RESISTOR is a Colombian electronic band born at the end of 2011, strongly driven by the Old School EBM genre and influenced by the sounds of iconic bands such as Orange Sector, Nitzer Ebb, And One, Die Krupps or Spetsnaz, among many others, and combining these influences with other sources of inspiration coming from experiences related to human strives and transform them into a blast of energy manifested in the form of music with strong basslines and vocals, as well as overwhelming beats.

Resistor’s first release was Breathe EP in 2015, which compiled an interesting amount of remixes by artists like The Horrorist, Xotox, Equitant, Grandchaos and Delectro to name a few. This release brought different shades of sounds which became into an influence for their first long duration album called Ice Cold Gold, released in 2017, which compiled most songs created since the beginning of the project until then. Both releases have been issued in digital format exclusively.



The Retro-EBM / Hardcore Electro band “Deadly Injection” was founded 2013 in Germany by Louis Cyphre. The project was influenced by E.B.M. of the late 80-ies and early 1990-ies and reproduce this sound to fill it with new life. Leæther Strip, Frontline Assembly and Psychopomps serve as role models without to copy them blindly. The first release was the track human disease on “The undesdroyable disease vol. 2” Compilation. After this release some compilation tracks still followed. In 2016 the work for the debut album has begun with FeeLidae as second member of “Deadly Injection”. “Deadly Injection” released in January 29th 2018 their first digitally maxi named “Black Gold” with new remixes and songs.



One foot in the North (Lille) and one foot in the South (Toulouse, Aix-En-Provence), Void kampf is a French EBM band formed in 1999. Mr Body 98 (Music, Lyrics & Vocals), Mr Body 2004 (Lyrics & Vocals), EBMnator (Live drums) and Der Gregolini (Live FX) deliver a combination of Old School Electronic Body Music and Techno Body Music. Their main influences are DAF, Front 242, Nitzer Ebb and Empirion. After two demos “First Assault & Suck My Beat” and one album on Sigsaly Transmissions in 2010 “Sévère Mais Juste”, they are back in 2017 on EKP with a full length album FUNK OFF. The recipe is still the same,  panzer beats, strong analog/FM basslines, poetic lyrics, no melodies and a great sense of humor and self-mockery.



Constant dripping wears the stone…

In 1992 four young electro heads founded a band named “One Cyze” in Frankfurt on Oder/Germany. From the beginning danceability was significant for the new [ocp] sound. Due to an anti-commercial attitude and without managing personnel this project didn´t ever care about making money with making music. It was just for fun and live-playing and for the ambition to make better music than you can listen to in the public media. This is why no official full-length release from the early years exists at the time. Under the side-project name “Brain Dead Society” a ground-breaking CD named “Downfall” was published in 1995 in in-house production. From 2000 to 2005 there were no [ocp] live+audio activities. Just the ambient electronica side-project “Brain Cellar” sent out some signals with the two EPs “Deep Space Mind” and “Polyluxury” (own distribution). After those years of re-creation the second [ocp] phase started in early 2006 with the work on the album “Re-animated” (published 2007/own distribution). First planned as a soloproject of Josef Gruen it developed by the adaptions and influences of JB. to an unconventional journey into dark electronic music. 2008 again with ShallC the full-length “Confused Mental State” followed with powerful dark electro and the outstanding song “Head Crusher”. ShallC quits the project in autumn 2009, Jeannette Z. became the part of the 2nd background voice for a few live performances and for vocal effects recording. The work on the new full-length “Absolute Zero” began with demo recordings in 2009 and was longing till 2014. Meanwhile 2014 [ocp] signed a recording contract with EKP to official release “Absolute Zero”.



