Brian E. Carter has been making quite a few strides as the creative force behind industrial/rock collective REVillusion, with two albums that not only showcased his skills as a musician/producer, but also saw guest appearances from a plethora of celebrated talents in metal and industrial. With HEART(less): Revisions & Additions, he presents an assortment of new tracks and remixes to bridge the stylistic gaps between the two previous albums, from the technological and dystopian style of New Extinction to the more humanistic lyrical atmosphere of HEART(less). The first of the new tracks, “Anti-Viral” marches with the brutality of a mechanized battering ram, Burton C. Bell’s seething and emotive vocals as acerbic as anything he’s done in Fear Factory; indeed, the track calls back to the nightmarish cyberwar that permeated the first album, making it a most welcome entry in REVillusion’s oeuvre. Similarly, Waylon Reavis returns to lend his harshly melodic vocal stylings to “Reborn,” the pure emotional energy of the anthemic chorus offsetting the factory-like tone of the verses; having appeared on the previous two albums, his presence aids in the sense of continuity this album strives for, as does the return of Scum of the Earth’s Riggs on “Tick-Tock,” his sinister and menacing vocals and raging guitar solo exceeding his performance on “Dernier Cri Zombie” off New Extinction. And then there are the remixes, beginning with Sebastian Komor’s slowly ominous take on “#AsYouWatchtheWorldBurn,” Reavis’ vocals manipulated amid an ambient dubstep backdrop to be as much a melodic as a textural device, while Angelspit chops up “Beautiful Gift” into a spastic onslaught of guttural glitches true to the band’s own style. The Lord of Lard, Raymond Watts appears to rearrange “Pure Pollution,” on which he originally lent his throaty baritone roar, his One For the Beast remix further transforming the track into his own twisted brand of industrialized audio pornography, while Stabbing Westward’s remix of the song takes on a more straightforward approach that emphasizes the song’s pulsating rhythms and Watt’s vocal performance. Speaking of Stabbing Westward, Chris Hall’s impassioned melodies served to make “Heartless” a saccharine and desperate ballad with REVillusion offering a more orchestral rendition that accentuates the more human elements of voice, pianos, and Tina Guo’s cello. On the other hand, leave it to EN ESCH to transform the song into a sultry and strutting slice of sonic sleaze as he mangles the strings with some funky electronic bass lines and crunchy techno beats. It almost eclipses the irony and intrigue of the album’s closing track as EN ESCH growls alongside Carter in a cover of KMFDM’s “More & Faster,” the soulful accompaniment of Murder Weapons’ Dawn Wood along with the scattered snippets from across the band’s catalog making for a sardonic but heartfelt tribute to the Ultra Heavy Beat. Although it’s dubious whether the new tracks presented on this collection would fit on HEART(less), they along with the remixes do well to see REVillusion progressing apace; three albums in, and the band hasn’t yet exhibited any signs of weakness.