Mankind Is Obsolete
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Mankind Is Obsolete

Los Angeles, California, United States

Los Angeles, California, United States
Band Rock Alternative


This band has not uploaded any videos
This band has not uploaded any videos



"Mankind Is Obsolete "Rise" by John Moon"

After the breakthrough success of Mankind Is Obsoletes 2003 EP release “Metamorph,” fans have eagerly anticipated their first full length album “Rise,” released this past summer. Fortunately, patience turned out to be a virtue, as the Los Angeles based band delivers an incredible 12 track masterpiece that will surely increase their ever growing popularity.

MKIO, founded in 2002 by members Natasha (vocals) & Jon (drums), also contains Mark (guitar), Nathan (synth), and Gordon (bass.) The band has performed with scene-established acts such as KMFDM, Collide, & Pigface, establishing a credible fanbase not only in the US , but overseas as well. They have also performed at GothStock this past September.

Although industrial and metal influences are evident throughout the opening tracks (such as Still Right Here and Someone Like You) the band also manages to break away from their signature sound and slow down the tempo. Tracks such as “More Than What I Am” and the beautiful “Prayer” (the piano-inspired conclusion to the album) seem a tad somber for a band with such a huge metal edge (evident on “Everyday” in which Natasha screams out “In God we trust/ infect the weak/ condemn the just”) but the tracks merge into the next with surprising ease. While each track has potential to become a victim of the repeat option on your CD player, the standout track on this album is “Puppet,” a guitar heavy rant about having the strength to break away from letting others lead you. The chorus is simple, but anyone who isn’t afraid to be themselves will be screaming along with the band “I’m not some puppet anymore!/ And I won’t follow anymore!/ I’ve left this game for something more!/ I’m not some puppet anymore!”

Each track (with the exception of the 42 second instrumental “Rise”) possesses great lyrical depth, each one carrying it’s own specific heartbeat that Natasha easily adapts into the melody. The bands primary strength is that no two songs sound alike, but are not so different that it interrupts the credibility of the album. Ultimately, it’s the bands diverse sound that keeps them from falling into any specific category which many up-and-coming bands seem to suffer from.

Avid followers of Mankind is Obsolete will be quite pleased with this release, and it will surely attract new followers as well. Be prepared to “RISE” from your chair and dance, chant, & headbang, as well as sit down and contemplate on the slower tracks. Highly recommended. - Northeast In-Tune

""Rise" review by Matt"

Revolutions of synth restrain pacing electronics—tension before a relaxing, almost casual delivery of the first of many cursed verses. Drums sputter and ignite an aggressive guitar riff before colliding with now fuming vocals. The chorus radiates the residual heat and cools before the process recycles itself, melding together the different elements, while adding subtle variations with general fluidity. The standout single, “Still Right Here” introduces Rise in a cycle of transitions from contrast to confrontation to ultimate cohesion with enough coarse texture in the final assailing…and know that I am still right here!... that it’s believable. Rise is not a perfect progression, subtle as often as sweeping, requiring listeners to lend both ears.
The straightforward sing/scream approach with a simple, pervasive rhythm in “Someone Like You” acts as a breakdown of sorts before building around the sung vocals in “She.” Guitars chafe the surface with a simple melody that eventually halts while the vocals oscillate peacefully around a quiet electronic rhythm. As the vocal foundation collapses, the guitar melody returns and a single guitar separates in opposition before reflecting the vocal melody as it resurfaces. The delayed movement of relatively simple instrumentation toward the range of previously established vocals sets up the coalescence of elements in the album’s second focal point, “In This Ocean.”

Foregoing scratchy guitar riff introductions, “In This Ocean” lulls listeners with a tightened beat that fluctuates between somewhat moderate and speedy before fusing with the prettiest vocal layers on the album. Guitars accentuate the rhythm early and have a smoother texture in the chorus, where all the elements merge and move the song and album forward. In four minutes “In This Ocean” cycles through a vast expanse of emotion from clarity to anxiety to hope to despair before seamlessly drifting into the brief and peaceful title track.

On the surface, “Everyday” and “Puppet” abrade where the previous series of tracks soothe, diverging into heavy guitars and angry political sentiments that may seem a little jarring, but encompass the entire concept of Rise. The former has an overall heaviness about it with a brief anti-breakdown (a fix-up?) that shifts back into the rhythm and vocal style of previous tracks. The latter has more of a traditional give-and-take, scream/sing, heavy guitar vs. convoluted synth sound in what becomes the perfect placement of contrast on Rise.

