Depravity Meets Drum Beats on ‘MG Ultra’

Machine Girl pushes electronic music to its limit on their new album — “MG Ultra.”

Comprised of vocalist and producer Matt Stephenson and drummer Sean Kelly, the Pittsburgh-based duo are staples in the electronic underground and digital hardcore scenes.

Throughout the album, Machine Girl utilizes complex drum patterns, chopped-up samples and glitchy synths to create a claustrophobic atmosphere.

Opening track and lead single “Until I Die” features a pounding beat coupled with a sonically pummeling chorus.

The aptly named “Nu Nu Meta Phenomenon” is one part nu metal and one part breakcore, exploring the mind-numbing phone addiction typical of modern society. The track’s name works as a double entendre, for both being a nu metal song and describing the “new meta” of cellphone addiction.

“Sick!!!” deals with a sense of looming demise and anxiety associated with the future. Multiple voices proclaim they’re “sick,” such as a robot and an old lady, to convey the universal fear of death and the unknown. Stephenson’s vocals are under an extreme vocal fry effect, pairing with a lofi punchy beat.

A bouncing beat carries “Just Because You Can,” a song about the struggles of substance abuse, while Stephenson takes a whiney — almost mocking — tone. 

“What’s sitting on your chest? / What’s sucking on your neck? / What’s underneath your bed? / What’s crawling in your head?” Stephenson sings.

The hushed pre-chorus of “Hot Lizard” builds to a chorus that hits like a wall of sound as guitars and maxed-out synths impede on the serenity imposed by the pre-chorus. Allusions to the Garden of Eden parallel the narrator’s descent into depravity. The song enforces the idea one can’t blame anyone but themselves for their bad decisions.

The track “Innerface” is a shimmery interlude, sounding straight out of an ‘80s arcade game. With drone-esque synth loops and a sample of a deep, gravelly voice, the song delivers a stanza of poetry.

“Motherfather” is a largely hyperpop song, with a chorus full of crushing guitar riffs. The emotional chorus, lamenting Stephenson’s relationship with his parents, starkly contrasts the surrounding upbeat verses.

“Ass2Mars” takes a sci-fi angle of dealing with substance abuse — comparing intoxication to traveling to Mars. While chaotic, it’s not as sonically heavy as other songs on the album, underscored by an upbeat, fast-paced drum pattern.

“Cicadas” is an ode to the titular insects, set to glitchy, riotous production. The repetitive chorus of “Coming up from the underworld” is delivered by a high-pitched, bug-like army of buzzing voices.

A grimy, pulsating club beat is the focal point of “Grindhouse,” evoking an environment of a claustrophobic, sweaty shack. Dissonant synths and piano chords fill the space, creating a sense of sonic asphyxiation. A song full of hardcore sexual fantasies and domination, the title refers to theaters that specialize in screening exploitation films.

“House of Mirrors” is a quick, spacey cut that serves as an extended intro for “Schizodipshit,” the following track. “Schizodioshit” is Stephenson’s way of saying he isn’t bound by restrictions. 

“Everything’s permitted, and nothing’s true / You can be a schizodipshit too,” Stephenson sings. 

The track climaxes during the breakdown, where a chant of “Nothing’s true” is lost in an abyss of cacophonous synths and laser sounds.

A dark, piercing beat surrounds the malice-filled lyrics aimed at Machine Girl’s haters on the closing track “Psychic Attack.” 

“You may say I have no life, but I can take yours with my third eye,” Stephenson sings.

Composed of clamorous sounds, perverted lyrics and intricate drums, “MG Ultra” is a showcase of what Machine Girl does best — melding various strains of electronic and experimental music, while still managing to sound unique.

“MG Ultra” is available on all major streaming platforms.