” made Bog think of the character from the movie.
The vocals are clear and distinguishable, and the cyber-industrial line continues to drop in the background, which is sick.
At 0:55-0:59, “ding dong the witches are dead” as part of the chorus line sets up the coming line smoothly and very much in tone. At about 1:10-1:14, the next bar drops with the verse, “Beware the vampire blonde.” It is executed solidly while the beat continues to calmly stomp. It hits the ears because it highlights the track title, and along with the already stimulating audio, it sets the image in your mind.
From a dancefloor perspective, it is a mega verse to shout out when this drops, so it has that big-room energy in those terms.
There are further lyric drops about the Kremlin. Bog doesn’t need to state how this is super dark.
At 2:18, Bog could hear background samples that escaped his muck mind when he wanted to describe them for you. Convenience! Anyway, it has classic kind of Halloween vibes, and Bog can hear where Macabre Masquerade is going.
It is dark music but with a fun vibe.
Ok, Bog will try not to fall from his magical music device again. It's not obvious Bog is enjoying this album, is it? The previous track's sample continues to add a Halloween flavor until around 3:04, when the industrial-cyber lines drop back in more frequently to build into the outro at 3:22, fading into a nice, smooth close before we arrive at Track 3, Digital Ghosts.
3. Digital Ghosts
Oh wow, oh Stenchers, by the sacred swamps, Bog’s maw is foaming yet again! After the calm, consistent stomp on the previous track, as soon as Digital Ghosts starts, it sets up a high-energy, dark electro/cyberpunk feeling—a #peakstomp fest! Or a reason to splash swamp water around, but that’s Bog.
The feel of this track stopped Bog from completely breaking the track down because there are so many sick drops, transitions, and flows. This is another mega track for a DJ set, and it sounds like a dark, futuristic, sci-fi soundtrack. The vocal effects on this track have been changed to sound more synthetic to run with the feel of the track.
Bog’s mind was immediately thinking of running through The Gate’s cities, being pursued by its servants. Incredibly ear-grabbing. Remix potential is solid AF, but when Bog stops foaming, he will try to mention some of the drops—not just “ohhhhhhhhhh” and “ohhhhhhhh.” We don’t kiss ass here, and we don’t do elitist gatekeeping bullshit. Music here is looked at how it should be: for its sonic value and what works for a genre/crossover or whatever. This is a definite “ohhhhh.” Bog is going to pull a muscle in a moment; he had better go for another Ops assignment with Banemire to loosen up.
Bog challenges you to try and remain still when this drops. Yeahhhh!
At 2:33, that drum drop screams for you to back-jump on it, then release for the drop to make the Stenchers swamp stomp. Bliss!
The samples are sick too and made Bog feel like lasers were firing. Think I've wet my pants with excitement, TBH. I usually keep electronic and goth reviews clean, but this was hard because the music amped Bog up. Banger!
Some worthwhile fires to hear on the workflow:
From 0:01 to 0:03, there is a riff sample—the kind of intro riff sample someone would use to kick into a track on a metal song—but it follows on from the acid line at 0:00-0:01 that instantly hooks the ears. It returns at 0:04, leading to the drum build at 0:10, which would wake up a crowd for sure.
From 0:01 to 0:03, there is a riff sample—the kind of intro riff sample someone would use to kick into a track on a metal song—but it follows on from the acid line at 0:00-0:01 that instantly hooks the ears. It returns at 0:04, leading to the drum build at 0:10, which would wake up a crowd for sure.
Another sick acid line hits at 0:15 to set up the high-energy beat drop that brings in the vocals. Fire track.
Is it OK to shout unprofessionally, ELEKTRIKILL, “get it!”? Excellent track.
The outro has the acid line again and that rager of a drum drop on the outro.
Ok, BRB, Bog needs to go fan himself in the inner swamps and forest areas where Siltiax resides.
4. I See Demons (Michael Myers Murder Mix)
Recovery attempted; let’s see how long this stands up for Bog. ELEKTRIKILL, you made Bog fall off his device!
I See Demons is an industrial-electro-focused track with punked-up vocals and clean, spoken passages. EBM is also laced into the track in particular sections.
The pace is good, and the vibe feels like an industrial, anarchic punk tone with horror. Yes, the audio sound is different from what we are describing here, but it does carry that feel. Bog couldn’t help but be reminded of those industrial punk horror-themed bands with the vocalist on stage with a mohawk and horror paint makeup while the bass booms out of the speakers.
The mixing and mastering have been super impressive on the album so far; the beauty of hearing the acid lines and samples in Bog’s headset was really rewarding.
