tag:blogger.com,1999:blog-22799947225500572262024-02-07T06:05:45.632+01:00Professional Music ReviewsMetal, progmetal, alt-rock, djent, industrial, dark ambient, instrumentalUnknownnoreply@blogger.comBlogger184125tag:blogger.com,1999:blog-2279994722550057226.post-10364726355264642742020-04-07T14:24:00.000+02:002020-04-07T14:24:41.932+02:00Elitefitrea - Lethe<div class="western" lang="en-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; direction: ltr; font-size: 11pt; line-height: 22px; margin-bottom: 0cm;">
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<span style="font-family: Verdana, sans-serif; font-size: 11pt;"><b>Elitefitrea - Lethe (album review) |self-released, 2020| 5/5 electronic</b></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: 11pt;"><i><b>1. Acheron, 2. Double Down, 3. Lethe, 4. Homage, 5. Dissolution, 6. Cerberus, 7. Too Late, 8. Pitchforks, 9. The Center</b></i></span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="font-size: 11pt;">Elitefitrea is a solo project by a multi-instrumentalist Bryan Day, a man </span>of many life <span style="font-size: 11pt;">experiences ranging from Marine Corps military service, through </span>time in <span style="font-size: 11pt;">prison, to pacifism and creative freedom. As you may guess, </span><span style="font-size: 11pt;"><i>Lethe</i></span><span style="font-size: 11pt;"> is based on </span>the<span style="font-size: 11pt;"> concept of venturing deep into </span>the <span style="font-size: 11pt;">psyche, to focus on the shadow and to deal with it though self-therapy </span>in the form of <span style="font-size: 11pt;">expressive music, and all art-making allows for.</span><span style="font-size: 11pt;"> It borrows a theme from Greek myth</span>ology<span style="font-size: 11pt;">. To quote Bryan: “</span><span style="font-size: 11pt;"><i>Lethe is a tour through the underworld. The Lethe is a river in Hades that, when drank, causes one to forget the memories of their mortal life on Earth. This album explores society through the symbolism of Lethe, observing the abandonment of former ideals by the thinking classes, as if they had drank from the river Lethe themselves.</i></span><span style="font-size: 11pt;">” The musician was inspired by freedom, fairness, prison reform, mental health awareness, philosophy, and history.</span></span></div>
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<span style="font-family: Verdana, sans-serif;">Now, let’s talk music.<span style="font-size: 11pt;"> This is an album filled with refle</span>ct<span style="font-size: 11pt;">ion and atmosphere. Every song calls for listeners’ attunement and puts them in a dreamy state of trance thanks to slightly stretched but fresh arrangements where the singer’s voice could be considered another instrument. </span>Vocals <span style="font-size: 11pt;">were added after the instrumental lines were written first</span>, so that could be the result of the production process<span style="font-size: 11pt;">. </span><span style="font-size: 11pt;">Sonically, </span>the music on the album consists of <span style="font-size: 11pt;">electronic tracks with the overall vibe similar</span><span style="font-size: 11pt;"> to the 2000’s Nine Inch Nails’ music, though Bryan mentions Radiohead, Goldfrapp, and </span>Beck <span style="font-size: 11pt;">as well as jamming along to albums of Led Zeppelin and Metallica in the past too.</span></span></div>
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<span style="font-family: Verdana, sans-serif;">“<span style="font-size: 11pt;">Acheron” begins slowly and arduously. Its</span> a<span style="font-size: 11pt;">rrangements are based on the same tempo throughout the song but heaviness is balanced with higher tunes at times. Guitars, drums, synths, and vocals create a neatly spiraling mix which gradually elevates tension and suggests there’s an inner strength in everyone to overcome the darkness</span>, and <span style="font-size: 11pt;">see the light </span>at <span style="font-size: 11pt;">the end of </span>the<span style="font-size: 11pt;"> tunnel of life struggles. </span>Other than that<span style="font-size: 11pt;">, the song itself is memorable and catchy. Next, we have </span><span style="font-size: 11pt;">“Double Down” w</span>ith <span style="font-size: 11pt;">repetitions of both instrumental and vocal </span>lines<span style="font-size: 11pt;">. The l</span>yrics <span style="font-size: 11pt;">are not sung but rather groaned with a warm, </span>and slightly <span style="font-size: 11pt;">dirty but also calm voice. The </span>s<span style="font-size: 11pt;">ynths are broken with clicking, knocking, irregular drumming</span>, <span style="font-size: 11pt;">and other sounds entertaining the ears, </span>bringing diversity <span style="font-size: 11pt;">into a seemingly stalled rhythm.</span></span></div>
