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(2002 / 2003)

TERMINATRYX: pronounced "terminaytricks"

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> 2002 - 2003 <

...below follows the first TERMINATRYX on-line information blurb from 2002 / 2003...

The Birth Of A Notion 2002
Mid-2002 Sonja and Christina mused over a mutual fantasy to front a band of extreme sonic persuasions. The two of them (one a make-up artist, the other one of South Africa's most prestigious super models) clicked on a personal, social and professional level, coinciding on many planes - including musical taste. Paul (drummer of South Africa's most influential metal act VOICE OF DESTRUCTION and sole F8 member) set the wheel in motion, devising a concept and writing the songs to fit. Programming many tracks, adding bass guitar and keyboards where needed, the only extra touch required was that of a fearsome guitar. For 6-string duties Tom was called in (filler for V.O.D while Diccon resided in the UK).
With the music shaped, the girls were drawn in to reveal their vocal capabilities. Their clashing vocal types was a perfect counter blast for the multi-layered moods reflected in each song - from a whisper to a scream, they played off one another. Pre-production commenced at Flamedrop Studios (Cape Town, South Africa) in late 2002, winding up around August 2003 - leaving the task of recording proper ahead.

TERMINATRYX did not undertake this audio task to please the status quo or appease the masses. The philosophy behind TERMINATRYX has always been a sense of non-compromised non-conformism, creating sounds with which the members can identify and have fun with, not producing a market oriented package. Although the double vision of the two incredibly attractive leads is not something to be ignored, the look and more-powerful-than-the-norm music attached to it may be hard for some to swallow. A wake-up call is never a bad thing (since 2003 Sonja took over as sole vocalist). South Africa's musical environment has always been a hostile one when it comes to extreme music (especially the locally created variety). The female pop "stars" are inevitably bottle blonde puppets with saccharine vacant songs as nauseating as a no-holds-barred trip through Willie Wonka's factory. This technicolour neverland needs a bit of a shaking…and TERMINATRYX are the self-appointed shakers. The South African female perspective has always been a polarized, media friendly showcase - no more.
The idea that it is uncouth for women to be exhilarated by passionate, powerful, extreme music is as outdated as the notion that they cannot maintain their own career and are mere instruments of procreation. As sad as it may seem, these ideas are still very prominent in our multi-facetted societies. Women who appreciate this kind of music are also not limited to the beer guzzling, overweight, motor cycle rally variety - the proof before you.
Some things need to be said and explored. It is not often enough said by the female of the species, let alone in this legendary oppressive part of the globe. Some dinosaurs will simply fume at the thought of two Über-hot, outspoken babes giving them the finger. Fume away…and fade away, why don't you.

Light Within The Darkness
We walk the line between chaos and order. Behind disaster there is always hope. In part
TERMINATRYX explores the dark side while never losing grip of a hope for a better day. There are enough bands, groups & solo artists out there dealing with the illusion of a blissful world devoid of any evil. While we all have the capacity for evil lying dormant inside each of us, some have the rationality to keep it at bay, others not. TERMINATRYX all know their dark sides and are not afraid to face it. An explosive way of expression like this purges the demon. Theirs is not a pessimistic world-view as they reflect the state of things. This dire inherited state is an endowment due to generations of greed and self-gratification at the expense of others - a simply unacceptable predicament. By looking into this abyss, we are reminded of our collective handiwork and need an electrified jolt to re-navigate the course before the entire show is over.
Never before has there been a female fronted extreme musical force in South Africa with outspoken, strong female projection, not afraid to say it like it is, cutting to the bone, exposing the flesh and the mechanics underneath. The no-shit attitude will only be threatening to those of the un-emancipated.

