Tag Archives: #GenreDefying

Cutting Edge Culture Updates, Independant Release, Music Video Release, New Music Release

🎵 NEW SINGLE OUT NOW: Cyberpunk Rework of “This Is Not The End”

ICYMI in yesterday’s message: I’ve just dropped a Cyberpunk version of “T

🎵 NEW SINGLE OUT NOW: Cyberpunk Rework of “This Is Not The End”
ICYMI in yesterday’s message: I’ve just dropped a Cyberpunk version of “This Is Not The End”—and yes, it’s over 50 BPM slower than the original. Strange twist? Even diehard fans of the original (and known remix haters) are vibing with it hard. 🖤 It’s moody. It’s deliberate. It’s a completely different animal. ▶️ Stream everywhere now or watch the video on YouTube: YouTube Video Spotify / Apple / All Platforms

🔴 LIVE DATES
Aug 9–10, 2025 – M’era Luna, Hildesheim, Germany (SOLD OUT)
Mar 28, 2026 – E-Tropolis, Oberhausen, Germany (Tickets)

🖤 INDUSTRIAL IS DEAD. LONG LIVE INDUSTRIAL. 🖤
There’s a phrase I can’t get out of my skull—it clings like sweaty PVC in a crowded goth club: “Industrial is dead. Long live industrial.” No, it’s not poetic. It’s fact—as loud and clear as a distorted Suicide Commando snare. Let me explain.

🤖 What is Industrial in 2025?
Once, “industrial” meant dissonant, confrontational noise made by weirdos in bondage pants and art school trauma. Think Throbbing Gristle. Early Wax Trax. Music that didn’t want your love—it wanted your fear. But now? The average “industrial playlist” on Spotify is an identity crisis: one part aggrotech, one part synthpop, and maybe a sprinkle of Nine Inch Nails for comfort. Some artists still bleed rebellion, but a lot of what’s called “industrial” today feels about as threatening as a pastel bat plushie from Etsy. So yeah: Industrial is dead. But the idea behind it isn’t.

🧱 The Cage of Labels
The term “industrial” used to mean danger. Chaos. Revolt. Now it’s just another keyword. Say it today and people expect: A Harsh EBM clone of a 2007 Grendel B-side. Post-metal with layered screams and down-tuned guitars. Cyberpunk techno with overused AI samples. Or worse, nothing at all, because the scene stopped caring a decade ago. It’s become a nostalgia trap. A genre cage. And inside that cage, nothing grows.

🔥 Make Music That Hits, Not That Fits
I don’t write music to save a genre’s ghost. I write songs to gut-punch your ears and brain simultaneously. Sometimes it’s dark electro. Sometimes synthpop. Sometimes sad goth rave balladry with a side of emotional damage. If it moves you, it doesn’t need a label. If the label limits you? Burn it. Too many artists stay shackled to the word “industrial” like it’s a badge of honor instead of a creative shackle. But maybe the most industrial thing we can do in 2025 is say: “FUCK the label.” Bring back the attitude that made industrial important in the first place—Rebellion. Risk. Rawness. Innovation.

🚀 So What Now?
Stop treating “industrial” like a genre. Treat it like a mindset. ⚠️ If your track doesn’t fit a playlist, GOOD. You’re doing something right. ⚠️ If it pisses off a gatekeeper, EVEN BETTER. ⚠️ Make the music you want to hear, not the music people expect from you. Respect the past. Don’t live in it. You can love Skinny Puppy and still drop a beat that sounds like Giorgio Moroder crash-landed in a post-apocalyptic rave.

Industrial is dead. Long live industrial.
Let’s stop preserving the corpse and start building something new from its bones. Let’s make noise they can’t categorize. Let’s make something they can’t ignore.

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#industrial, Cutting Edge Culture Updates, Lifestyle, Live Events, Live Tours, LIVE TOURS AND EVENTS, New Music Release

Metropolis Records and Zanias Join Forces to Unleash Chrysalis, an Electrifying Journey of Genre-Defying Art Pop!

Metropolis Records is Proud to Welcome ZANIAS
Metropolis Records has partnered with Fleisch Records to release the new album Chrysalis in North and South America.

Since 2014, Zanias has existed as the unrepentant creative venture of Alison Lewis, born in Australia, raised in Southeast Asia, and also known for her vocal work with Linea Aspera, Keluar and a record shelf’s worth of collaborations with the likes of Black Rain, Ancient Methods, Dax J, I Hate Models and Infravision.

As the sole custodian of Fleisch Records she spent many years attuning herself to Berlin dancefloors through the timely collision of techno and electronic body music, but her true passion is for understanding the modality of emotions through songwriting. Sound is her psycho-spiritual catharsis and philosophical exploration of existence, expressed through an intense vocal performance, evocative melodies and heavy rhythmic components.
With this signature structure she seeks to reinvent her own brand of ethereal pop: atmospheric, multi-layered and as alien as it is authentically, vulnerably human.

The creation of ‘Chrysalis’ was a retreat from a seemingly endless string of unfortunate events, a cocoon from which Zanias could weave hope from hopelessness. In each of its eight songs she has engineered unique worlds to express alternate facets of the modern human experience, from burnout and the toxicity of capitalism to processing death and the inherent isolation of personal trauma.

Written and recorded between Berlin and the rainforest of Queensland, Australia, the sound design of ‘Chrysalis’ reflects the rich biodiversity of the latter environment, where she drew much of her inspiration. Her voice shifts and morphs into ghostly, alien forms between catchy hooks that plant this album firmly in the ‘pop’ genre, without losing the underground rawness and lyrical depth for which she is known.

With her third full-length album, Chrysalis, Zanias is expressing her truest form thus far, fusing her seemingly discordant influences into a genre-defying electronic art pop, as dark and evocative as it is ethereal and uplifting.

Listen to Chrysalis on Bandcamp