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TEKKNO

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The rest of “Tekkno” follows the same trend of playful, over-the-top choruses with transitions that bitchslap you in the face with their harshness. Their earlier work can easily be compared to that of Asking Alexandria and Motionless In White – undisputable metalcore with electronic enhancements and some absurd lyrics alongside the more poignant. The album, We Are the Mess, was released on 10 January 2014 via Redfield Records and Warner Music Japan.

When all is said and done, as the last few notes of the outro ‘Neon’ fade out, what you get is an album that would be good to play at both a nightclub at 2am, as well as in a field in Derbyshire at a certain metal festival. But onto "Tekkno" and this is a really fun, outlandish, rollercoaster of an album that really has set them apart from anything that is out there at the moment. At least on Fuckboi, there’s a touch of ultra-current pop-rock in a pretty solid hook, and Conquer Divide’s Kia Castillo acts as a good vocal foil; otherwise, they’re songs that could come from a completely different, completely more po-faced band, and they’re massively lacking for it. This is their 6th album, and it appears Germany have been keeping them a secret since they formed in 2010.Moving on to the album’s first single, “We Got the Moves,” this track is accompanied by a must-see music video, as the party has definitely started. Bravery’ might be too strong a word, but no one else is throwing in entire verses from German rapper FiNCH like on Spaceman, or building off a completely undiluted Europop song that could’ve been cut by O-Zone with Hurrikan. Upon translating the lyrics into English, however, ‘romantic’ is definitely not the right word (“When I see all the pictures, then I only think of you/How you sat on me, my god, that was disgusting”. Eclectic production beats bounce off David-Karl Friedrich’s own heavy drum rhythms at driving force in the same way Sallach’s powerful clean vocals and Kevin Ratajczak’s rough growls do.

Unfortunately, compared to what they’ve discovered in the rest of Tekkno, these are the weaker points. Their sixth effort, “Tekkno” – available September 16th, 2022, through Century Media Records – is no different. The clean vocals, brutal growls, screeches, and the occasional pig squeal to top it off are all meticulously executed.

Tekkno has been described as metalcore, [13] pop, [13] electro, [13] alternative rock, [13] electronica, [13] synth-pop, [16] and pop metal.

If you want to know what kind of humor defines the band, I suggest you watch the latest “Hurrikan” music video linked below. At times, it takes you right back to the anthemic pop days of the late 2000s/early 2010s, and at other times it pulls you into the modern day with its djent-splattered metalcore. Similarly, ‘Parasite’ takes their older metalcore sound but sprinkles techno and Eurobeat tropes generously to the point where they can’t be appreciated as their own features. Arrow of Love’ is a cheesy electronica party anthem stating “I’m gonna give my heart to everyone around, I’m gonna share my love with everyone”, jumping from heavy metalcore riffs to a high tuned staccatoed synth section.

Metal is prevalent, featuring three breakdowns, one of which being in the first minute, while the fast choruses make it the ultimate EDM workout anthem. The band started recording their second album at Kohlekeller Studios together with producer Kristian Kohlmannslehner in autumn of 2013. The screams are full, the overall tone is heavy with underlying EDM/synth elements throwing back to the early sounds of acts such as Enter Shikari and Skip The Foreplay – but perfected for an audience in 2022. Non-personalized content and ads are influenced by things like the content you’re currently viewing and your location (ad serving is based on general location). First the good: We Got The Moves has an agreeable enough, Rammstein-ish stomp, the chugging bits of opener Pump It are satisfyingly heavy, the keyboardy metal of Mindreader is genuinely good and the best thing here, and closing track Neon is well-versed in the art of the big Euro-metal chorus as perfected by In Flames in about 2004.

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