This is not Marilyn Manson, but someone MORE say KICK*ASS



!!!!!!!!!!!!!!!!!! or ??????????????????

Keep Reading

Actually that is a KICK*ASS IDEA, Shirley Manson plus Marilyn Manson plus Jack*Off*Jill

The Sweetest Condition Shirley Manson Meets Marylin Mason !!!!!!!!!!!!!!!!!!!!

Keep reading to learn about

One of the best albums of this decade, and will make our best of the century list

The Sweetest Condition Shirley Manson Meets Marylin Mason ??????????????

The Sweetest Condition has a lot of common points of the style of music we cover, in the realm of World-Class Music

Main key factors are

A World-Class Vocalist


A World-Class Synthesizer Player

Casually at a record store if some one asked me what does The Sweetest Condition sound like. Since Shirley and Marilyn Manson, have the same surname. I would think off the top of my head “Shirley Manson Meets Marylin Manson” and that is a pretty cool guestimate a guess plus a estimate.

But like all artist here The Sweetest Condition, just have there own artisitic vision that is unique one-of-a-kind and all there own. Everyone has inspirations and hiding them through originality will only still leave traces of the best influences that left a indelible mark on your souls and psyche.

The Gold Standard is a noun and it is defined as the best, most reliable, or most prestigious thing of its type.

In this case were talking about the music style they call their music INDUSTRIAL SYNTHPOP. @ KICK*ASS*METAL we have been heavily on the DarkWave/ Gothic / Horror/ Dark / Industrial  Avant-Garde  side of things as a fan since day 1, myself since 1987.  We collect the best of the best across the board of board the whole spectrum of  Classical Music/ Hard Rock/ Heavy Metal/ Avant-Garde. Also it goes over wayyyyyyyyyyyy over everyones head I have been a supporter of Female-Fronted Music, since 1979/1980. I grew up with a parent, my mother. Who was a hardcore punk thrasher and a new wave music fan, back in 1979/1980. ….Underground Year ZerO day 1…!!!

We are a Death Metal Age publication, as well as a Avant-Garde Metal Age publication, we also are a heavier version of Metal Maidens webZine. But we always hold on to our GOTHIC METAL ROOTS….there was no gothic metal, until November 1987, so what did we listen to back then. Anything original, powerful, bad ass, and KICK*ASS. I never had a problem listening to Missing Person’s “Spring Session M”, a anagram for MISSING PERSONS, in between spins of Metallica “No Life ‘Til Leather”, Berlin “Pleasure Victim” Motorhead “Ace of Spades”, Gary Numan “The Pleasure Principle”,Scorpions “Blackout” The Cars “The Cars” Van Halen “Van Halen”, and Carl Orff’s “Carmina Burana”.

All World-Class music is interconnected, rather you like that fact or not, (find a top 10 worst albums of all-time list and go make a timeless masterpiece out that….good freaking luck) and as always the best of the best will always ascend to the top, because The Sweetest Condition. Has in its song-writing skill set. Top-Notch World-Class Song-Writing, as well as extra-ordinary compositional skills: not to mention Leslie Irene Benson and Jason Reed Milner are virtuoso’s, and masters at there craft. And the band gives 110% full-throttle killer hooks and positive vibes.

In the advice of Q-Primes Peter Mensche “Just be Yourself” and with that in mind, we did this for Lindsay Schoolcraft, her name appears on The Birthday Massacre’s “Show And Tell” DVD Thanklist, who ascended from Canada  to being a Keyboard Player / Background Vocalist of which could be perhaps our favorite artist of all-time. What this is just all the interview and record review we found on The Sweetest Condition, and saved them here for our posterity, and left everything the way it was originally written, except we change a historical f@ck-up of a 95 out of 100 CD review, and corrected it to its correct score of a 100 out of a 100. And in these two interviews, we added visual’s of the artist The Sweetest Condition mentions as role models/hero’s and inspirations.