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<span style="font-family: Verdana, sans-serif;">“<span style="font-size: 11pt;">Lethe” rolls out even more slowly, like a river of </span>tar<span style="font-size: 11pt;"> with bubbles popping out over the dough-like surface </span>being <span style="font-size: 11pt;">the only motion. </span>L<span style="font-size: 11pt;">isteners will hear stretched, windy sounds and other non-invasive distractions in the background breaking the monotony. The vocals with some SFX put on top </span>are reminiscent of <span style="font-size: 11pt;">monk’s chants </span>at times<span style="font-size: 11pt;">.</span></span></div>
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<span style="font-family: Verdana, sans-serif;">“<span style="font-size: 11pt;">Hommage” is the only purely instrumental track here and is an interpretation of Claude Debussy’s piano composition “Hommage à Rameau”. The original piece was written over a hundred years ago </span>and <span style="font-size: 11pt;">dedicated to Jean-Philippe Rameau, a French composer and music theorist. If you listen to Debussy’s </span>original<span style="font-size: 11pt;">, you </span>probably will <span style="font-size: 11pt;">agree that </span>this <span style="font-size: 11pt;">modern ‘cover’, if you will, turns the composition into a soundtrack which could be utilized in an artistic short-movie.</span></span></div>
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<span style="font-family: Verdana, sans-serif;">In <span style="font-size: 11pt;">contrast, “Dissolution” offers bouncy dynamics</span> <span style="font-size: 11pt;">and a relaxing yet motivating rhythm, catchy hooks </span>and <span style="font-size: 11pt;">vocals in both stereo channels. Inspiration drawn from Trent Reznor’s music becomes quite </span>clear <span style="font-size: 11pt;">here. There’s also an interesting play between the lyrics and beats. With “Cerberus” the music returns to its previous slow-mo vibe</span> with <span style="font-size: 11pt;">arrhythmic and non-synchronized beats utilized for a reaso</span>n, as they <span style="font-size: 11pt;">keep both ears engaged. The </span>a<span style="font-size: 11pt;">rrangements repeat at some point</span>, <span style="font-size: 11pt;">but are distributed so skillfully that they still offer a lot of sonic entertainment overall. It would be great if the track was supported by a strongly digital music video with </span>lots <span style="font-size: 11pt;">of glitches, delays, and other visual effects to accompany complex sound textures.</span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="font-size: 11pt;">The overall mood of the album brightens and elevates thanks to “Too Late</span>”<span style="font-size: 11pt;">. It’s an excellent hit </span>song <span style="font-size: 11pt;">to be played on a radio and a very strong representative of </span><span style="font-size: 11pt;"><i>Lathe</i></span>, <span style="font-size: 11pt;">as well as Bryan’s music writing skills </span>in general<span style="font-size: 11pt;">. The chorus is </span>as <span style="font-size: 11pt;">memorable as th</span>e <span style="font-size: 11pt;">verses, res</span>ulting in <span style="font-size: 11pt;">a </span>thoroughly <span style="font-size: 11pt;">enjoyable experience.</span></span></div>
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<span style="font-family: Verdana, sans-serif;">“<span style="font-size: 11pt;">Pitchforks” </span>returns <span style="font-size: 11pt;">to the murky tones and more laborious tempo. It has a nightmarish, post-apocalyptic feel and brings some scenic images </span>to the mind’s eye<span style="font-size: 11pt;">. The reviewer’s fantasy ventured into a wasteland under a red sky. There was a valley with remains attached to poles </span>with <span style="font-size: 11pt;">chains swinging slowly</span> as they parries <span style="font-size: 11pt;">one against another with characteristic clanging sounds. Lyrics are almost whispered with a few SFX applied </span>making <span style="font-size: 11pt;">a good match with such a hellish atmosphere.</span></span></div>
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<span style="font-family: Verdana, sans-serif;">“<span style="font-size: 11pt;">The Center” ends </span><span style="font-size: 11pt;"><i>Lethe</i></span><span style="font-size: 11pt;">. It is based on a piano and a gently pulsing rhythm for the most part. T</span>he v<span style="font-size: 11pt;">ocals feel fragile yet somewhat tired, but the tone gets elevated at times. They are aligned to </span>the <span style="font-size: 11pt;">soothing mood very well. The dynamics </span>are<span style="font-size: 11pt;"> non-invasive</span>, <span style="font-size: 11pt;">but listeners may catch themselves nodding the head to the rhythm </span>quite <span style="font-size: 11pt;">often. The last and the first </span>track<span style="font-size: 11pt;"> are attuned very well together, therefore nothing feels mismatched while listening to the album on rotation.