Struck9 was consolidated in September 2008 after several years of contributions to other bands and continuing work on the Colombian Industrial and Ebm scene , a country highly receptive musically since the early 80s s. .. This project has strong roots in the Classic Oldschool EBM bands like Frontline Assembly, Signal Aout 42, Nitzer Ebb, Pouppée Fabrikk, Bigod 20, Front 242 were the most important original source for the band in addition to great writers such as Mao Tse-tung and other activists and revolutionaries against the political system. Their latest release “Democracy” (2010) has 9 varied tracks, which range from minimalist and tough anhalt EBM, to more hard hitting and more sound-filled tracks, with some modern EBM influence, and sometimes a little techno. This release also has a great remix from Spanish anhalt EBM masters Tech Nomader. And recently Struck 9 has released a remix album entitled “Default” which includes mixes from various artists, i.e. Equitant. The new album “Ritual Body Music” is out now!



Invoke The Insult is based in the coastal town of Gothenburg which used to be the central point for electronic music in Sweden. Jonas and Klas found that their common interest in this genre made it natural for them to create music together. In previous projects the music was similar but today they have brought it to a new level. The inspiration from the old factory in which they make their music is one of many things that makes the wheels turn. Invoke The Insult has been active for 5 years. Before ITI they made music under different names in other projects as far back as 1989. Inspiration came from bands like; The Klinik, X Marks The Pedwalk, Invisible Spirit, Skinny Puppy, Front 242, Frontline Assembly, Cat Rapes Dog, Cabaret Voltaire, Ministry, Das Ich and many more along those lines. Invoke The Insult is based on the love for the electronic machines ability to create sound. The fluctuations and unnatural noise takes the experience to a level rarely found in other music. The inspiration of that sound is what has brought Jonas and Klas together. Common interests and endless club visits have resulted in the Invoke The Insult of today. The lack of planning and curiosity in how the next song will sound is one of many things that inspire us. We try to follow as few rules as possible when we make music. Earlier engagements are now a distant memory as we both live for Invoke The Insult. We and the machines are one. Circuits and flashing diodes are the only energy sources we need. The noise and electronic clicking is what moves us forward. The dedication to industrial music is something we always had in common. We try to renew, simplify and strengthen our common interest and thus contribute to the genre we live for. ITI  EBM means something again.




After a couple of years of being a parallel project of Norwegian EBM-band Anstalt, Atropine was formed in 1994/1995 to explore the agressive side of the genre while still maintaining strong melodic content using mainly equipment from late 70’s/early 80’s, as well as a large range of hardware samplers and drum machines. Atropine consists of ALX (programming / synthesizers / computers/samplers / drum-machines/effects) and Cthulberg (vocals / lyrics / tapes / drum-programming). Both members have been and are currently active with several other projects such as Epilektrician (IDM/experimental), Panzerveps (synth-pop/cold-wave) and Pogrom Synod (industrial/noise). ALX also works as a producer and has worked on releases such as Code64’s “Storm” (2003) and Substaat’s self-titled first album as well as their single “Refused” (2011/2012). Coming up is also some remix work for the re-release of minimal/no-wave artist Ike Yard’s first album on Factory America (1982/2012). Previous releases by Atropine includes the seminal, self-released “Master Raze” (2001), which will be added to and re-structured for the first album release on EKP – “Recurring Nightmares”. After the excellent performance of  “Recurring Nightmares” the Norwegian duo-act is ready to impress all the fans with another great album, starting from its amazing sleeve to the last beat of drum-machine. “Assailant”, composed of fifteen advanced EBM / Industrial tracks, characterized by an impressive vocal acidity, disciplined drum-programming automations, disturbing obsessive melodies and by a strong electronic energy.  “Assailant” goes well beyond the best expectations: it comes from an higher electro culture and it has all the qualities to be considered without doubt one of the best EBM / Industrial releases of this last part of 2016.