Because we consider those artist PEERS To The Sweetest Condition “a peer is a person who is equal to another in abilities, qualifications…background…something of equal worth or quality”. (…think album of the year, greatest of all-time list..etc…) In this case in the upper left hand corner it say WORLD-CLASS HEAVY METAL, and any band that has a WORLD-CLASS VOCLIST and a WORLD-CLASS musician will always grace these pages. The Avant-Garde age of this publication started (fan underground year zerO day1 in 1987)  and got reborn in 2007 (an official publication, not here else-where), 10 days from now is 2017….!!!!!!!!!!!



The Sweetest Condition…..Interview #45

June 2, 2016

Could you start off by giving a little information about both of you to the audience?


Jason Reed Milner

Leslie Irene Benson


Leslie: The Sweetest Condition is comprised of Jason Reed Milner (formerly of the bands Nimbus, FORM 30, Seven Mile Radius, and Irene & Reed) and myself—Leslie Irene Benson (formerly of Mr. Eyetooth and the Majestic Moose, Burning Veda, and Irene & Reed). We launched the band in 2012. Jason primarily composes all the music using synthesizers (an Access Virus TI2 like the one used by our namesake inspiration, Depeche Mode, is his current dream machine) and guitars. I write all the vocal melodies and lyrics, and I sing a low alto akin to Shirley Manson


or Johnette Napolitano. I’ve also been known to pick up a guitar, ukulele or flute every once in a while. (I was a symphonic flutist in high school.) But I prefer to keep my hands on the mic. We currently live in Nashville, Tennessee. It’s not just a country music town anymore. We’re part of a growing underground electronic music scene.

When you first started making music, was there a particular sound or artistic/musical influence that you would say was your biggest inspiration to start pursuing the creative path yourself? What led you to electronic music, particularly the heavier kinds of it?

Leslie: When I was around 16 years old, I saved up to get my first electric guitar at the local used music store. It was a vintage Van Halen-inspired black and white striped monster that made a distorted metal howl. I used it to write my first original song, “Xavier,” in 1997.

At the time, I was one of the trenchcoat- and combat boot-clad kids in high school listening to Bauhaus, Switchblade Symphony, Siouxsie and the Banshees, Depeche Mode and Nine Inch Nails.



Switchblade Symphony

As a weird, awkward kid growing up, straddling the line between honor student and band geek, the only place I fit in was with the other weird creative types—the gamers, artists, drama club kids, aspiring poets and musicians. Little did I know that two decades later, I’d be paired up with the ying to my music yang, Jason, who grew up listening to the same stuff I did. The album that made him want to learn how to write and perform music was “Pretty Hate Machine” by Nine Inch Nails. I can definitely hear that influence in our music now.

What would you say would be you short term, and long-term, goals for the band?

Leslie: Our short-term goals are to release our second full-length album, “We Defy Oblivion,” later this year and kick off some tour dates. Our long-term goals are to have our own home recording studio, play a world tour, and find a way to make a living full-time off of music and our other creative endeavors.

Do you find that you two have to find a balance between your different directions and goals? Or do you work together fluidly?

Leslie: It’s rare to find someone with whom my creative goals are so closely aligned. There was some divine magic involved in getting us together. Although we drive each other crazy sometimes, we’re able to set aside any differences for the greater good of our artistic vision.

Within the band, how do you guys define your roles within the composition of the music?

Leslie: When Jason and I began writing music together as Irene & Reed in 2009, it was an indie piano pop-lounge act, so we’d both bring melodies to the table on guitar or piano, and we’d hammer out a song together in a very organic and fluid way. It was an almost spiritual experience.

Now, with this electronic industrial and synthpop-infused music, we have more defined roles. Jason composes all the music, with no preconceived notion of what the song will be about. He just trusts his emotions and rhythmic instincts, and then I take my time getting to know the music until it starts telling me a story. I write the lyrics based on how I’m feeling and what demons I have to wrestle with that day, and out come these catchy little tunes that get stuck in your head when you’re trying to sleep.

And when I get stuck, I remember all the fucked up relationships I had in my teens and twenties, and I journal my way through the poison until I have found some revelations to share. On occasion, I’ll even write a happy love song. But that’s rare.

Are live shows an important part of your career? Do you feel the most home in the live performance or in the studio? Why?