Standout moment: Hearing the iconic piano keys from Halloween remixed and syncing with the background beat on the later part of the long intro.
5. Parasite (Darkest Fear Mix by Kontrol Freak)
The track starts with a patient build, and the vocals sync well. The pace is a little too slow for Bog, but there is good bass. The track feels like an MC or spoken word poet could also spit bars or drop verses on the beats, which is why Parasite complements this vocal structure and the slower pace in its delivery.
That said, there is an interesting interlude for a short section around 3:27-3:28, stopping around 3:34, where the BPM increases to the speed of a hard techno track. It's not acid techno, but it caught Bog’s ears.
Structuring, syncs, drops, audio frequencies, and mixing/mastering are all very solid and consistent; it's just not a track Bog enjoyed or a style he's crazy about. It's a very electro-goth-feeling track, so for those that like that style, you will definitely appreciate it.
6. I Used To Be Human (Body Horror Mix)
Bog appreciated the lyrics, not just for the horror theme for Halloween, but for how they can be attributed to those of us who are made to feel less than human, or who struggle with the internal static as mentioned before in our other transmissions. The lines, drops, and vocal delivery patiently build to deliver the core theme. It is a sad track if you listen closely, and the same could be said for notable horror monsters from various novels.
There is a solid, repeated drum drop that gives this track weight. Musically, it is not quite Bog’s vibe, but he can appreciate and recognize why it was structured like this given the theme.
The audio, syncs, drops, and frequencies are all on point.
The intro and outro run very clean, so there is no roughness on the track. The outro was a nice touch with the keys and whispering vocals.
7. Ravenous (Rave Noose Mix By Kill Vector)
The intro begins with a collection of werewolf howls.
Funny thing, it feels like a vampire rave track with a mid-pace feel, so the Lycans may wish to take a shave before joining the dentist-shy dance party with the fangs.
There is a magical synth drop at 1:41, which is one of the standout moments, and there are other notable sections featuring strong synths and samples to complement the transitions, builds, and drops throughout.
The outro is nice with some demonic laughing to close out the track’s horror theme.
This is an enjoyable, mid-paced, atmospheric track. Once again, the solid structure, layers, and workflow run smooth AF.
Also, Bog just realized, maybe the track is named after the movie? Bog is thinking back to your time and the things he has heard that were around before The Gate emerged.
8. Scream (Screammix)
The intro builds with a sinister vibe until the beat drops at 0:14. Imagine being locked in a hell-rave warehouse; this is how the track starts.
Scream has a good, mid-paced stomp with a sick 0:46 bass-beat drop that would get a floor popping for sure, and everyone would be amped. The chorus line would make for some good singing aloud together. Bog’s head was nodding along to this in his headset while riding through the Boglands.
The tempo structure is consistent, and the transitions back to the synthy note lines are excellent. This is a catchy and infectious track that should be warmly appreciated. It has the energy and the feels, Stenchers!
At 3:06, a synth note drop with just the bass drums isolated is pretty cool and adds a different flavor. At 3:21, the main beat kicks back in and combines to deliver a nice, synthy stomp. There are effects Bog could hear, such as a guitar riff line in the background, which gives Scream an industrial tinge once again.
Bog really liked the bass drum in the background and was just focusing on it during one of his listens.
Vocally, this is another strong offering with good audio levels. There is no drowning out the vocals, and they are synced smoothly, dropping in and out solidly.
The outro—this needs some shine. Some folks won’t care, but Bog does. Around 5:12, it fades out, but there is a quiet screaming sample echoing out in the background. This is a cool point to share given the track title and how the echo-out was used.
Overall, the track distinguishes itself by sounding different from the original version on the previous album.
9. Drugs (Trick Mixxx by SPKTR)
The structuring, builds, transitions, and flow are all high quality. The audio frequencies are excellent, and the vocals remain strong and synced, delivering the lyrics and chorus drops cleanly, but with a smooth directness for the ears. The beats are crisp AF. Bog appreciated this, and it really shows on the track.
The intro and outro also sequence each other, which is another mega touch. The synth lines were also nice and added to the dark vibes.
Drugs is more for those that enjoy slower, rhythmic, and pulsing beats, and it will be up there for you.
That said, Bog’s mind is going on adventures again; it would be a cool track to see dancers doing something with fire sticks to "Drugs." High-tier critique there—a random interjection. Bog spends too much time inhaling in the swamps sometimes.
10. You Are The Love Of My Death
There is a definite horror-goth romance vibe, but Bog didn’t feel this one. However, there are sequences we recognize that are cool, and we would like to share them with you all.