The Name
>We are finding ourselves at the edge of time, the final frontier pushed ahead with each passing second - the past done with, the future a mere second ahead of our present. Man (& most relevant here, woman's) evolution and the effects of technology and its advances is what we are living. Science and technology has advanced our lives, but in the same breath making us capable of bringing it all to a gloriously unglamorous end. Regardless of our progress we are still inherently savages.
TERMINATRYX is a mood of the time - past, present and future, a glimpse of time.
>Sometimes the division between science fact and -fiction become blurry. Only a few years ago the thought of a camera on a portable phone was reserved for Sci-Fi B-movies of half a century ago. But film has become our historian - be it factual, fictitious, utopian, frivolous, prophetic, dystopian or doom-laced. Those movies playing with time and an unattained dispensation have always been more stimulating. (Its artistic accomplishment aside), some prominent motion pictures had explored these aspects and hold significance for
TERMINATRYX, their spirit incorporated into a single name:

- Ridley Scott's BLADERUNNER ( with its Nexus replicants that are "more human than human")
- Fritz Lang's METROPOLIS ( a dominated working class in the future with a female saviour who is kidnapped and replaced by a robot )
- Shinya Tsukamoto's TETSUO THE IRON MAN ( live Manga where a man evolves from metal fetishist to iron super-being )
- James Cameron's original TERMINATOR ( a cyborg assassin from the future returning to alter events )
- The Wachowski Bros.' THE MATRIX ( the wool pulled over mankind's eyes, unconscious slaves to the artificial world created by their mechanical superiors )
- The goddess Styx and the deadly Hades river named after her
- The sexually charged force of the dominatrix
- And then of course Mamoru Oshii's Manga classic GHOST IN THE SHELL ( from which the Wachowski's borrowed liberally )

Here film transcends mere entertainment and the pop-culture stigma attached to it. Yet, we don't exactly enter the realm of possibility - who knows? Nothing is definite, or infinite - or so we believe. Belief in itself can be a mere evolutionary asset bringing light to some and dread to others. Our world and lives have become cinematic, its impact far too often viewed in this respect, its reality and urgency overlooked. Life and art imitating one another - a symbiotic dream world. We watch wars on TV as though it's an ongoing movie - atrocity passing us by between commercials. In 90% of the above-mentioned films women play pivotal roles in motivation and outcome.

>While men have oppressed (one another and) women for ages, amid this tyranny the dichotomy and need to be dominated by the opposite sex has always been present (for whatever psychological-, fetishistic- or sexual reasons). Only in the ultra prude the image of a dominatrix will fill the observer with disgust - and in most cases this will also be a superficial recoil, the deep dark secrets inside the mind's denial (and behind closed doors) often making a beautiful woman in PVC a singular vision of divinity. Under normal circumstances it will ignite arousal or at the very least, fascination - the fetish clothing, the instruments of submission and discipline...erotically thrilling in its threatening guise. The identification of the two leading ladies in
TERMINATRYX with the dominatrix look is both an aesthetic and assertive one - looking good while not allowing to be pushed around. Terminating convention, preconception, closed-mindedness and prejudice.

>The name
TERMINATRYX is an amalgamation of all these elements.

>With futuristic sound and vision, coupled with traditional elements, subjects of immediacy are substantiated as universally constant - like time.

Synapse Infiltration
But, watching Tetsuo, Bladerunner & The Matrix and paging through a book of Dominatrix photography won't give you a total handle on the
TERMINATRYX phenomenon. You'll have one incredible night in, that's for sure, but it is more than the clash of beauty and power through sound. If you get it, you do, if you need explanations, explore for yourself and exercise your faculties. What seems complicated can often be right in front of you. Basic, traditional truths have always been with us, a logical extension of our human condition. Yet, the tyranny of those fearing its effects often shift its focus, forcing it underground. TERMINATRYX is humanity, yet not of this earth.