Perhaps one of the simplest songs musically, “More Than What I Am” rests on more of a lyrical foundation, linking the struggle of writing with the basic struggle of life to begin the album’s experimental home-stretch.

With incredible attention to craft two songs stand out with their simple attention to craft. The broken vocal layers of “Beyond” converge with the chorus over a background of solid rhythm and smooth guitars, giving a serene feel (albeit with some disturbing lyrics) that stretches into “Smile in the Dark,” which seems to rise, but completely unravels before the final track.

“Prayer” is somewhat of an epilogue, adopting a piano and vocal style in contrast to the rest of the album. Rise may leave listeners wondering what exactly it is to rise. In general the tone seems like more of a repetition of the abysmal plunge with some brief moments of clarity rather than an epiphany, but listeners can’t help but feel like they have gained something. The deviation from the manner and degree of elevation expected from the first track makes the concept real and fascinating.

level of consciousness: 9.1 out of 10… Rise is an exceptional a balance of intense thought and raw emotion in what is an equally clear-cut and conceptual album. - Stream of Consciousness

"Concert Pick: Mankind Is Obsolete"

Are you searching for inspiration? Look no further than L.A.’s Mankind Is Obsolete, a self-styled industrial metal act that isn’t afraid to add a little harmony into your chrome and pleather soundscape. Even their name is a challenge. “Show me that we aren’t obsolete, be part of the solution,” said Cox. Formed in 2002, Natasha Cox (vocals, keys), John Siren (drums), Mark Nurre (guitar), Jamie Roy (bass), Nathan Trowbridge (backing vocals, keys, a/v engineering) are on the eve of finishing their first full length CD, a follow up to last year’s Metamorph EP.
Cox is quick to point out, “We have so many diverse influences that it’s hard to pin down our sound, from industrial and metal to punk: Godflesh, Otep, Frontline Assembly, Skinny Puppy, Melt Banana, Misfits, Bjork, Siouxsie and the Banshees, Judas Priest, Tom Waits, Leonard Cohen, Pink Floyd, The Beatles, Abby Travis, Ani Difranco, and PJ Harvey. I took my cue from Trent Reznor. I started out as a keyboard player and moved over to vocals.” As for inspiration, the band looks to literature. “Metamorph was based on Kafka... how hard it is to balance art and life in the real world.” Cox and Siren collaborate on most of the song writing, but surprisingly some of the lyrics (like the stand out “Icarus”) were written by Cox’s childhood friend, “Fox”. “I’ve known her since I was five and living in Texas, from an early age she was writing, she’s really a great storyteller,” said Cox. These collaborations have created some of their best work to date.
The band has been working hard to create an album that reflect’s the band’s live sound. “Our first EP didn’t have live drums, and John’s drumming is amazing. We are also less on the electronic side this time around.” A highlight from the upcoming release is “Still Right Here” featuring Cox on guitar. “It’s about hanging onto life no matter what happens. We’ve been at this long enough that we can play off each other, but when the audience is singing along, that takes us even higher. That’s the energy we wanted to put back in the mix.” The result is as haunting as it is rocking, thanks to Cox’s hissing, soulful vocal style, a slash of scarlet across a backdrop of thundering violet drums and guitars. Vivid.
“We hope people who come to see us go away feeling inspired to create something of their own--to live an inspirational and powerful life,” said Cox. Check out for mp3s and more. Mankind Is Obsolete delivers pure sound and vision in person Oct. 16th @ Boston’s. See you there.
--Rob Williams
9/04 - The Buzz Magazine

"Mankind Is Obsolete "Metamorph" review"

Mankind is Obsolete
2003 Unsigned
Grade: A
Haunting and enchanting are good words to describe how Mankind is Obsolete (MKIO) come across on this recording. This c.d. hasn’t left my ‘heavy rotation list’ since I got it and I think it would be a good soundtrack for a thriller or horror movie. I really like how MKIO writes and arranges their songs and I am honestly surprised that they aren’t signed to any record label. The songs I really like are “Regret,” “Angel Disease,” and “The Rapture,” but all six songs on Metamorph are stirring and captivating. If you mixed the Genitorturers with Nine Inch Nails, KMFDM and a dark, sadistic version of Blondie you would come up with something close to MKIO.
The band is working on a new c.d. that will be out this year. To find out more about that you’ll have to check back in the next issue for an interview with the drummer Jon. Also check out the bands web pages to see a video for “The Rapture”, to find out how to get a copy of this disc, to see when and where MKIO is playing live and for free downloads.
Vol. 1, Issue 8
- The Audio Nut