Leslie: We played a lot of live shows as Irene & Reed. What I loved most was the energy we got back from the audience—that exchange of emotions between the audience and performers. It was an intense and magnetizing feeling. However, as a bit of an introvert, I am most centered when it’s just me, a pen, and paper. I love songwriting the best, and creating the albums. The feeling of having something from nothing is very rewarding.

Playing live shows, recording new tracks, attempting to go live the life that gives you the experiences that inspires it all… it can be difficult to balance the time. Do you have any particular methods that you use to keep yourself focused or balanced in your direction?

Leslie: Yeah, I quit my journalism job in January to do this full-time. Right now, I work from home on all the band marketing and promotions. In the future, this may change. Jason is a full-time mechanical engineer. It’s definitely challenging trying to balance everything going on in our lives, but we’re not giving up on our dreams.

Are there any particular instruments, programs, or effects that you would say are vital to you making music? If so, is there a reason in particular that draws you to said creative outlet?

Jason: I prefer to use Native Instruments, but I also like to create my own sound libraries using samples that I can later manipulate into new sounds. My favorite synth right now is the Virus TI2. The DAW we use is Logic.

What would you say are your biggest influences when it comes to art and music? Are there any bands that you would say struck you with the chord that inspired you to pursue your current path of musical aspirations?

Jason: My two biggest musical influences have been Tori Amos and Trent Reznor. I have posters of each of them hanging in my studio.


Tori Amos


Trent Reznor

Leslie: For our 2013 “Truth & Light EP,” I channeled Dave Gahan vocally for songs like “The Wound.” For our 2015 debut album, “Edge of the World,” I dipped into the psyches of Chibi from The Birthday Massacre


and Carah Faye of Shiny Toy Guns. But for our upcoming 2016 release, “We Defy Oblivion,” I dug deep into my heavier industrial roots and slipped into the shoes of Trent Reznor and Al Jourgensen of Ministry on some of the tracks—putting my own sultry feminine spin on our original songs. Strong women also inspire me—Cristina Scabbia of Lacuna Coil


and Lucia Cifarelli of KMFDM—to name a few.


Lucia Cifarelli

Do you spend a lot of time crafting your own sounds? Or do you value song crafting and effects tweaking more? Or do you find it’s a balance between the two? What’s your relationship with presets?

Jason: Presets can make a good starting point for creating unique sounds, but I don’t use them on our songs. I usually build my own sounds. It’s all about what works best for the song. Sometimes I’ll build sounds from software, hardware, or from samples. It just depends on what kind of mood I’m in. I don’t believe that there’s a wrong way to create a sound. Sounds are the artist’s audible interpretation of feeling. It shouldn’t matter what tools you use to paint your picture. I’ve always been a mixed media kind of guy.

Other than what you currently produce, what other sorts of genres, instruments, or sounds would you like to use in the future?

Jason: I have a sound in my head that’s a cross between Skinny Puppy, Razed in Black and VNV Nation.

Leslie: Yeah, we’d really love to write a futurepop-influenced album with industrial undertones.

Do either of you have any other musical projects that you are involved with, or do you have any other musicians or artists that you collaborate with in some capacity?

Leslie: We’re currently collaborating with Lydia Burris, an artist from Indianapolis, Indiana, (where Jason and I met), who is creating limited edition, hand drawn lyric books for us with her magnificent fantasy-meets-dream-world artwork and our lyrics. In the future, we’d love to collaborate with established indie musicians on remixes and compilation albums.

Jason: I also write indie film score, some of which has been featured in Gen Con Film Festival selections.

When it comes to non-musical media, what do you find yourself most inspired by, and what about it draws you to it as a source of inspiration?

Leslie: One of the major themes of “Edge of the World” is living in the aftermath of a loved one’s suicide. The statistics are staggering when it comes to young people taking their lives—whether it’s due to economic, financial or social pressure; it seems to be a sickly growing trend.

I can’t stand idly by and say nothing when this is happening all the time to my friends in the alternative music scene and LGBT communities. We’re living in turbulent times, and our survival hangs in the balance. We are fragile human beings, and yet, somehow together we are stronger. Do your best to love one another and support each other through the hard times. Maybe you’ll save a life.