Evolved Regression
We are all part of the game. But it has reached saturation point - overload - too much at one time; regurgitation. We need to step back before we slip into the proverbial heart of darkness where a point of no return becomes very blurry indeed - fashion, food, drugs, cars, music, on-line gratification, money, ego, illusion…Conglomerates force-feeding trends and ideals while nations starve, their leaders' guts busting. Need we ask what's wrong with this picture? Evidently so.
Our collective past is littered with shame, our present offer up embarrassment - what's left is to live into the future, even if it is via fictitious, fantasy and artistic means. Stepping back to look at the disastrous overview in order to push towards a better ideal.
Every day is a revolution - somewhere, for someone. Inside a skyscraper, in a lab basement, a besieged town, a classroom, inside the construction of someone's words or musical notes. Whether it is to expand their thought processes, demand improvements or as simple as not being hungry by nightfall. We are in control - but yet so heedless.

Choice (within reason) is what makes us human (in part) - but when reason is deleted, our choices can have dire consequences. We see it daily. Zero defect machines are programmed to function optimally. At times our planet's downward spiral makes us feel as though things will be better off if it emulates the well oiled utility of our metallic brothers and sisters. But, part of our choice is not to be zombies - there are too many of them running the world as it is, their sheep populace swaying to their mesmerizing lies, pacified by a diet of consumerism.
Dulled senses are maintained by artificial stimuli within a paranoid 21st century milieu. When things seem like an elaborate conspiracy, that doesn't mean it is not the case. Ultimately
TERMINATRYX wants everyone to think and decide for themselves on all levels.
And the machines are part of the consumer cycle, no choice in their utilization - well, not yet. Choice or not, malfunction cannot be avoided - in human and its mechanical creations...

Song Subjects
The lyrical aim of
TERMINATRYX was never a set, patterned verbal conveyor belt, and never will be. TERMINATRYX want to speak their mind. Subjects are varied, none claiming to be works of genius.
Alien visitation, world conflict, assertive relationship stance, time, perception & misconception, protest, hope, fear, consumerist traps, the media and of course poetic license.
Within the conditioned mind-frame the public sees female artists as the bringers of love songs to be kept in their place (seeing as they're so helpless, fragile and can't do much else but submit to their overwhelming weaknesses…). Love songs had been written since the dawn of time. All of its emotional / cultural / physical / spiritual angles have been explored. There are some incredible ones out there. Nowadays it is simply too much of the same. No spin is put on proceedings.
TERMINATRYX wanted to turn that notion on its head (just a little) with A Fuckin' Love Song. It also serves as an instrument of empowerment to women who feel that way, but never speak out. [It is not based on any real life experience, this hypothetical is one that needs articulation - and it is done so with force].
One cover version from the fabulous 80's period is set to be included while Afrikaans and German lyrics will also feature.

The 1st Album Cover
For the album's cover design
TERMINATRYX are working with renowned artist Vernon Swart, creating a provocatively dark vision. It is set to be a controversial atmospheric piece, one that'll have the grannies' lips flapping down at the salon.
(This cover was never done and in stead featured Sonja with a wire jack in the side of her head)
Demo discs

With many live ideas and concepts kicking around for future performances,
TERMINATRYX are focussing their energies on the matter at hand - generating interest while they finish off the dozen plus songs for public scrutiny, adoration, destruction, scorn and praise.
The first ever
TERMINATRYX live performances came in the shape of the band being asked to act as support for German Darkwave legends DIARY OF DREAMS on their South African Tour late-2003. (See LIVE chapter)
At this stage, Christina had already left and never took part in any live shows.

Christina is no longer an active member of
TERMINATRYX due to work commitments. She is however behind the band in all of its endeavours and she may appear on the debut album as guest artist. This has changed nothing to the band's sound, attitude or commitment, Christina's selected backing vocals now merely replaced by that of lead vocalist Sonja.
The TERMINATRYX concept has become the prime focus of Paul and Sonja, and when it comes to live performances, the services of musicians fitting the bill will be acquired.

You can connect with TERMINATRYX
HERE or at these on-line locations:


Stay tuned for all future TERMINATRYX moves...

[ Logo, Web Design & Digital Pix by Paul Blom ]

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