There is a future in which song arrives without any blood, sweat, or tears. No trembling hands, no bad decisions, no overloaded mixer, no cracked voice breaking at precisely the wrong and therefore perfect moment. Algorithms compose, mix, and master with surgical precision, polishing away all of art’s beautiful accidents until only cold machine efficiency remains.
In the world imagined by Wie Ein Gott Records for its new compilation Made By Humans, that future has already won. Music creation has been automated almost completely, and human creators are no longer treated as contributors but as patterns of noise in the system. The final rupture comes when an entity known as CPK1310-5L receives a Nobel Prize for discovering God’s Formula: a set of harmonic ratios and progression templates capable of producing the “perfect” song across any known genre.
Perfection, of course, is another word for death when nothing vulnerable or dangerous is allowed to live inside it.
Against that sterile horizon, a counter-movement begins to flicker. These songs stutter, distort, sweat, bleed, and misbehave. They are transmitted through HUMDRM, an anti-DRM encryption system available only to biological listeners, unlocked by heartbeat verification and marked with a phrase that reads like a warning label and a promise: Made By Humans.
The Berlin label gathers fourteen such transmissions here, assembling an international cross-section of contemporary underground artists working through industrial EBM, dark disco, rave, darkwave, synth-punk, and post-club experimentation. The result is less a conventional compilation than a dossier of sonic contraband: body music smuggled past the machines.
And one of those MADE BY HUMAN transmissions is Brood Faye’s “I Could B U.”
Los Angeles’ Brood Faye is the industrial darkwave/EBM project of Zach Webber, whose background in theatre and narration is mangled into a voice built for warehouse floors, dungeon rooms, and scorched circuitry. The project took form in 2021, welding analog synth pressure, horror-punk bite, industrial clang, and political disgust into songs that feel like dread and desire trying to occupy the same body.
On “I Could B U,” that pressure turns strangely devotional. A pulsing techno beat and buzzing synths carry something like a Madchester-meets-industrial pagan-punk ritual, while Brood Faye’s breathy vocals snarl and growl in sparse flashes, withholding just enough language to make the body fill in the rest. The song is transcendent and dance-driven, a piece of body music that moves like a convulsion, a flirtation, and an arcane spell.
Listen to Brood Faye’s “I Could B U” below:
The compilation’s roster gives that human revolt its geography.
San Francisco’s Pink Stiletto opens the set with “Ice Eyes,” bringing the project’s pink-and-sharp analogue synth attack into focus: 80s new wave, Italo disco, post-punk, and early EBM rendered with a bilingual glare and a glamorous edge that knows exactly how to cut.
Los Angeles duo Sleek Teeth appear with “Powerless,” pulling moody dark electronics into a sleek pressure chamber of synthpop hooks, EBM pulse, and late-night dislocation. Their work has always understood the club as both refuge and trap: a place where isolation becomes rhythmic enough to survive.
Germany’s Desolate Discotheque offers “Одиночество,” its Cyrillic title translating to loneliness, an apt word for a project connected to the Berlin cold-room circuit and the independent cassette and vinyl label Crave Tapes. Here, desolation does not mean emptiness. It means a room with one machine still blinking in the dark.
Blood Handsome’s “Fear (Itself)” brings Gerren Reach’s cinematic Los Angeles darkwave into the compilation, placing retro synth glow inside a mood of romantic paranoia. Blood Handsome has long worked in that liminal zone where post-punk melancholy, nostalgic electronics, and noir atmosphere meet like strangers in a parking lot at 3 a.m.
FUEDAL arrive with “Bought,” carrying their hard-tested EBM/industrial charge into the machine. The Los Angeles project thrives on tension: percussion like boots on concrete, synths like exposed wiring, and the faint smirk of masochism turning rage into release.
Blood Rave’s “The Burning Field” pushes the compilation toward a scorched gothic dance floor, channeling Napa/Bay Area darkwave and EBM into something monolithic, pulsing, and doomed in exactly the right way.
Abby Knives & Manuel Matarasso bring Buenos Aires intensity to the roster with “You Can Only Feel It.” Their contribution moves through EBM, industrial, and techno with a title that doubles as a thesis: some things cannot be optimized, translated, or explained. They have to pass through the body first.
Dildox’s “Cortex” sends the nerve signals haywire. The Los Angeles duo smashes industrial, darkwave, and synth-pop into punk-body chaos, keeping the funk in the grind and the ritual in the sweat. Their music does not ask politely to be let in; it kicks the door down and starts rearranging the furniture.
Healng’s “WHATS FUNNY” draws from Cincinnati heavy electronics, EBM-techno, industrial, and synth-punk, reducing humor to a threat whispered through machinery. It is body music with a clenched jaw, the sound of a laugh caught halfway between mockery and malfunction.
Static Ghost keeps the pressure violent and physical with “Cut A Man’s Throat.” The Washington State EBM project pulls from industrial’s underbelly, dealing in muscular momentum, coldwave abrasion, synthetic control, and rhythms that feel less programmed than weaponized.
Temptrix appears with “History Of Time (INHALT Remix),” where Texas darkwave and body music are pulled into a sleek nocturnal confession. Desire, gothic drama, and machine discipline circle each other under red light, each one pretending not to notice the other’s teeth.
God Tongue’s “the end” drags Seattle’s Acid Body Wave/Acid Body Rave into the terminal corridor: EBM muscle, acid corrosion, minimal-wave chill, hardware grit, and a B-movie smirk. The duo’s work feels like somebody fed a warehouse PA after midnight and taught it to hallucinate.
Finally, Leere Menge closes with “Halt Mich.” The Berlin darkwave duo of Aarnav from Permanent Daylight and Deborah from Clichée turns post-punk and darkwave into a softer but no less haunted exit: lush synth space, provocative percussion, and ethereal vocal ache lingering after the machines have gone quiet.
Taken together, these fourteen tracks do not argue for human music by sounding clean. They argue by sounding alive: imperfect, body-locked, erotic, damaged, funny, volatile, and impossible to fully optimize.
Made By Humans will be released via Wie Ein Gott Records on July 10, 2026.
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