Another theme I explore lyrically on “Edge of the World” is overcoming addiction, and I don’t just mean to alcohol or drugs. Addiction can also be an unhealthy obsession to those bad behaviors and bad people you just can’t quit. It’s a cycle of madness. You may think you’re in love, but violence and fear do not equal love.

I speak from deep wounds and often let my demons out through my songs, so they don’t tear me apart from the inside. I share my anger and my passion, because I don’t want anyone else to feel alone. But I also want our songs to offer hope, because even the darkest night ends with a sunrise.

Any parting words for your fans, or my audience?

Jason: Thanks for the interview! Please keep a look out for our new album, “We Defy Oblivion,” which we’ll be releasing soon on Bandcamp (

Leslie: Thanks again to all the fans, journalists and DJs who have supported us through our first few years as a band. Here’s to many more!

You can follow The Sweet Condition on their official website or many social networking platforms:



Mailing List (Get FREE Music!):











Physical CDs:





The Sweetest Condition

Electronic Music

Dance Music

Pop Music

Industrial Music







Interview November 2nd, 2016


With their latest album We Defy Oblivion scoring a whopping 10 out of 10 (we changed the 9.5 to its actual score a 10/10—–kick*ass*metal/editor) here on Brutal Resonance, you could say The Sweetest Condition is bound to land on some folks’ album of the year lists. With that in mind, we chatted with the duo behind the music Leslie and Jason and got the entire rundown on their new album. Read on below! 

Hey guys! Thanks for joining us on Brutal Resonance! I already obviously know of your existence and the like, but let’s catch up the fans that don’t. What is The Sweetest Condition, who’s in it, and what are your favorite brands of alcohol?
Leslie Irene Benson:  The Sweetest Condition is a female-fronted, industrial synthpop band based in Nashville, Tennessee. Named in honor of Depeche Mode,
The Sweetest Condition represents the juxtaposition between the dark and the light. It’s the innocence of your first love—that churning, all-consuming infatuation. Flip the coin, and it’s obsession, addiction—the toxic codependent tug-of-war learned from feeling worthy and worthless. Some joy, some pain.
As a band, it’s Jason Reed Milner (music + synths + guitars) and myself. I write all the lyrics and vocal melodies. Wet met ten years ago on the  goth-industrial club circuit and launched The Sweetest Condition from the ashes of our first music collaboration, Irene & Reed. In 2013, we moved from Indianapolis, Indiana, to Nashville where we teamed up with our sound engineer, Joel Lauver of Burning Bridge Recordings to produce our debut, Edge of the World. In November of this year, we worked together again and released our second full-length album, We Defy Oblivion.
As artists, we love local craft beers and red wine. But living in the South has really given us an appreciation for whiskey. We drink Woodford Reserve (Kentucky bourbon-whiskey blend), Jameson Irish Whiskey and Whisper Creek Tennessee Sipping Cream (charcoal-mellowed Tennessee whiskey and cream). Damn, now I need a drink!”
Your debut EP Truth and Light was a five-tracker that got a little bit of press coverage. How did this EP help lay the foundation for The Sweetest Condition? What did you learn after putting out this material?
Leslie:  Our first song written for the new project was ‘Watch You Fall,’ an experiment in aggressive electro-industrial songwriting that ignited The Sweetest Condition as a band. (It would later appear on the Edge of the World release). Truth & Light helped us come full circle with our dark electronic roots.
Lyrically, much of the EP was a personal goodbye letter to my high school sweetheart, who committed suicide. It was also a goodbye to Indy. I had written a poem called ‘The Ghost & The Girl,’ which also became our first music video. The stripped-down, spiritual track holds nothing back, describing the nightmare—and the art—of letting go. A confessional theme continues throughout the EP.
In the music, Jason’s early Nine Inch Nails influence is evident on the EP, a style that would evolve on our later albums. Vocally, I channeled David Gahan of Depeche Mode
to capture the mood I wanted to portray, especially on the deeply soulful highlight of the Truth & Light EP, ‘The Wound.’
Jason:  With the EP, we were testing the waters to see what direction we wanted to go. I loved what we did with it, but it made me want to push the envelope and go a little bit further. With the latest album, I think we’ve pushed ourselves even more. I’m excited to start writing the next one!