NeuroRythm is an EBM / Industrial band from Canada, created by Andreas Gregor and Laurie Sydorowicz. The idea of the band actually stemmed from an elaborate April Fools prank they played on one of the weekly radio shows they hosted. They created a fictitious band with a long and colorful history. Andreas and Laurie also created the music for this faux band which culminating into a killer cover of Kiss’ s “I Was Made for Loving You”, Trent Reznor style. After the show aired, they received numerous email requests from listeners asking where they could purchase the music by this band and thus, the seeds for NeuroRythm was born. At that particular time, Andreas had been away from the music scene for a couple years and the enormous success of that show made him realize his love of making music was stronger than ever.Andreas had always been involved in the electro / EBM scene starting from his teenage years. His past projects include: Techniques Berlin, Digital Poodle and !Bang Elektronika. Due to !Bang Elektronika’s popularity in Germany, Andreas was invited to play numerous shows in Berlin, Germany in September 2011 to great success. Andreas is currently back in the studio writing and recording with the assistance of Laurie on vocals and/or keyboards. His passion is creating electro / EBM music with an old school edge. To date there is a three song demo: Body Machine, The Voice of Dissent and 1900 Feet which has already caught the attention of EK Product. So if you like raw old school stuff you will enjoy NeuroRythm!



Erik and Johan met in Gothenburg in 2006. They were both looking for a musical partner and found each other through Myspace. They met up for some beers and had alot to talk about. They decided to try to write a song together and after a few hours they came up with the song Nothing to say, wich eventually ended up on the Testosterone album. They started with the intention of writing electronic pop with alot of cocky attitude. But the music soon drifted towards being more agressive and faster, with a more punkier vibe to it. Their visit at Familientreffen IV also inspired the band towards more EBM-like songs. 2008 they released there debut album Testosterone on their own DIY-label Closet Freak Production. In 2009 they released the EP Tanz Anarchie at a gig in Berlin. With the realease of the EP the band has found their musical direction and are currently working on new material, mailnly inspired by EBM-music, oldschool punk, and the casettemovement in the 90’s. Batch ID likes to record in the studio but loves to be on stage. It’s nothing more fulfilling than meeting an enthusiastic audience. To be in direct contact with the listeners and other bands have always been important for the band.

Tanz Anarchie!




Deus erravit, veniunt machinae!