From 0:00 to 0:12, the intro builds with what sounds like someone striking something in unison with a beat structure. The timing was interesting because it gave it an atmosphere and set a visual scene.
At 0:12, a cello drops in and adds that gothic vibe as if it were functioning as the bassline. The striking build from the intro continues in sync, partnered effectively. It creates a mood of tension and ominous darkness for the vocals. The chorus line runs smoothly with piano keys that are bordering on those swamp-death-blues vibes (in time, we will feature some for the Stenchers).
Anyway, Bog does respect this regardless of whether he enjoyed the track or not, as it demonstrates a level of care and effort invested to deliver this mood. The swampy, death-blues vibe drops back in with the main chorus line, and it is cool.
Imagine zombies slowly stepping to the rhythm in a graveyard, all in formation, unified in dance. The perils of having minimal budgets, Stenchers! There are ways we could implement this in reviews, but then it would take attention away from the artist, so it’s a no.
So, if you enjoy goth feels mixed with swamp-death-blues vibes, then You Are The Love of my Death will be a banger for you. It’s 100% on point for the atmosphere.
The audio, mixing, mastering, and frequencies are still consistently solid and layered powerfully.
11. Monster
This is a slow, horror-goth-feeling ballad. The vocals are strong, and the track foundation and structure carry the piano keys effectively. It was the track Bog enjoyed least, but the composition is on point. There are violin notes, maybe? It features a classical-ish arrangement, which always delivers big moments in music, especially if you look at how it can be, and is, used in some genres of black and death metal, including symphonic deathcore.
The outro fades with a very eerie mood; it had Bog imagining someone—Frankenstein, maybe—in a cold cave, looking out over a mountain top. The isolation, abandonment, solitary loneliness, and the deep inner sadness that just doesn’t let go of you—that small outro, in Bog's opinion, had all that. It’s short, but when you hear it and listen to it, the way the audio is used to really convey this to the listener is noticeable and hits hard.
So, although this was not Bog’s favorite track or one he really vibed with, for those that do like and appreciate melancholy and somber tracks, it will have a powerful effect on you.
12. Drugs (Treat Mix)
This track features interesting, retro, and synthier vocal samples, with a kid saying, “carry the candy.” He really wants the candy, but rot your teeth and you will be faced with real horror if you keep that up! Okay, on to the music.
There is a sample line about a child’s ADHD. Bog has heard people say this to him on a frequent basis. The earlier part of this review may have given you an example, but back to the music.
It is a short track with a good blend of dark acid lines, an industrial bassline with a little dark synth, and cyberpunk-ish lines. It is short but works well as an interlude. It's not something you can stomp to or shake your Bog butt to, but Bog did like the beat drop and its smooth transitions in and out. Super smooth.
13. Hellhole (Unending Torment Mix)
Oooo, Stenchers, there is a nice, aggressive feel to take us in during the intro. The beat drops smoothly, and the audio samples add an uneasy edge to it. We are back in the hell-rave warehouse with someone dropping sinister beats and vibes while hell plays in the background.
This is a quite cool outro track—dark industrial with aggressive-feeling stomps for a sinister vibe and flow.
The structure is solid, with on-point syncs, timing, and drops. It would be a nice track to drop before you go into one of the bangers from the album.
It's a very interesting way to close out a horror-themed electronic album—hellektro to a point. Hopefully, this gives you an idea of the vibe, the music, what to expect, and what to enjoy.
Bog’s Thoughts:
The first thing we need to say is that ELEKTRIKILL experiments with and utilizes many approaches in a wide-ranging musical palette. Bog has tried to share this and what he heard, which made for an interesting breakdown. There are high-energy stomps and booms; mid-paced tracks where you need to pull your boots up a little so you can check they are still attached to your feet for bass-dancing; and slow, dark, sinister, horror-fueled tracks that carry an energy about them. But also, for those who appreciate slow, moody, ballad-oriented goth feels, those elements are there, too.
In Track 10, “You Are The Love of My Death,” Bog could even hear the swampy, death-blues vibe shine through. So, although the album is horror-themed, it has drawn from multiple backgrounds.
Hard labor has gone into this album, and it is not just a casual, "Okay, that will do, yep, okay, next". No, there is much more care and time invested here.
Bog enjoyed Macabre Masquerade. Okay, there were a few tracks he didn’t quite vibe with, but there weren't many, nor did he hate them.
This is a fun, thrilling ride of stomps, bass, sinister lines, memorable choruses, and just solid music with different elements to present dark beats within a gritty, industrial world.
