REVIEW: Empires in Orbit - Audiodrome

There are albums that sit comfortably within a genre and then some that seem determined to dismantle the very idea of genre altogether. Audiodrome, the latest offering from EMPIRES IN ORBIT, belongs firmly in the latter. Dark, immersive, and constantly shifting, the opus pulls influences from indie pop, black metal, hip hop, ambient and industrial music, among others. They however make a difficult, and sometimes improbable, combination of sounds surprisingly natural and turn it into a cohesive piece. Founded in 2015 by multi-instrumentalist Gary Mann, EMPIRES IN ORBIT has spent the past decade carving out a distinctive space for themselves with six albums, more than three million plays, numerous collaborations, film placements and ballet soundtracks. Audiodrome however marks the beginning of a new chapter for the band, with German vocalist Fe Malefiz joining as a permanent member. Her performance is one of the album's defining elements, at times commanding and theatrical, at others fragile, whispered, or genuinely unsettling.

The opening track The New Flesh immediately establishes Audiodrome as an atmospheric experience. Industrial textures surround the central vocal performance, while layers of whispers seem to emerge from the background and dissolve back into the mix. It feels immersive rather than simply electronic. Before we can fully process what we just listened to, Cat Eyes shifts gears into a cyber goth territory that has a sci-fi and soundtrack quality to it, with a catchy hip hop bassline building a solid foundation. It feels like one of the album's most accessible and inclusive tracks which could bring in a wide spectrum of listeners without sacrificing its experimental value.

With Siren's Call, the band leans heavily into a hypnotic atmosphere worthy of its title. Water and nature sounds surround the piece while electro beats and huge echoes give MALEFIZ's voice an enormous spatial power. The band keeps on surprising when around three quarters of the way through, an unexpected guitar solo arrives with a distinctly heavy metal flair. 

Deja Vu offers a softer contrast, almost folk-like. It feels shorter than it is as time becomes blurry listening to it. Smoke Screen however snaps us back immediately and brings the black metal influences forward, notably through the back vocals. Combined with the atmospheric instrumentation, the song takes on an almost ritualistic, incantatory aspect. The electronics build suspense and anticipation before the final minute delivers another surprise with the screaming vocals. The band reminds us to expect the unexpected.

The middle stretch of the album feels somewhat less distinctive. Monarch overlaps with the previous song while Before I Wake Up! occupies a similar space as well. These tracks are enjoyable but melt a bit together, leaving less of an impression compared to the album's more adventurous moments. Things pick up again with Mother!, where the industrial side has space to fully develop. A distinct, addictive beat gives the track a spark that feels made for a crowd and would definitely be a moment to watch out for live. It is followed by Porcelain, which takes that beat and transforms it into something almost witchy. The result feels like a spell being cast, fragile yet powerful, eerie yet strangely inviting.

What's Yet to Come is one of the album's highlights. It takes the listener aback with its powerful drums which are unexpectedly prominent, bringing the instrumentation forward compared to the other tracks. The arrangement gradually gains power, eventually transforming into a full-blown anthem as screams join the mix. It's a fitting reminder of just how much range EMPIRES IN ORBIT can pack into a single record. The Hardest Part is also the last one, providing a softer landing. After the album's industrial machinery, metal outbursts and genre hopping experimentation, the closing track circles back towards the atmospheric and electronic elements that have been present throughout. Rather than ending with one final grand gesture, it allows the album to settle back into its shadows.

What makes Audiodrome work is not that every experiment lands with equal force, but that it commits fully to the idea of experimentation and is unafraid. It creates its biggest strengths by having contrasting elements collide: industrial textures meeting gothic vocals, electronic beats meeting black metal aggression, atmospheric soundscapes suddenly giving way to an unexpected guitar or scream. There is a constant feeling that something unfamiliar could emerge around the next corner. This opus is daring, with a dark and cinematic vibe that will take the audience through an unpredictable journey upon its release on August 14th.

Score: 6/10

Audiodrome will be released on 14th August 2026.

Words: Lysandre Pons

Photos: Josh Waldby