If it’s true that Kraftwerk were the pioneers of the Man-Machine theme, the hungarian Escalator have been one of the first band ready to draw consequences and act accordingly to this concept, translating it into a musical form which could connect Kraftwerk electronic music with Front 242 EBM and the industrial experimentations of avante-gardiste bands such as Throbbing Gristle, Clock DVA and Cabaret Voltarie. Officially born in 1988 in the strongly repressive atmosphere of the socialist Budapest, Escalator are a creature of the lively imagination of the enfant prodige 2rt+TB (in those days 15 years old) to whom soon added his older brother Igor 404, and is one of the best Electro-Industrial act ever.Escalator’s music could be catalogued without any difficulties in the so called “old-school EBM” (a nowadays term to underline the difference with the new-school, much more harsh and noisy) and it is characterized by hard and often sparse danceable electronic beats, repetitive sequencer lines and lightly sampled vocals. The lyrics, mostly in Magyar, deal, in an obsessive way, with the very actual theme of attainment and conquest of the human society by the machines, showing that sense of anxiety and restlessness which hides behind the scientific development: technology which becomes, from an instrument controlled by the human being, the master of humanity itself, reducing it to obedience.The first two albums “Non acustic music” (1989) and “Human Experiments” (1990) sum up perfectly what said before and, even though they weren’t produced by any label, Escalator quickly became a cult band in the underground Hungarian scene thanks to epic tracks such as Elektronik Automatik Teknik Music , Das Ist Verboten, Error and Human Experiments.It was with “Helicopter” (self production, 1992) and “Antropologia” (EMI Quint 1993) that Escalator rised to the gotha of electronic and EBM: high-level quality , sublime tracks such as Idozitett Bomba, M.V.K.V., Számitógépes Lovagok were and will remain the most notable and involving products of the whole decade.Moreover, the constant use of Magyar was able to lend a “east – European touch” which Slovenian band Borghesia fans know as well. In particular “Antropologia” is a very well composed album where every track is a potential hit and which alternates the post-industrial atmospheres and the aggressive rhythmic patterns, the themes about serialization and mechanization of existence (Antropologia –Doppel variation e Nekrophilia Mix) and most melodic tracks (e.g. Amnezia-Vegetative Mix). The final result is a masterpiece that shouldn’t be absent in any complete electronic music collection.Moreover, in the meantime, Escalator were elaborating some short-videos (like the above-mentioned Clock DVA)which they projected during their live-acts. Thanks to the talented editing by 2rt+TB the filmed sequences, containing images of human beings and futuristic machineries superposed one upon another and projected “in loop”, were able to strengthen the anxiety of that era of mass –propagation of personal computer and new technologies. Nowadays Escalator’s performances are still accompanied by these videos which fit perfectly with the implicit message of their music.The journey of the band continued with “Arbeit” (Rockland, 1994) which shows a still prolific and rich disposition. The atmosphere of the disc, if possible, goes more anxious and disquieting, the use of looped samplers more pressing, the voice is often more strongly sampled in order to increase the feeling of in-humanity. The short melodic patterns are immediately overwhelmed by a intrusive, pervasive electronic deflagration, sometimes dissonant and oppressive or by the interpolation of winds and symphonic arrangements which give to the disc a post-apocalyptic touch (e.g. Armstrong 69 which is the last song of the LP, and not for casualness).“Arbeit” moves the disquiet from earth to the entire universe, involving the other planets and describing a boundless, irreversible state of siege. The accession of the machines, listening to Apollo 17, seems to be not only unavoidable, but already occurred. Ardennek, Asteroid, Astronauta confirm this feeling and the talent of 2rt+TB in using repetitive musical structures, aggressive electronic, martial rhythms either reveal the serialization of human being or uphold the invigoration of themes such as the feeling of aggressiveness connected with the new technologies which have become totally independent of humanity.After a period of latency lasted for 7 years (interrupted in 1999 by the recording of the single “Hivom a Multat”) in 2001 Escalator breed a new LP, which is not just an anthology of their former works: indeed “Escalator 1990-2000” (self production, 2001) contains some new songs, the most notable of which are the above-mentioned Hivom a Multat, and the incredible song Offenziva. The former will be included in “Lieder der Berge”(Electric Tremor Dessau, 2007) an anthology of EBM bands and in “Antologia” (Electric Tremor Dessau, 2009) the definitive collection of Escalator. The latter (Offenziva) is a true masterpiece in which a strongly danceable and aggressive rhythm and the more obscure voice of 2rt+TB make this track a unreachable hit. Unforgettable!On the other hand Delfin is a most danceable and catchy tune and, after all, a true commercial song. For the most diligent listeners: same songs appears in different albums (also with different titles), but there is a work in progress in Escalator production, and the maniacal approach of 2rt+TB makes each version slightly different.Some other singles were made in 2008 (such as the great Gepek lesztek, Gloria Machinis and Radio Budapest) but “Antologia” is, until now, the last chapter of Escalator’s saga (even if there’s a rumor that a new album is going to be produced in 2011, shortly before the Bite the Bit Festival), an involving, incomparable saga much more significant if we consider the period and the place where it started and the difficulties of communication connected with the socialist regime. This fact (the partial cultural isolation) makes Escalator’s ideas and work even much more remarkable and original.Due to the socialist segregation and the tarry residue of this system of government which lasted even after the fall of Berlin’s Wall and the exit of Hungary from the Warsaw Pact, Escalator didn’t reach the fame they deserved in Europe, and their first live act outside Hungarian borders (where, instead, are a legend for the fans) dates back to 2008 at Dessau Beat Club, where they shared the stage (as headliners) with Armageddon Dildos.After the recent performance at Flat Club (Venezia), Escalator are back in Italy thanks to Elektro Kommando which strongly wanted them performing at Bite the Bit Festival and consider this Hungarian duo not only a “cult band”, but also one of the most important band in EBM history, a band able to develop a personal journey in a very notable and independent way.