It would be about two years after that your full-length debut Edge of the World would take many, many critics by storm. I’ve seen a ton of coverage for this album and haven’t seen a single negative blip about it. How do you think you improved from Truth and Light going into Edge of the World?

Leslie:  From Truth & Light, we transitioned into more upbeat, synth-driven electropop songs with a emotional undertone (that was me still dealing with my grief), but we also finally evoked some hopefulness and strength as we found our musical footing. Living in Nashville challenged us to raise the bar of our creativity and inspired us to rework and finesse the songs into something greater than their earlier demos. That’s why I believe Edge of the World has had as much success as it has. The songs are catchy, addictive and memorable industrial-strength synthpop tracks, striking a very personal, emotional cord in many of the listeners, and pulling others to the dance floor. There’s something for everyone on the album. 

How did you take in all the positive coverage from Edge of the World? Did it surprise you how well critics and fans took to the album?

Leslie:  The success of the debut album was overwhelming. It has encouraged us to keep writing, and keep challenging ourselves musically.”

Shooting to a later period, your first single ‘Knock Us Down’ off your second full-length album, We Defy Oblivion, was released in August. What is the song about? And why did you choose this song to introduce fans to the new album?

Leslie:  ‘Knock Us Down’ represents much of the context of the new album, We Defy Oblivion. It explores what it feels like when things hit a boiling point. The song is as much of a statement as it as a war cry. The lyrics question authority, religion and abuse, and answer with rebellion, retaliation and revolution. ‘Knock Us Down’ is my own personal ‘Bulls on Parade’ (Rage Against the Machine), so to speak. No matter how bad things get, we’re going to fight for what’s right. If you push us, we won’t fall down. Together, we’re stronger.

‘Knock Us Down’ was also released side-by-side with a music video. Who created the music video? And why did you choose such stark images to go hand-in-hand with the song?

Leslie:  Jason and I both collected old public domain footage and compiled the video, but he was the mastermind who put the majority of it together. I included my own personality as well, especially the instances of dark humor (the fly, the knife throwing, and the girl who is forcibly clapping along in an auditorium as if she’s just not amused). Jason supplied the sexy scenes and riot footage. The flow of the video was intentional. It is meant to make you think, to make you a bit uneasy. ‘Knock Us Down’ is a commentary on the chaotic state of the world we’re in—that the horrors of our global past could easily happen again if we’re not careful. In the under current, though, it’s also my way of telling people to stop ‘slut shaming’ grown adults who choose not to have children.

And now that we’re up to your next album We Defy Oblivion. The album has its roots with darker industrial mechanics and the like. How did you achieve this sound? Did you draw inspiration from other bands for this album?
Jason:  With this album, I wanted to have a rich, thick, unmistakable industrial feel. I wanted the sounds to have weight to them. I drew inspiration from older Nine Inch Nails albums, Ministry and Die Krupps. Something noticeably different on this album is that we used more heavy guitar sounds, because the songs called for it.

Leslie:  For this album, I pushed myself vocally and lyrically more than I ever have before and channeled my anger, something I don’t often unleash on the world. Trent Reznor and Al Jourgensen were my spirit animals for this album. And for ‘Nein Nein Nein,’ my murder ballad as I call it, I also looked to Chibi of The Birthday Massacre for inspiration. She does such an amazing job of going between the sinister killer and the innocent young girl act in her music. That particular song gives me chills every time I hear it. It’s a very personal story, and it’s my way of feeding the revenge demon its prey.

Both personal subjects (love, loss, sin, salvation, etc.) and political (chaotic state of the world) themes are being explored on the album. How did you tie these two issues together?

Leslie:  The past year was a tough one for me personally. I felt a lot of frustrations with pressures being placed on me in my career, my relationships and life in general. I felt this frustration reverberating around me throughout the rest of the world too, in addition to an unyielding feeling of fear and anger against the atrocities being committed in the U.S. and globally. This album is my response to those in power (both politically and personally) who have led us astray. It’s my way of saying that humanity will not be treated like a doormat to be crushed and walked all over. We must protect the good still left out there, and tear down the old traditions that are no longer working, something which one of my heroes, Henry Rollins, also feels strongly about.

Out of all the tracks on the album, which one are your favorites and why? Do you have a bond with one song for any reason in particular?

