Substak is the work of Kostas Staikos, who hails from Athens, Greece. I have reviewed several of his releases on Inner Demons, and they all have different feels, so it is interesting to see what he has each time. I’m going to go out on a limb and say we are in for some drone, so let’s dive in.

I like drone a lot, but this didn’t really work for me. I like a lot more variety in my drone work rather than the “brick on the keyboard” style drone. There was some variety here, such as 3, which had some more complex synth drone with some static in the mix for good measure, and the deep, subterranean bass drone in 1 was pleasant. Perhaps part of the issue is that the drone here didn’t really have time to evolve, with the longest track at just under 4 minutes. Time is always a two edged sword with drone. Too long, and it becomes dull and boring. Too short and it doesn’t have a chance to build. Substak went on the side of brevity this time. Of course, your mileage may vary, so if you like drone, this is worth at least checking out. This album weighs in at around 14 minutes.

Chaos V.G. is the work of one Dennis van Geldrop, who also performs as Kuttekop, Nee!, and Deathtomusic. Most of his output as Chaos V.G. has taken place in the last few years with splits by people like Odal and RDKPL. The notes state “i get happy making noise, i love chaos in music, and every now and then i tear my whole house down for a few weeks. and try to make something of music from it. noise makes me happy, and that's how I discharge myself and stay on the right frequency.” So say we all, Dennis. Sounds like a good time, so let’s get into it.

We kick it off with (a04), which is squiggly analog noise with a lot of frequency changes. It’s a lot of fun. (a09) is more of the same with a lot of bass drone, like line noise gone bad, and more analog squiggles. (a10) changes it up a bit with machine gun bass and what sounds like heavily processed screaming added to the analog noises. (b04) is a bit more crunchy, with machine noise and feedback loops. Nice use of dynamics to draw the listener in. (b06) closes it out with sweeping noise blasts and high-pitched noise that seems to get harsher as it goes on until it cuts out with a bit of line noise.

Google Translate tells me that Leven Zonder Grenzen is Dutch for "Life Without Borders," and this one fits the bill. This is pure chaos, as the name implies, and everything is grist for the noise mill. The noise seems almost joyful, which I appreciate. If you like your noise all over the map, this is well worth checking out. This album weighs in at around 20 minutes.

We live in difficult times, and sometimes it feels like there is little that one can do as an individual. One day, I saw a call for submissions for a benefit compilation for the ACLU put out by David 'Deftly-D' Dodson of Voidstar Productions and I knew I wanted in. I generally do not review things that I am on, but I will make an exception in this case. First, there are 67 tracks, of which I have only three of them, so it is worth getting the other 64 reviewed. Second, this is a cause worth putting out there and many reviewers are less likely to sit through hours to music to write one review (it took me a few days to get through it all). Finally, it is worth knowing that one is not alone in this. Benjamin Franklin once remarked that we have “A republic, if you can keep it.” Let’s keep it.

At 67 tracks, there is a lot of ground to cover, and the styles are varied. I think that each track deserves at least a sentence, so let’s dive in.

