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02 May, 2015

Nick Kane - At The End Of His Line

Nick Kane - At The End Of His Line (song review) |single, 2015| 4/5 blues

Nick Kane is a blues and rock guitarist who doesn't shy away from making music rooted in guitar driven genres such as glam, punk and rockabilly but also collaborating with North American & European bands. He has been exposed to classical music thanks to his father - an opera singer who seemingly let Nick get on the music scene faster than other musical peers - he was already performing live by age 17. After spending the 70s and 80s on making music and touring with various bands, he then joined The Mavericks - a famous country act in 1993 and recorded his first solo album six years later.

'At The End Of His Line' is Nick's brand new single which offers a lively swinging rhythm. The contrabass nicely cooperates with well matched drums, inciting listeners to get up and dance with their partner, just like in the 60s. The guitar sounds gentle and adds an equally entertaining flavor to the composition with a welcomed exposure in the middle of the song. The non-complex and classic arrangements are also very well written, with every tone carefully placed at the right spot. These instrumental parts are enriched with memorable, low male vocals that are properly bouncy, just as old school rock'n'roll music taught us throughout the years.

The well adjusted instrumental arrangements are matched with an epigram-esque, witty but not overly positive lyrics. A short tragicomedy telling the story of a fisherman who fell in love with a girl, but sadly she was more attracted to his best friend Sam. He then caught the two flirting, or perhaps even having sex in his own truck, down by the lake where he was fishing often. Judging by the context, the jealous fisherman might have pushed the car into the water - the couple drown but he continued fishing peacefully. The listeners may enjoy a hidden, humorous yet erotic suggestion of why Sam might have felt so very self-confident: "he like to talk and brag about his own fishing pole, how it was longer, longer and stronger" and "he was casting his bait into the girl with a curl but truth be told she had to know about a pole".

How can you enjoy the song other than just listening to it on your personal audio? Its length and vibe are perfect for radio play, so DJs should contact Nick's management as soon as possible. 'At The End Of His Line' will also sound great if played as background music in pubs or restaurants and certainly during live performances. Avid drivers will enjoy the track as well, since it brings non-distracting dynamics. It could also be licensed for a movie or advertisement thanks to its specific vintage feel.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, April 22nd, 2015. http://industrialrock.net)

https://www.facebook.com/nickinguitars
http://www.reverbnation.com/NickKaneGuitar/songs


Reviewed by Fabryka Music Magazine

15 April, 2015

Interview with Spookshow inc.

Lucky Spook (guitar, programming, songwriting, production): The biggest challenge while shooting 'Scary Dream' video was to haul back and forth all of the equipment: power generator, lights, hundreds of meters of cables at night - it was a task, I must say. I don’t remember myself being more exhausted after these two nights in the forest.
[Read the interview here]

Read also: [Industrial/electronic/rock] Spookshow inc. feat. Kissing In Graveyards - Underworld [Mini review]

Interviewed by Fabryka Music Magazine

05 March, 2015

Sekten7 - I Will Be Light ver 2015 review

Sekten7 - I Will Be Light (2015 version) (song review) |self-released, single, 2015| 4/5 industrial metal


The band’s name as well as its influences are connected with spirituality. Take the soul's rebirth during a cycle known as karma, for example. Many cultures have identified an astral realm (named in Tibetan as Devachan) where the spirit rests after its mortal vessel ceases to be. This is not a place of permanence however, but a dimension where the spirit can 'recharge' its energies through bliss and joy before it reincarnates and before the cycle ends.
Seven is a potent number relating to basic human chakras, deadly sins, stars and many others. Finally, the 'light' as featured in the song’s title, is considered as the beginning of everything (including life after death) but also the final destination, a source of unstoppable joy, and a spiritual messaging system too.