</span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="font-size: 11pt;">Finally, it should be said that the songs are supported by interesting lyrics written without haste. Some are rhythmic, others just aligned to the flow of music. They are mostly dark and may resonate especially well with those </span>going through a<span style="font-size: 11pt;"> transition</span>, <span style="font-size: 11pt;">when inner demons have been dealt with.</span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="font-size: 11pt;">(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, April 1st, 2020. Proofreading: Mike ‘Vesper’ Dziewoński)</span><br /><span style="font-size: xx-small;">Source: </span></span><a href="http://fabryka.darknation.eu/php-files_en/articles.php?article_id=609"><span style="font-size: xx-small;">http://fabryka.darknation.eu/php-files_en/articles.php?article_id=609</span></a></div>
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<span style="font-family: Verdana, sans-serif;">Buy this album: <span style="color: navy;"><span lang="zxx"><u><a href="https://www.elitefitrea.com/" style="color: navy;">https://www.elitefitrea.com/</a></u></span></span></span></div>
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<span style="font-family: Verdana, sans-serif;">Free Download of “Acheron”: <a href="https://hypeddit.com/track/1gx8v4" style="color: navy;">https://hypeddit.com/track/1gx8v4</a></span></div>
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<span style="font-family: Verdana, sans-serif;">Visit: <span style="color: navy;"><span lang="zxx"><u><a href="http://www.facebook.com/elitefitrea" style="color: navy;">http://www.facebook.com/elitefitrea</a></u></span></span> | <span style="color: navy;"><span lang="zxx"><u><a href="http://instagram.com/elitefitrea" style="color: navy;">http://instagram.com/elitefitrea</a></u></span></span> | <span style="color: navy;"><span lang="zxx"><u><a href="http://twitter.com/elitefitrea" style="color: navy;">http://twitter.com/elitefitrea</a></u></span></span></span></div>
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<span style="font-family: Verdana, sans-serif;">Listen: <span style="color: navy;"><span lang="zxx"><u><a href="https://open.spotify.com/artist/3SG9ZXF8zM3sHYBMvqF69b" style="color: navy;">https://open.spotify.com/artist/3SG9ZXF8zM3sHYBMvqF69b</a></u></span></span> | <span style="color: navy;"><span lang="zxx"><u><a href="https://www.youtube.com/c/elitefitrea" style="color: navy;">https://www.youtube.com/c/elitefitrea</a></u></span></span></span></div>
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<span style="font-family: Verdana, sans-serif;">Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a></span><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-86808135323671822842020-04-01T21:13:00.001+02:002020-04-01T21:13:20.717+02:00Nine Plan Failed - Father, Father<div class="separator" style="clear: both; text-align: center;">
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<b>Nine Plan Failed - Father, Father (song review) |self-released, 2020| 5/5 progressive metal</b><br />
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Nine Plan Failed is a band from Boston, MA with Kon and Jake Frederick. "Father, Father" is their second single.<br />
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The song begins with intense, fiery, memorable guitar riffs mixed with dynamic drum beats. All this already tells listeners about the incoming vibe - the genre here could be described as progressive metal. It’s edgy, lively, groovy, very well balanced in both arrangements and the overall composition. It engages both ears and brains, because there’s so much going on yet the performance is under tight control, too. One could probably find musical similarities to the likes of Tool, Devin Townsend, Testament or Disturbed, to mention a few. The atmosphere here may feel intense and heavy but the vocals together with a soloing guitar bring a neat contrast the rhythm section.<br />
In "Father, Father", the instruments support one another along with matched vocal parts. Kon’s a skilled singer, operating extremely well between middle-range and high notes. The chorus is instantly memorable thanks to the rhythm of lyrics aligning perfectly with the music ("<i>Father, father see the look in your eyes / Gathered masses tempted by your design / Father, father I see right through your disguise / promises of righteousness divine</i>").<br />
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The song could be easily utilized in a movie, as it has a powerful, expressive, and a somewhat dramatic sound, while it’s very memorable as well. The repetitions don’t sound monotone thanks to a variety of interesting peaks within the instrumental lines. The track’s length is perfect to enjoy the taste of music for long enough, while definitely fitting prime time radio play.<br />
Without a shadow of doubt, Nine Plan Failed will draw the attention of certain music listeners and expectations for more new material. Make sure you get their songs in music stores now to support the duo in doing what they love.<br />