1. Doug Bielmeier - The Revival (Part 3): This is a complex beat and guitar number that would actually make a good theme song for a television drama.
2. Astral Chill - Walls Followed Us Outside (Gary War remaster): Spacey composition of arpeggiated synth and pads that sounds like a 1950’s mad scientist’s lab.
3. Dead Voices On Air & Snowbeasts - Pity The Poor Tyrant (Snowbeasts RMX): This is also spacey, but in a more sinister way; partway through we are assaulted by pounding percussion. Nicely done.
4. Ben Neill - Breaking Point: Opens with a monologue about the “Dark Side,” with horns and percussion over a delicate synth line.
5. Pneumagnosis and Deftly Demolition - Pursuit (formant.dia.tonic Remix by Pneumagnosis): Brings a driving beat and techno synth work that builds in complexity over time. Well done.
6. Loss - Hymn of a Nation in Mourning: Loss lays down the symphonic industrial that he is known for. It’s bombastic and mournful, as the title suggests. This is a soundtrack of decline and sorry; lovely, but sad.
7. Ground To Dust – Awoken: This is a pounding dark industrial number that plods along like the strut of a giant. Heavy and deliberate.
8. ArcRunner – Unease: Nice slow groove, with arpeggiated synth. Kind of hypnotic.
9. Plastic Minds - Non-Binary-Encoded: This track would be right at home on the dance floor. Get down.
10. Automaton – Monomaniac: Techno track with trump samples like “fascist,” and “it’s gonna be a bloodbath for the country.”
11. Alien Touring and Deftly Demolition - An Incel Says What?: Stripped down distorted beats and processed voice samples ("There were tears, but there was no crying." "Well that's crying.").
12. Decide Today - Necessary Assassination (Luigi Is a Verb): Heavy, distorted yelled lyrics, such as “when war crimes are an accepted norm / when nazi values are granted platform / kids are caged while their parents are beaten / fuck racist reasons, embrace treason.” Think a much angrier version of Snog. This artist is going to end up on a list. Then again, most of us probably will.
13. Kai Niggemann - Uh, I'm Queer: Beats, a nice melogy, and samples about the LGBTQIA community. “When we stop learning / We stop growing / When we stop growing / We stop appreciating / And everyone should be appreciated / For who and what they are."
14. Stevie Zeven - Born To Burn: This is a beat driven number with a chaotic feel. It’s a mess, and I mean this in the best possible way.
15. NoizCode - Defy Expose Instigate: This is a nice, fast moving techno track.
16. Hex Wolves - Ghoulish Alliance: This is some more gritty techno industrial.
17. Endif VS Retcon – Ashes: Noisy beats and distorted vocals that remind me of Leaetherstrip.
18. Alien Touring - This Is Not Normal: More beats with a lot going on in the track to keep it interesting.
19. Starvation Wages - To The Ground: Gabber with speech about the social contract and rioting. Really well done, and very angry.
20. [ALIEN STATE] – FEJA: This is where we reach the MOSH PART! Short, but effective.
21. This Is Not Okay - Liberation Front Parts 1 & 2: Starts noisy, with cut up everything. This then switches to part 2, which is beats and plenty of static.
22. ukuphambana - Piazzale Loreto Beats: I did not recognize the name “Piazzale Loreto,” but it was the site of a massacre in WWII. The upbeat feel belies its grim namesake.
23. Production Unit Xero - Tippin' Inn: Jungle beats and piano mixed with electronics. Complex piece nicely done.
24. SEiVOiD - don't regret the things you've done: Venetian Snares style beats over lush pads and a merry synth line provide an interesting contrast.
25. Synthvein - HSTRY RPTS: Industrial beats and angry vocals that would be right at home on an old Zoth Ommog release. “We lost the battle, Now the war is coming to our door. We make the same mistakes, all over, again. History repeats itself. We make the same mistakes, all over, again. History repeats. How could we let it happen? How could we let it happen?”
26. The Mellowtrons - 2_B_4: This track has a nice groove. Well done.
27. Metal Tiger – Boomerz: A nice stripped down number with a chill drum groove and synth with bits of machine-gun drum machine and record manipulation thrown in for good measure.
28. SWRM - The Black Hen Redux: Sounds like the soundtrack from an adventure video game from the early 90’s. You’re in the dungeon approaching the final boss.
29. Stephen DeJesus - This Robot Kills Fascists: Lives up to its title with plenty analog sounds and more square waveforms than you can shake a stick at. Its repetitive and robotic in a good way.
30. HANSEL - Embrace The WORM: This is a weird story about getting a roadkill bear into his van and brain worms, which is likely a not-so subtle dig at RFKJR. “Like the gods if Norse, of course I'd fuck a horse, because there's no recourse, when the brain worm rots the source, the brain is driving now, driving all around hollywood town, slice the bone at the tail, slice off the head of a whale.”
31. Richard Tarantino – Bootlickers: a hypnotic piece with crunching sounds and chimes.
32. Bill T Miller - Pay Attention: Beat driven electronics with electronics noises, along with some static and tape loops thrown in for good measure.
33. Violet Nox – Aruna: A lovely track with beautiful alto vocals and analog synth that would be right at home on the Hyperium Heavenly Voices series. “Far too late / Come and take it / In the dark is where it takes to get you there / All is torn / We are still apart / We will arrive on our own / Ta da da da-da.”
34. Sidetrack Walker - The Cleansing Has Begun: Minimal style electronica mixed with militaristic percussion backing male vocals with a style that belies the bleak lyrics. “The cleansing has begun they’re dressing up the sun and everything we’ve learnt is gathered up and burnt the knights in white have come to redefine the sun we buy their shiny toys and filter out the noise the reckoning has come towards the light we run and leave our better halves beneath the ground to starve.”
35. Eric Baylies - Curfew Must Not Ring Tonight: Short track of voice stating the title over analog theremin like tones.
36. ukuphambana – Akerliuneq: Nice repetitive number with a complex beat and analog bass line. Hard to describe, but enjoyable.
37. Pas Musique - Pull Out the Electric: A nice shuffle beat with reverbed vocals and gritty synth.
