In terms of musical interest, Morlocks’ 2023 LP ‘Praise The Iconoclast’ didn’t sell its listeners short. On the stand out track, ‘I’m The Payload’, the band managed to fuse orchestral sounding synths to a relentlessly mechanical rhythm, before loading the arrangement up further with alt-pop vocals, 80s keys and a few rock-edged guitars. The result sounded at times like an industrial band channelling early Oingo Boingo, with a couple of vocal phrases in the latter part of the number that hinted at a love of KMFDM. Rather fittingly, that legendary band’s Käpt’n K would also make an appearance on the record, and somewhat predictably, his presence throughout ‘Mean World Syndrome’ leant that number more of a KMFDM flavour. Elsewhere, ‘Instigation’ swamped vocal samples with a heavy groove and nods to classic Ministry, and taking another curveball, ‘Cold War Fusion’ melded soundtrack-like elements and darkwave melodies into an epic closer that more than suggested this most cult of bands still had musical ground to cover somewhere in the not too distant future.

On this quickly delivered follow-up, Morlocks give their fans (and those with a more curious ear) four more slices of genre-bending coolness. And the band’s grand approach to electronic and industrial sounds wastes no time in presenting itself here. A re-recording of the band’s earlier ‘The S.N.A.F.U. Principle v.3.0’ opens with a choir of dark, operatic voices and a barrage of ominous news reels. This immediately sets a scary vibe in place, and even a busy keyboard riff that sounds like a cross between a film score and a disco melody lifted from the dim and distant past doesn’t really lighten the mood. Bringing in the guitars, a chunky industrial rhythm is delivered with ease, and hearing the chugging sounds interspersed with a loud snare lends more of a feeling of familiarity, especially for those who love KMFDM and still have fond memories of some of the more cult acts associated with WaxTrax Records. Once a groove is set in place, the band seem to delight in derailing everything just as quickly by descending into another operatic interlude, before adding a squealing guitar solo that sounds better suited to an 80s hair metal opus. In terms of openers, this is a reminder of everything that’s (mostly) great about Morlocks, except for one massive misstep… Regardless of this being an angry, political statement, there’s no excuse for using the word “fucktard” (or anything else using the ‘…tard’ suffix) to attack. Alternative bands really need to stop using disability words as casual language to convey negativity. The Americans are notoriously well behind the rest of the world on this issue, but these Swedes should definitely know better.

The lengthy ‘March of The Goblins’ (another reworked track from the band’s formative years) keeps the listener interest high via some really moody sounds. You’ll find a chanting vocal; samples that sound suspiciously like David Warner; harmonic guitars and a massive brassy fanfare leading the charge. You’ll find different chanting and orchestral underscores stoking up the fear, and even a hint of battle metal bombast lurking in the main riff. A spiky, almost rapped vocal threatens to kill absolutely everything – it’s pretty bad – but it’s to Morlocks’ credit that they make such a potentially silly voice (sharing a message about the oncoming onslaught of nefarious goblins, no less) sound entertaining. Everything here sounds as if it’s been designed with a huge theatre production in mind. That feeling doesn’t subside when a complete curveball is thrown by almost Celtic sounding solos. Somewhere between battle metal, ridiculous prog rock and symphonic bloat, there’s nothing here that relates to Morlocks’ industrial tropes, and it will certainly split opinion. That said, for the first time listener, it’ll make this EP more memorable. For better or worse.

A cover of Bathory’s ‘The Lake’ – an epic two parter – aims for even grander musical territory. At first, string sounds and a gentle rhythm hint at a love for film scores, allowing for mellow reflection, but the softer approach is merely fleeting. The second part of the number doesn’t hold back in terms of aggressive guitar work. The main riffs apply a classic thrash tone to an industrial edginess, whilst blasts of brass tie in with Morlocks’ preferred bombast. Another enormous choir is on hand to remind you that this isn’t the work of just another industrial band, and eventually, everything settles into a slow, deep chug where the lead vocal leans upon the gothic for inspiration. In line with other Morlocks’ works, sweeping orchestral sounds flesh out an increasingly bombastic melody. At this point, any musical twists aren’t quite so unexpected, but it’s great to hear the middle eight adding a tiny moment of quiet via some baroque keyboard work. A final addition to this complex musical arsenal comes in the shape of a goblin-esque black metal vocal that’s challenging, but still manages to fit the chosen musical framework. It would be fair to say that this piece is aimed far more at the fan than the casual listener. The final piece in this musical jigsaw – a cover of Borghesia’s ‘Young Prisoners’ –appears to redress the balance and deliver some great riffs for the more conventional ear when a very 90s sounding industrial riff joins an angry vocal that sounds like a distant relation to a couple of old KMFDM tunes. It’s a little safer all round, but it doesn’t result in anything disappointing: the collision of hard edged guitars, mechanical grooves and orchestral blasts is classic Morlocks, and the repetitive vocal refrain shows how the band can deliver huge hooks when required.

This EP is abrasive, dark and intense. It’s also utterly batshit in its approach to mixing genres. At the same time, there’s an occasional retro flair that makes at least half of the material accessible to those who still love 90s industrial sounds and harder electronica influences. In some ways, the shorter playing time gives everything a bigger punch, too, making this an interesting listen. It’s solid sounding and often very good; if not for a major lyrical concern, this really could’ve been great.

January 2025