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(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, March 18th, 2020. Proofreading: Mike 'Vesper' Dziewoński)<br /><span style="font-size: x-small;">Source: <a href="http://fabryka.darknation.eu/php-files_en/articles.php?article_id=608">http://fabryka.darknation.eu/php-files_en/articles.php?article_id=608</a></span><br />
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<a href="https://facebook.com/Nine-Plan-Failed-106786930832795">https://facebook.com/Nine-Plan-Failed-106786930832795</a><br />
Buy on: <a href="https://9planfailed.bandcamp.com/">https://9planfailed.bandcamp.com/</a><br />
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Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-55991456397369008982020-01-16T11:43:00.000+01:002020-01-16T11:58:38.788+01:00Ghost in the Machine - Supernatural<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIl01FXP_GZNp_vAD5pXohYoiNP5SdzXEt_bsPJbKpk19mV5RJz1ftEa41SIZjVAYTtgvAntzEDUvyofsuPr4VSx2RAC5SviVjCGcCOFzEMGlowtT2PCxnU1zQZvnLfbjZPpc4lVSL16vQ/s1600/art.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="200" data-original-width="200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIl01FXP_GZNp_vAD5pXohYoiNP5SdzXEt_bsPJbKpk19mV5RJz1ftEa41SIZjVAYTtgvAntzEDUvyofsuPr4VSx2RAC5SviVjCGcCOFzEMGlowtT2PCxnU1zQZvnLfbjZPpc4lVSL16vQ/s200/art.jpg" width="200" /></a></div>
<b style="background-color: none; font-family: verdana, tahoma, sans-serif; font-size: 13px; text-align: justify;">Ghost in the Machine - Supernatural (song review) |self-released, single, 2019| 5/5</b><br />
<span style="background-color: none;"><br style="font-family: verdana, tahoma, sans-serif; font-size: 13px; text-align: justify;" /></span>
<span style="background-color: none;"><span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;">Listeners can recognize GITM as a guitar driven industrial rock band known for their </span><i style="font-family: verdana, tahoma, sans-serif; font-size: 13px; text-align: justify;"><a href="http://fabryka.darknation.eu/php-files_en/articles.php?article_id=568&rowstart=1">Broken From Binary</a></i><span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;"> album (2015). They're a duo based in Florida of Face (bass, programming, vocals) and C4 (vocals, guitar, programming).</span></span><br />
<span style="background-color: none;"><br style="font-family: verdana, tahoma, sans-serif; font-size: 13px; text-align: justify;" /></span>
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;">There's a proverb which often proves right - 'if you want different results, you have to try different approaches'. This time, GITM comes with a slow-tempo chillout single. It starts with a female vocal (by Caela, she also appears as a background singer in the chorus), soon replaced by C4's masculine voice. As the song progresses, C4 often begins a verse and Caela finishes it with her higher tones, creating an interesting contrast through the combination. This vocal interplay is very entertaining, because the two literally play with each other, by starting and completing verses. When the chorus starts, C4 proves that he can pull off higher notes as well.</span><br />
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;">'Supernatural' flows peacefully from beginning to end. It's full of clicking, buzzing, drumming, and otherwise percussive sounds leaving no empty spots; despite that, it's not dynamic. The vocals don't interfere with the instruments, but are skillfully laid on a layer above. A focused ear will also catch guitar chords.</span><br />
<span style="background-color: none;"><br style="font-family: verdana, tahoma, sans-serif; font-size: 13px; text-align: justify;" /></span>
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;">Lyrically, there's an openly sensual meaning to the song not only focusing on a woman's goddess-like body - her fingers, dark curly hair, eyes, and lips but also a metaphysical connection a man feels with her soul since she's '<i>mystical, magical, supernatural (...) the force that science cannot understand</i>'. He's '<i>bewitched</i>' by her beauty '<i>so dynamic, so exotic</i>' that he awaits to '<i>seal the deal and make it for real</i>' during a proposal.</span><br />
<span style="background-color: none;"><br style="font-family: verdana, tahoma, sans-serif; font-size: 13px; text-align: justify;" /></span>
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;">The songs needs a few plays to be remembered entirely, because its arrangements are melodious and repetitive (but not too notoriously). This is great news for the listener's brain, as it gets quickly bored with frequently recurring patterns. The chorus, once memorized, becomes solidly wedged in the mind which shows that 'Supernatural' has the potential to become a radio or heavy rotation playlist hit. It could also illustrate a significant movie scene, not limited to romance as the usefulness of the melody stretches beyond that genre.</span><br />