38. acheleg - We Shall Stand: Stripped down beats and synth line that would be right at home in a video game. Suddenly switches for last 30 seconds with cymbal and high pitched synth.
39. Solypsis - DOGE SHIT: Keeps the 8-bit synth feel going, but with a bit more complexity.
40. Shirley Brassy and the Trumpettes (with Gunnar Madsen and Laurie Amat) - Great Again!: Well, this compilation has everything, because I did not expect to hear something that sounds like it is straight out of a Broadway musical. This is a delightful piece of satire with a carnivalesque feel. The lyrics are amazing: “If I were his daughter he’d find me attractive / If he were my husband I’d keep him so active / He’d stand proud and stiff, like his hair, in the strongest of breezes / His name flies through the sky, like an angel on high, praise jesus / (He says anything that he damn well pleases) / I believe he’s the man who can make things run better / And I dream of his face that’s the color of cheddar / His grip squeezes strong and firm like a boa constrictor / He can strangle an elephant, or a senator - he’s always the victor! / (If he was an earthquake, he’d be a 10 on the richter) Great again, great again, great again / Make our country first-rate again.” Seriously, if you only listen to one track on this entire compilation, listen to this. It is some wonderful, much needed levity.
41. not a hedgehog – collapse: Kicks off with Souza’s The Stars and Stripes Forever, which becomes increasingly broken, like a tape being eaten. Ends with a peaceful piano and drone segment. Nicely done.
42. Katt Hernandez - What is it Like to be Beautiful?: Melancholy track with piano and pensive female vocals with lyrics like “What is it like to beautiful? To walk in grace in the arms of love? What is like to be safe, and look out at the rain? What is it like to be born wanted; to be needed, to belong, to go home?”
43. Zazie Productions - Pivot and Deflect: Opens with piano and horns; peaceful until the sirens enter, becoming more dissonant while keeping the original theme going. Becomes more animated with synth squiggles and a rapid beat. This feels like several movements all within the same track.
44. Spark Purcell - Sea of Small Cats: Guitar over wailing drone, like sirens in the distance.
45. Katt Hernandez – Allston: Slow moving track, with a folk bluegrass feel. Strumming guitar and accordion.
46. Darth Presley - Star Spangled Banner: This is an interesting deconstructed Star Spangled Banner, with what sounds like sawtooth synth, distorted guitar and feedback, like they are attempting to distil the essence of the Star Spangled Banner.
47. DEAD VOICES ON AIR, DADU – THRENOI: There is a lot going on here in the slightly chaotic, seemingly track. Mellows out at the end. Well done.
48. Blissful Wizard - Dead Horses: Clattering shakers and dissonant drone with some vocalizations that get more intensie as it progresses.
49. State Vector Collapse - Bereft of Ethos: This brings the noise with a pleasant static filled track that almost manages to be peaceful.
50. ( ) – resistr: More complex drone with a lot of layers and texture.
51. Goose - The Wheels of Justice are Being Dismantled: Ethereal dark ambient with field recordings of a protest action as the sole sound source.
52. TotoRobyn - The Caverns: Does a great job of evoking its title, with heavy reverbed tones and echoes on echoes. Nicely done.
53. Jo Bled - wokeism/genderfuck: This is a fun, noisy improvisational track.
54. not a hedgehog – Boethius: Drone and spoken word stating “history is a wheel.”
55. Static Apparitions – Idiots: Noisy track with an interlude of a news story discussing xenophobia and trump’s supporters. Good use of quiet and dynamics to draw you in.
56. Deftly Demolition - Blood and Lies: Subdued track with incisive lyrics: “The Confederacy lost the civil war that they started, to continue slavery / But created a Lost Cause mythology to teach more lies to cover up the blood on their hands / everyone that spreads these lies has blood on their hands.”
57. Andrea Pensado - Lovely Play: A crackling track with plenty of hiss and cut up noises. Sounds like a noise tape being eaten by the machine. Mellows out at the end.
58. Timmy the Tapeworm - Momentary Breakdown: Droney noise with static bursts and tape noise.
59. Stolen Light - The Right of the People Peaceably to Assemble: Noisy track comprised of loops of field recordings of a protest action.
60. Consecrated Venom - Women's March Remix: Field recording of a women’s march with some electronic music mixed in. Over time, the field recordings get more cup up and integrated into the music. Nice.
61. Noise With A Q? - I Dream of Futures of Possibilities: Power electronics style distorted vocals over a sparse composition with lyrics like “I dream of futures where everyone is free / Futures where we get what we need / To radically transform the world we must believe that we can everyday / We have to believe that it's possible / It's got to be possible / A future without capitalism is possible / We can take it / Make the world into our image where we make it / Not just you and me / But everyone is free / I dream of futures of possibilities.”
62. id m theft able - Who Wants to be a Billionaire?: This is repetition of “Who wants to be a billionaire” scat singing style over droning synth. This is a total descent into madness, repeating “it’s mine” and “the more I take,” becoming increasingly unhinged. This guy to teach the Ferengi in Star Trek a bit abut acquisition.
63. Orange - The Bill of Rights: If you ever needed a power electronics style rendition of the Bill Of Rights, here you go. I’ll just leave the first stanza right here: “Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the government for a redress of grievances.” Now go and read the other ones.
64. +DOG+ - Love 3: Really good noise that I call everything including the kitchen sink. Pure electronic chaos, beautifully done.
65. RDKPL - 250129_02: Lots of analogue knob turning with a whimsical quality and a healthy dose of static.
66. 8rnd - Superpower ADHD: this is a nice 8-bit number with a kind of rhythm to it. This gets a bit more repetitive over time. Interesting track.
67. ZRBS - Nothing Makes Anything: An insistent beat over a complex composition as a voice intones “Nothing makes anything.”