Leslie:  My personal favorite is ‘Depths of Hell.’ It’s my way of telling those lost to us that we will live on and keep making music and fighting the good fight. To those still with us who feel alone and on the brink of oblivion: Do not give up hope! If nothing else, let music be your legacy, your champion, and drag you from the depths of Hell. We DEFY Oblivion!

Jason: At the moment, I think my favorite is ‘Don’t Cross Me.’ I had a lot of fun creating the synth line and harmonic guitars used for that song. Leslie’s lyrics brought it to life in a way that I couldn’t imagine.
Would you rank We Defy Oblivion better or worse than Edge of the World? Or can you not draw comparisons in that manner?

Leslie:  For both albums, we meticulously weaved together pieces of ourselves–our pasts, our ghosts and our dreams–to create the moods, the worlds in which each collection of songs live. To compare them would be like comparing your own children. We cannot love one more than the other. They are equally as meaningful in our eyes.

And will you be touring at all in support of this new album? Do you have any gigs in the making?
Jason:  Absolutely! We have nothing lined up right now but hope to start booking soon!
Lastly, I’d like to thank you for your time and wish you the best of luck with We Defy Oblivion. I leave the space below open for you to say anything more you wish. Cheers!
Leslie:  Thank you to everyone for your undying support. We are forever grateful.


Nov 01 2016


One-Eyed Doll was in mentioned in the interview articles  something for our readers to pick-up on!!

The Sweetest Condition “Interview” Infrared

November 3rd, 2016

The Sweetest Conditon “Infrared”

The Sweetest Condtion “We Defy Oblivion” Infrared

The Sweetest Condition *We defy Oblivion CD review

What can I say about The Sweetest Condition that has not been said several dozen times before? Honestly, I am not sure. But what I can tell you is this: Their latest album We Defy Oblivion is one of the best albums to be unleashed upon humanity this year. In fact, I have listened to it no fewer than thirteen times over the past three days.

There is something about this album and this band that keeps me coming back to them, time and time again. First of all, their musical style is such a magnificently assembled chimera that at times it almost defies indie belief. One would think that a vast sum of money and a legion of corporate experts had worked upon every aspect of the album -editing, writing, producing: the works. But in reality, Leslie and Jason, with assistance of a handful of industry people, have created something that has more spit-and-polish than thousands of other more popular albums and bands. It’s refreshing to see this level of skill and professionalism from an alternative band.

On top of that, Jason’s skill as a musicians is astonishing, his command of numerous instruments is wondrous to hear. And as for Leslie’s lyrics and singing style -both are practically orgasmic.

Now when it comes to the songs themselves I can tell you that I am pretty much blown away. Once again, the professionalism is exquisite. The chimera style is breath taking; the genres combined work so well together on so many levels. Songs such as ‘Vices’ and ‘Keep Turning Me On’ are packed with enough driving guitar work to cause a moshpit to erupt spontaneously on any Metal floor, Goth floor, or even at a religious gathering. Okay, well maybe not that latter, but if they moshed more they’d probably be better for it.

Other songs, like ‘Nein Nein Nein’ and ‘Unforgiven are such glorious electro monsters that they could easily dominate at a NIN gig, a VAC concert, or any number of other EBM/Industrial gatherings. There is a power to them that is both dirty and clinically clean. It’s astonishing to see the malanky hairs standing erect on the first time listeners. It gives you a sense of the “Welcome to the Real World, Neo” vibe. It’s an eye and ear opener. Simple as that.

I feel that many of the songs from this album -and the others- will be dance-floor fillers for years to come. I will be honest and say that I cannot wait to see them live.

Bottom-line, We Defy Oblivion is a MUST HAVE album for any and all Alternative music fans. Get your copy now.

Nov 01 2016


The Birthday Massacre “Show and Tell” LIVE DVD


Depeche Mode “Exciter”


Garbage “Garbage”


Lacuna Coil “Live Karma–DVD featuring a Depeche Mode Cover Enjoy The Silence”


Nine Inch Nails “Pretty Hate Machine”


The Sweetest Condtion “Edge of The World”


The Sweetest Condition “We Defy Oblivion”