<span style="background-color: none;"><br style="font-family: verdana, tahoma, sans-serif; font-size: 13px; text-align: justify;" /></span>
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;">(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, January 16th, 2020. Proofreading: Mike 'Vesper' Dziewoński)</span><br />
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;">Source: </span><a href="http://fabryka.darknation.eu/php-files_en/articles.php?article_id=568"><span style="font-size: x-small;">http://fabryka.darknation.eu/php-files_en/articles.php?article_id=568</span></a><br />
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<span style="background-color: none;"><iframe allow="autoplay" frameborder="no" height="280" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/938648581&color=%23ff9900&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" style="font-family: verdana, tahoma, sans-serif; font-size: 13px; text-align: justify;" width="500"></iframe><br style="font-family: verdana, tahoma, sans-serif; font-size: 13px; text-align: justify;" /></span>
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<span style="background-color: none;"><a href="http://www.gitm.net/" style="font-family: verdana, tahoma, sans-serif; font-size: 13px; text-align: justify;" target="_blank">Official</a><span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;"> | </span><a href="https://facebook.com/GITM.net" style="font-family: verdana, tahoma, sans-serif; font-size: 13px; text-align: justify;" target="_blank">Facebook</a><span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;"> | </span><a href="https://twitter.com/GITM" style="font-family: verdana, tahoma, sans-serif; font-size: 13px; text-align: justify;" target="_blank">Twitter</a><span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;"> | </span><a href="https://soundcloud.com/gitm_net" style="font-family: verdana, tahoma, sans-serif; font-size: 13px; text-align: justify;" target="_blank">SoundCloud</a><span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;"> | </span><a href="https://reverbnation.com/gitm_net" style="font-family: verdana, tahoma, sans-serif; font-size: 13px; text-align: justify;" target="_blank">ReverbNation</a><span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;"> | </span><a href="https://www.youtube.com/channel/UCv3vtcbGaSx5CiD4kvFUchQ/videos" style="font-family: verdana, tahoma, sans-serif; font-size: 13px; text-align: justify;" target="_blank">Youtube</a></span><br />
<span style="background-color: none;"><br style="font-family: verdana, tahoma, sans-serif; font-size: 13px; text-align: justify;" /></span>
<span style="background-color: none;"><span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;">Buy on: </span><a href="https://store.cdbaby.com/cd/ghostinthemachine6" style="font-family: verdana, tahoma, sans-serif; font-size: 13px; text-align: justify;" target="_blank">CDBaby</a><span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;"> | </span><a href="https://music.apple.com/us/album/supernatural-single/1486514569" style="font-family: verdana, tahoma, sans-serif; font-size: 13px; text-align: justify;" target="_blank">iTunes</a><span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;"> | </span><a href="https://open.spotify.com/track/5OMGFPqj3JOQjam5Bmmojp" style="font-family: verdana, tahoma, sans-serif; font-size: 13px; text-align: justify;" target="_blank">Spotify</a></span><br />
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<span style="font-size: x-small;">Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a></span><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-2419808795617162702020-01-10T15:33:00.000+01:002020-01-10T15:48:27.055+01:00Bruno Pittelli – Angels Without Gods<div class="separator" style="clear: both; text-align: center;">
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<b>Bruno Pittelli – Angels Without Gods |Bp Guitar Studio, 2019| 4/5 rock</b><br />
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<i>1. Angels Without Gods, 2. Immortals, 3. Marina, 4. My Rebirth, 5. My Soul Vibrations, 6. Thanks for Everything, 7. The Fate in a Parchment, 8. The Sun in a Light Bulb, 9. We Stay Here</i><br />
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Bruno Pittelli is an Italian guitarist. He is self-taught but with help of skilled teachers not only did he expand his techniques and earned a degree in London, but also began giving lessons of his own. He set up the Bp Guitar Studio in Milan, where students are welcome to improve both their recording and playing skills. Aside of the methodical part, Bruno however cares for the spiritual and emotional aspects of expressing oneself as a musician and encourages others to communicate their emotions as they are.<br />