With so many references and a guitar driven industrial vibe, 'I Will Be Light (2015 version)' turned out pretty addictive. The overall composition is reminiscent of the well known simplistic 90s industrial approach with a fair share of both electronic and guitar driven arrangements of proper weight. The intro is expressed with dark ambient, then phat synth-based arrangements come into play, followed by mid-tempo drums. The core of the track is built upon low, chunky, repetitive guitar riffs and the drumming theme mentioned above.
There are select moments within the song where silence is incorporated to contrast the sounds and where metal guitar & electro synth amplitudes were slightly changed. As a result, these parts are accented better and draw the ear's attention more.
If heavier instrumental parts stand for the 'darkness', then the beautiful female voice casts the 'light' into the entire track. Listeners will spot that even though guitars are catchy enough, the vocal melody is of a traditional Arabic tone. 'Hizbollah' by Ministry or 'Temple of Love' by The Sisters of Mercy may be the closest matches to give you an idea of how it works here.
There's a feel of math rather than rage when it comes to the songwriting audible in this track. The spirit arises from the atmosphere because the mood is dark, heavy, hypnotizing, and seductive. Both the atmosphere and the repetitions make "I Will Be Light (2015 version)" a very memorable track.

Daniel, who's currently the sole member of Sekten7 has been in industrial/metal bands for a long time. He played all instruments on the track but also produced, mixed, and mastered it. He has been looking for a vocalist and plans on making new Sekten7 songs in the near future.

Many so called Lightworkers around the world have been reporting daily that the Earth energy grid has finally begun changing from the old 'me first' 3D patterns to the 'all is one' 5D type. Therefore, you may want to tune in also through this music; not just switching to somewhat corny New Age serenades but a solid heavy metal vibe as well. In any case, let the light-the spirit guide you as it neither knows boundaries nor judgment.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, March 5th, 2015. Proofreading: Mike 'Vesper' Dziewoński)
Source: http://industrialrock.net/php-files_en/articles.php?article_id=552


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Buy this song on: CD Baby



Reviewed by Fabryka Music Magazine

15 February, 2015

melodic DIRT album review

melodic DIRT - melodic DIRT |self-released, 2015| 4/5 experimental

1. Another Day In The Life, 2. I'd Like To Fly, 3. Sounding For Me, 4. Out Of This World, 5. Away From My, 6. Falling, 7. From The Ground

Here's the debut solo album of multi-instrumentalist Joe. His compositions are inspired by various music styles ranging from rock, grunge, metal and jazz, including bands like Deftones, Korn, Soundgarden, Nirvana, but also great instrumentalists such as Jimi Hendrix, Jackie Mclean, Theloniuos Monk, John Coltrane or Miles Davis. Some of you may catch a few melodic and vocal lines comparable to The Young Gods' tunes as well. This interesting mix results in music that by no means makes for easy-listening, but remains original and intriguing, despite the multitude of influences.

The material has undoubtedly been written for vocals and moods, actually one specific mood I'll elaborate below on. The instrumental parts played on drums, guitar and bass were added in the background, fitting between compositional parts very well. The lyrics are uttered in a spoken, languid manner rather than sung. If you however, imagined Joe as an opera singer and his tracks as classical, emotional compositions, you'd also picture him singing aloud rather than seemingly reciting poetry. Joe's rough voice is unmistakable and therefore, it is a large part of his potential. Just after a few tracks it will imprint itself into your mind, dominating the compositions along with dirty guitar vibrations.

There are a lot of unclean tunes here, interspersed with melodies. The atmosphere brought by down-tuned bass and guitars is ponderous, lethargic. There's very little life, almost no energy, dynamics, or power on this album, but these songs were not written for such purpose at all. If you listen closely to the vocals, they do push their own melody into heavy compositions. This happens already in the two opening tracks - "Another Day In The Life" and "I'd Like To Fly".

Most of the tracks on melodic DIRT last a bit over 3 minutes, which normally could be perceived as short. Here though, since the same arrangements repeat often and the overall mood is heavy, these songs sound as if they were prolonged. The guitar is sometimes employed to introduce a lighter, vibrating and memorable motif between all the other instruments, as it is in "Sounding For Me".

When you get to "Out Of This World", you may have an impression that Joe was loosely improvising here, but there are a few specific, repetitive lines within the composition. The vocals are raspy and almost resonating. While listening to "Away From My", you'll notice a neurotic bass line which dominates the vocals at first. Joe doesn't use the typical intro-verse-chorus-bridge-verse-chorus-outro structure. He uses a lot of verses with occasional bridges. This track is a good example of his creativity in that respect.

When it comes to "Falling", this is indeed a free fall yet based on wisely planned arrangements. An initially annoying, high-pitched synth brings a looped melody thanks to which your ear will mainly focus on the melody instead of the grungy tunes introduced by the guitar-and-vocals combo. This follows the technique already used in "Sounding For Me", but expressed through a guitar there.

