There has been a grumbling in the Texas underground for awhile now- a rebirth has been happening. The first shots of this new revolution were fired at the 2010 Texas Industrial fest, and the initial groundwork was laid at a little festival in Austin,TX called Terrorbyte back in February.

Texas has a rich history when it comes to industrial- it is, after all, the place bands as diverse as Ministry and Mentallo and the Fixer have, at one time or another, called home. But DMWI represents something new- this is the next wave, a hungrier, more aggressive lot have swelled in ranks, and this compilation stakes their claim in the post-industrial landscape.

DMWI opens with the undisputed leader of this new sound, Sin D.N.A. - ‘Fight Me Bastards’ is classic, old-school dark electro in the same mold as yelworC and Aslan Faction. Although not typical of their overall sound, it still has elements of their calling card- brutal, aggressive, and out for blood. Mario and Sergio have been making waves for some time now (opening for bands such as Hocico, Tproe, Nachtmahr, Alien Vampires, FGFC820, and headlining several local festivals), and something tells me bigger things are on the horizon for the RGV’s favorite sons.

Dallas’ Cyclic Vendetta is next with ‘Hit.’ Their track is very TBM-inspired and packs a techno-flavored punch akin to Combichrist and X-Fusion, but with the aggressive vocals of Powerman5000 and Static-X.

Another band representing the Valley on DMWI is McAllen,TX’s Angels of Suicide. Vile1 and T-Virus create a heavy, blasphemous sound reminiscent of old favorites like Dulce Liquido and Hocico, but injected with that unique energy that stamps Rio Grande Valley dark electro. ‘Sacrifice’ is a nuclear blast of harsh electronics, and original enough to make this project one to keep an eye on.

Virus Filter (Harlingen, TX) has a harsh sound that calls to mind ‘Divine Infekt’-era Psyclon Nine. Their contribution, ‘Serial Killer’s Anthem’, which I can almost picture on the soundtrack to ‘Dexter’, bounces along without losing the aggressive factor- Rudy Martinez screeches about “what a night to wear a disguise, to walk to the streets with a bloody knife,” but also admonishing his fictional psychopath to “be home by nine.”

Another standout track comes from San Antonio’s murder EBM slashers Bind.Torture.Kill- ‘El Cucuy’ starts off in a cacophonous, murky maze of confusion that transitions into what can only be described as “audio-bludgeoning.” The beats are frenetic and murderously efficient as Trioxin Steve screams in both English and Spanish about “eating away” flesh and bone.

Odio84, a long-time dj, promoter, and musician, is yet one more contributor for the unique South Texas industrial-energy, with the power electronics of ‘Muerto.’ Solemn Assembly and Void Prototype (both from Dallas, TX) bring a more futurepop-tinged sound to the party, while Daniel Garza’s Something to Destroy (STD) is another project to look out for, with its crunchy brand of powernoise.

It’s hard to pick one truly standout track on DMWI, since every artist does a fantastic job, but if I had to, Brownsville’s Mas-Si-Osare would be it. MSO sounds very much like Tactical Sekt-cum-early Psyclon Nine, but takes a lot of cues from techno and hardcore dance as well. The result live is a whirlwind rave party, here ‘Rotting Mind’ offers a preview of a sound that is one of Texas’ best-kept secrets.

El Paso’s Dementhia bring a unique perspective on their track ‘Infectious Plague;’ fellow El Paso band Akardia, perhaps the least-known act on the CD, gives another truly standout moment- with the heavy melodic metal sludge of ‘La Noche Roja’- if Rammstein were from the border instead of Germany, this is probably what they would sound like. Echelon High’s more alternative rock-cum-industrial metal burns it down with ‘It Is Well.’

Souless Affection ends things with ‘Enemy.’ This song is classic dark electro I would describe as a cross between Sleetgrout and NoLongerHuman. TJ Monson’s heart-on-sleeve and emotionally wrenching lyrics make Souless Affection a band that truly stands out in industrial today. Though the chronological position of the band was largely symbolic, ‘Enemy’ ends DMWI on just as much a high note as it began.

Don’t Mess with Industrial is not just a compilation of songs - it’s a movement. Like any classic compilation, it is a call of war, a manifesto: it tells you about the scene it came from, the label and people who put it together, and the bands that worked so hard to have their voices heard. Since this CD was released, DMWI Productions has become a label, and signed a few of the bands appearing here. There are plans to make this a yearly event, showcasing different Texas bands each time- DMWI Productions is gaining momentum, and if they keep it up, they will assuredly carve a niche for Texas’ new wave.