"Mankind Is Obsolete "Rise" review"

Mankind is Obsolete
2005 Unsigned
Grade: A
From the first note of “Still Right Here” until the final moment of “Prayer” Mankind is Obsolete comes up with some astonishing music on Rise. Lead singer Natasha Cox reminds me a little of Madonna on this release with her sultry vocals and then all of a sudden she will rip your face of with an unforgettably eerie and edgy voice that only she can produce. The drums are more involved than their previous CD Metamorph, as Jon Siren drops a serious thumping on your ears, which blends well with his programming and the keyboarding work of Nathan Trowbridge. The bass parts by Gordon Bash are more present in this release, which adds an excellent element to this bands sound. Mark Nurre is an exceptional guitarist and luckily he doesn’t get over looked when it is his turn to rock.
I am more awed with MKIO then the first time I heard them and I really didn’t expect them to have progressed in such an impressive fashion so quickly. “She”, “In This Ocean”, “Still Right Here” and “More Than What I Am” are all remarkable songs, which feature the talents and qualities of everyone in the band. Fans of Nine Inch Nails, Within Temptation, or Lacuna Coil will surely appreciate MKIO. If you had the pleasure of hearing their first CD I strongly urge you to get up and Rise as soon as possible.
Note: Check out an interview with Jon from MKIO in Issue 9 and a review for their previous CD Metamorph in Issue 8

- The Audio Nut

"MANKIND IS OBSOLETE: “Metamorph” (2003)"

MANKIND IS OBSOLETE: “Metamorph” (2003)

1. Another day
2. Another world
3. Regret
4. Angel disease
5. Rapture
6. Icarus

Mankind Is Obsolete es el proyecto formado en Los Angeles, California, por la vocalista Natasha Cox y el baterista Jon Siren, cuando ambos decidieron comenzar a escribir música sin dejar de lado sus bandas principales, Pseudocipher y Hate Dept., respectivamente. A ellos se sumaron mas tarde Mark Nurre (guitarra), Jaime Roy (bajo) y Nathan Trowbridge (teclados).
La combinación de electrónica y metal parece gozar de muy buena salud en los Estados Unidos, y Mankind Is Obsolete intenta con “Metamorph”, su primer trabajo, plasmar en seis temas climas oscuros, teclados bien al frente, guitarras pesadas, y la voz de Natasha que pasa de los susurros mas dulces a los alaridos mas desquiciados y diabolicos, con esa forma de cantar tan habitual en el estilo que da al oyente la sensación de sufrimiento y dolor extremo.
Las influencias son evidentes: Marilyn Manson y Nine Inch Nails a la cabeza (no por algo todos en la banda son fans de Trent Reznor), todo muy moderno y cool.
Buen comienzo, pero solo recomendable para quienes gusten de los híbridos vanguardistas. A estas alturas ya deben tener grabado su primer larga duración, ya que el mismo estaba pautado para fines de 2004.

Sitio web:

Comentado por Javier (Enero 2005)


Trapped Inside-2007



The story of MKIO, as told by Natasha

In my time in MKIO, people from the very beginning have asked me what we’re trying to say and what we sound like. I have never known quite what to answer. MKIO means so many things. It means an amalgam of 6 years of love, sacrifice, and dedication. Four band members, all from a different background, fused together in a common vision.

We started this whole crazy mess in 2002 when Jon (drummer) and myself (singer) saw each other in a music school hall and thought how cool it was that we had the same Sisters of Mercy shirt on. I was studying keyboards, himself drums. So we started writing some stuff and couldn’t find a singer. Jon didn’t want to play the Phil Collins role, so the duty fell into my lap. So a few vocal lessons, songs, and band members later, we decided to start touring.

By this time, Scott (the awesome guitar dude we met while opening for Collide) and Gordon (the crazy upright bass player dude that I met one day at music school while sharing stories of Texas) had joined our little musical operation. Because Jon came from a DIY punk background, we started touring pretty early on. The rest of us had a lot to learn from Jon. One day, after weeks and months of touring, we decided to take things a little further and went on a year-long adventure at what turned into one of the most intense, painful, beautiful, growing years of our life.

We played hundreds of shows in nearly all the states, ate ramen, slept on floors, and let go of all of our material possessions. We still have very little in that department, but just like in the beginning, a lot of love. We never know where we’ll go next. We just know that we want to make music that means something to us, something to others, and ultimately helps us grow. We’ll see you out there on the road...