Rhys Fulber

Rhys Fulber is perhaps best known as an integral member of Front Line Assembly—one of the most important projects in EBM/industrial history and one that requires no introduction. However, fewer realize that Rhys operates as a sort of “grey cardinal” of industrial music, particularly on the metal side of the spectrum. His production fingerprints can be found on tracks by renowned bands such as Fear Factory, Mindless Self Indulgence, Paradise Lost, and many others.

Prior to 2017, his solo career was largely defined by his ambient project Conjure One, but this changed with the release of the Realism LP on Adam X’s Sonic Groove. Rhys decided to put his own name on this record with good reason—it showcased the core of his career in crystal clear form. These EBM/techno tracks stand as a testament to supreme production and composition skills, as well as brilliant attention to detail. Rarely does one come across a musical creation that balances such killer instinct with such a strong hypnotic element.

In the records

STM 235 is an intense selection showcasing Fulber’s vast array of influences. The narrative shifts constantly between rhythmic patterns while maintaining a heavyweight pulse throughout. Yet, beautiful traces of melancholy shimmer over the monolithic constructions, giving the mix diverse tonal depth. A particularly pleasant surprise is the inclusion of “Summa For Choir” by Estonian composer Arvo Pärt, performed by the Lithuanian Jauna Muzika Choir. This inclusion of Baltic serenity creates a spiritual oasis within the mix.

The selection opens with the familiar dark-toned drones of Fennesz, while Mondkopf’s harsh-yet-mellow piece acts as a midpoint on the way to more intense territories. Rhys does not overload the mix with EBM, but includes tracks from the genre’s more experimental fringes, such as “Cyflea Rated R” by Severed Heads or “The Plague” by The Klinik. The mix reveals connections between legendary electronic compositions spanning decades, linking Techno, EBM, and IDM. It also serves as a map of Rhys’s own musical development, concluding with the intensely epic “Awakenings” by his own Delerium project.

With its balance between structural rhythms, dense soundscapes, and emotional patterns, the mix recalls Otto Freundlich’s monochrome abstract painting Komposition in Schwarz und Weiß. The elegant lines and monolithic forms of the artwork mirror the sequence of these tracks.