The last track on the list, "From The Ground", sounds the heaviest and most apathetic at the same time. One could say that it describes the process of slitting veins and observing the dripping blood and escaping life, but make sure your reading of this track is not so dramatic. The drumbeats are arrhythmic, while the guitar only marks stops and makes another line of rhythm. There are many asynchronous, atonal sounds and little harmonious arrangements. Trust me, though - everything done on purpose.

To sum up, not everyone expects music to be cheerful, swift or pleasant for the ear. Despite of its quite chaotic, slow and extended song structures, the individual formula of traditional industrial or drone metal music presented by bands such as Einstürzende Neubauten, SPK, Godflesh, Earth or Sun O))) has turned out to be inspirational for many listeners and performers. It is all about understanding the sound. If you're looking for a tune which a commercial radio station may not play, then melodic DIRT album is what you need. And here's exactly what Joe is winning you over with - not virtuosity but originality, because not many of you will be able to admit that they'd heard identical tunes before.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, February 15th, 2015. Proofreading: Mike 'Vesper' Dziewoński)





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Reviewed by Fabryka Music Magazine

22 January, 2015

In_zekT - Industrial-Scale Murder

In_zekT - Industrial-Scale Murder |self-released, single, 2015| 5/5

After their successful release of the ARTIFEX album in 2013, In_zekT had come up with another idea. The newest, over 20 minutes long extended single is made up of various compositional parts. It's an avant-garde suite, which technically could be compared to those better known from classical or progressive tracks, though In_zekT's music is definitely much more 'bratty' yet disciplined than these.

The first five minutes of the suite is built upon all-engaging dynamics. Ferocious arrangements were written for vocals, guitars, bass, drums and synths. All sounds are digitally altered however, which gives them a cybernetic-quality. The mood is aggressive, raging yet haunting and the inclusion of an EBM-like rhythm mixed with chunky guitar riffs will easily turn you into a headbanger in this pat.

Since it's also industrial, you should expect machines - their silent or very loud sounds such as clicking, buzzing, whizzing, hissing, humming etc. are a significant ingredient of In_zekT's music. These, along with saturated, dark ambient backgrounds become welcomed breaks between more turbulent arrangements. And so, the next few minutes of the single will turn your imagination on.

Then again, around 11th minute of the single, hell breaks loose again with uttermost intensity. Dense arrangements are expressed through a collaboration of heavy screams, digitalized drums, bass and chopped guitars. There's no place for spontaneity here, only discipline and order. Metal/djent fans will go crazy about the ultra fast tempo, atonal rhythm and violent formula which this part of Industrial-Scale Murder is made of.
Don't be fooled though when the follow-up comes out softer, melodious and even sentimental, thus letting the heart slightly drop its heightened beat. In_zekT knows how to shock a listener with a sound, therefore you'll definitely witness it while listening what's next.

The final portion of the single is 'the music of a vehicle', probably a bulldozer or excavator. If you enjoy environmental sounds so called 'field recordings' which are not synchronous, harmonic or pleasant for the ear, then you won't skip this part.

Technically speaking, the sound quality, the mastering and production of Industrial-Scale Murder are all brilliant - the bass is deep, the riffs are scalpel-sharp and omnipresent industrial samples are crystal clear. The separate parts link very smoothly. Yet, the arrival of a new arrangement is usually unexpected, so this should keep your ears and brain fully attentive.

The band members - Kjetil Ottersen (vocals, guitars, bass, synth, programming and sampling) and Peter Vindel (lead vocals, guitars, bass, synth, programming and sampling) admit to be inspired by works of Merzbow and other extreme noise-experimental artists, as well as hybrid metal bands such as Meshuggah.
To me, fans of djent style, or the likes of Strapping Young Lad, Devin Townsend, and Fear Factory may find Industrial-Scale Murder a must-have release. In addition, there are scarcely any new genres being coined these days but with this single, In_zekT is undoubtedly stepping into something new. Should it become mainstream? This is up to you, the listeners, to make it more known through your support.
Finally, according to the musicians, the concept of the single is based on a contemplation of events that unfolded throughout 2014 - a divide caused by conflicts between scarcely compatible societal models and civilizations.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, January 21st, 2015. Proofreading: Mike 'Vesper' Dziewoński)





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Reviewed by Fabryka Music Magazine