Cruel Nature Records – 4th April 2025
Christopher Nosnibor
Machine Mafia may be largely unknown, but the duo’s members have some pedigree, being Adam Stone of Pound Land and Jase Kester (Omnibadger/Omnibael/Don’t Try/Plan Pony), all regulars at Aural Aggravation. Jase joined Pound Land’s ever-shifting lineup as the (then) sixth member in 2023 for a handful of live shows, and contributing additional noise to Mugged (because it needed more noise). Deciding to collaborate in early 2024, they slipped out a couple of self-released EPs, which as the notes which accompany Zoned observe, ‘more or less went under the radar at the time’ – which is why they’re getting a second go here, with Zoned being a compilation of those EPs plus four new tracks, or a new EP packaged with the previous ones, depending on your perspective. The tracks aren’t in their original order of release, and have bene resequenced, presumably for the purpose of creating a flow that’s sonic rather than chronological. And so it is that the album starts with ‘Killzones’, arguably the most overtly Pound land-like track on the album, which eases fans of Pound Land into the world of Machine Mafia nicely, or will otherwise alienate pretty much everyone else, unless they’re on the market for something that sounds like Sleaford Mods in collaboration with PiL while monged on Ketamine.
They describe themselves as ‘a voice/electronics duo in the grand tradition of Suicide, Silver Apples, Soft Cell, Pet Shop Boys etc.’ And it is indeed a grand tradition, to which one would reasonably add Sparks, Air, and Erasure, and even the final incarnation of Whitehouse, although what this list ultimately achieves is to demonstrate just how wide-ranging the electronic duo format stretches in terms of style. I very much doubt you’d find these guys donning big hats or flamboyant costumes and kicking out a set of brassy dancefloor-friendly pop bangers, at least on the evidence of the thirteen tracks on offer here. They recount that their first gig was ‘in a small craft ale bar in the Staffordshire town of Leek, receiving a ban for high decibel levels and foul language’. This sets the bar of expectation, and in this context, Zoned does not disappoint.
As I suggested in my write-up of the Killzones EP, the electronic duo they share the most common ground with is Cabaret Voltaire in their early years, mashing up samples and noise in a Burroughsian cut-up style, and churning out gnarly noise that sits between Suicide and Throbbing Gristle. This is particularly true of the collage chaos of ‘Lecture 0.3B’,
But then, ‘F.O.S’, is a blast of uptempo, lo-fi, bass driven drum-machine propelled hardcore punk strewn with feedback and snarling aggression, and ‘Where’s The Money Gone?’, from the Money Gone EP is a filthy racket with massive blasting beats which lands in the space between The Fall and Big Black, powering away at a motorik groove for the best part of six minutes while Stone hollers thickly and ever-more desperately ‘where’s the money gone?’ Well, we know it’s not gone into public services, but there some mega-rich cunts swanning around and jetting into space. And has anyone seen Michelle Mone since she sailed off on her multi-million quid yacht?
‘England’, originally released on Industrial Coast’s ‘Rock Against Racism’ compilation is very Throbbing Gristle, in the (pulsating) vein of ‘Very Friendly’.
Of the four new cuts, ‘Crabclaw’ invites comparisons to Selfish Cunt’s ‘Britain is Shit’, and this may not be entirely accidental, a stinking snarling assault on culture and the senses, with an overloading gritty bass and vitriolic vocals ranting in a mess of distortion and reverb over the murky morass of a musical backing. It’s the sound of frustration, it’s the sound of anger mashed together with despair. ‘Jackpot’, meanwhile, is like John Cooper Clarke spouting over a segment of Metal Machine Music. All the while, a drum machine and throbbing bass pulse away relentlessly: this is Sleaford Mods for real punks. ‘Human Like’ revisits the dubby tendencies first explored with ‘Killzones’, and it’s a dark, sprawling cavernous hell of reverb atop an organ-shaking bass, again bringing together PiL (think ‘Theme’) and Throbbing Gristle (think ‘What a Day’). It’s meaty, and then some, and crunches and grinds away for a full six echo-soaked minutes. Closing with the eight-and-a-half-minute megalith that is ‘Outside My House’, they go full Whitehouse, with a booming bass that’s positively weapons-grade density, over which Stone delivers a rabid, drawling rant from the perspective of a crabby right-wing old-timer while electronic extranea bubble and eddy around. It’s utterly brutal, and completely uncomfortable, and this is the brilliance of Machine Mafia. Gnarly, nasty, uncompromising, Zoned is not friendly, and it will leave you feeling drained, harrowed, punished. Mission accomplished. You’re not supposed to like this.
AA