And there we have it. 67 tracks with a wide range of styles, all united to help support the ACLU. This compilation really does have something for everyone. You want noise? They got it. You want dark ambient? They got it. You want industrial? They got it. You want power electronics? They got it. You want some folk? They got it. You want show tunes? Heaven help you, they have that too. Are you going to like all of it? Maybe not, but that it what happens when you have such a wide range. That said, all of these artists brought their A game and the compilation is all the better for it. Not only does it serve a good cause, but the music itself is worth getting in its own right. Props to Deftly-D for curating a compilation that somehow manages to hang together as well as it does. Well worth picking up.

If hate had a reverb tail, Tomasz Twardawa would know its exact decay time. My Inspiration Is You - originally self-released in 2004 and now resurrected by Zoharum as part of the GT Archive series - feels like a time capsule of controlled destruction. It’s the twelfth entry in this ongoing exhumation of Twardawa’s uncompromising body of work, and probably one of the most visceral. The fact that the original edition came wrapped in a bandage was not a metaphor but a statement: this music bleeds.

Genetic Transmission has always stood apart in the Polish post-industrial scene - too raw for dark ambient, too abstract for noise, too human for power electronics. Here, Twardawa’s “sound sources: fury, pain and hate” are less emotional triggers than working materials. He sculpts them into dense, metallic structures, as if documenting the slow rusting of his own soul. The Eraserhead voice samples that surface in tracks 1 and 3 aren’t references so much as parasites - remnants of a shared dream of deformity.

The sound is massive yet claustrophobic, a thick fog of frequencies where every hiss feels like a wound and every silence like a withdrawal. And yet, amidst the wreckage, there’s an odd beauty - the kind of beauty you find in decay, in the geometry of corrosion. Twardawa’s compositions never flirt with catharsis; instead, they persist, stubbornly, like a machine refusing to die.

Listening to My Inspiration Is You in 2025 feels like eavesdropping on a past rage that still hasn’t cooled down. Its paradox lies in how personal it is: a document of hatred that somehow speaks of devotion, a mechanical prayer whispered through distortion. Perhaps the title is not ironic after all. Perhaps “you” - whoever that was - really were the fuel that made this machinery scream.

This is not an album that asks to be understood. It demands to be endured - and, if you’re lucky, survived.

There’s something deliciously contradictory about Ikona: it worships at the altar of the digital while sounding almost primitive in its physicality. Here, Greek duo Paradox Obscur - Kriistal Ann and Toxic Razor - trade much of their beloved analog circuitry for digital hardware, but without surrendering to the sterile perfection that usually comes with it. The result is a record that feels pixelated yet sweaty, neon-lit but still human - like a love story written in binary code and lipstick.

Kriistal Ann remains the album’s pulsing heart: her voice slips between command and confession, dominatrix and dreamer. In “Vulgar Sequence”, she turns the erotic into the algorithmic, spitting syllables like voltage spikes. “Like a Freak” goes full body mechanic - a tongue-in-cheek homage to acid basslines and dancefloor delirium. Elsewhere, “Impulse” and “Rodeo” play with synth-pop’s glitter while keeping one heel in the dungeon.

Despite the digital shift, Ikona keeps Paradox Obscur’s real-time ethos intact: no DAW, no safety net, no fake perfection. Every track sounds played, lived, exhaled. Even the rework of Armin Van Buuren’s “Lose This Feeling” feels like an act of reclamation - taking trance euphoria and translating it into noir futurism.

What makes Ikona stand out is not its adherence to genre, but its refusal of purity. It’s EBM for the emotionally literate, electro for the romantically unhinged. Paradox Obscur prove again that machines don’t kill passion - they can amplify it, distort it, turn it into something divine and indecent at once.

An album of flesh wearing a digital mask, smiling seductively through the glitch.