His newest solo album, Angels Without Gods, brings nine instrumental songs. The album title reflects Bruno's thoughts on people's existence without life goals. It emphasises the need for a passion to follow. Angels supposedly receive tasks from gods but humans are either self-motivated, get inspired by ideas of others, or channel messages from higher planes of consciousness.<br />
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As it's a guitarist album, there's obviously a lot of soloing in every song here, but it's melodious and never overwhelming. In the title song, the guitar cries; at first supported by delicate violin-like arrangements though the vibe gets hard rock and slightly distorted in the middle of the track. One can easily close their eyes and get into the flow of sounds.<br />
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The follow-up is open by soothing, contrasting tunes. The song is memorable from the very first listening thanks to its melody. Initially, the tempo is slow, but then the soloing accelerates, blooms, and expands even more based upon a solid rhythm. Then the opening theme continues until the track's end. 'Immortals' speaks of artists who become almost immortal over time thanks to the works of art they create.<br />
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'Marina' brings a female element in the music too, apart of the title. The song feels like a story confessed through the sounds. It starts simplistically, coming from a mood of sweetness and happiness, then a deeper passion settling in, with a tinge of losing something within as well. Later, the sound becomes highly emotional, tumultuous, maybe even distorted. Guitar arrangements argue, blaming one another. Bruno dedicated 'Marina' to his wife at their wedding.<br />
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'My Rebirth' sound here fits into how the previous song ended. It's a story of hope and fresh start also in the arts, but involves the nostalgia of looking back or juggling with 'what if' alternatives. When the time for a decision comes, it's expressed by heavier, lively, spiralling guitar riffs. The slow tempo of the first part of the song returns soon after with simple, memorable tunes to continue until the very end.<br />
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'My Soul Vibrations' begins with a delicate vibe supported with a tempo to let you relax and fully enjoy the riffs. The first part speaks of beauty. The other resembles needs and desires as the guitar gets a bit heavier and needy too. It's followed by a fiery and broad arrangement supported by slightly faster drumming. The drums never dominate the guitar on this album though, otherwise they would rather call to action than just make it easier to listen carefully to the guitar players' stories.<br />
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There's indeed a feel of gratitude in 'Thanks for Everything', spread far away thanks to solos similar to what we've heard from Santana and the like. The song's dynamics accelerate a bit with a graded bassline, faster drumbeat, and distorted guitar tunes in the middle of the song. The violin, which shows up for a moment, adds a high contrast to the rhythm section. When the turbulent emotions end, the classy, peaceful guitar play returns. Bruno shows how much he's tuned into the instrument and lets listeners participate in that. He dedicated the track to his parents for their support.<br />
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'The Fate in a Parchment' brings soothing vibes of freedom and completion. There is a feeling of being relieved from a burden, or leaving stress behind. A memorable solo flows until it's interrupted by denser, distorted riffs dotting the song like heavy rain. It's notable how both parts match together really well. The song conveys the idea that our fate is already decided since our birth.<br />
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Lovely moods open 'The Sun in a Light Bulb'. In the beginning, slow guitar riffs reflect the peaceful experience of watching a sunset in nature. The riffs multiply for a while, then Bruno uses the guitar like a rifle shooting the sounds around, up and down. Both parts with different arrangements were skillfully placed within the composition. Bruno tried to compare an easily-breakable light bulb to a human being and the Sun to the greatness of art humans create and shine strongly though.<br />
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'We Stay Here' is kept in a similar mood to 'Thanks for Everything', but only in the beginning. The victorious motto is soon replaced by fast and arguing riffs. The background bass and drum beats however make the whole arrangement a bit more mellow. The overall feel of this song brings to mind a debate between an impatient youngster and a knowledgeable master. Vibrating riffs end the track with the background music disappearing into the silence. The song refers to over-thinking – that we should rather enjoy the present day reality more than sink deeply inside the worlds in our heads.<br />
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This is an album which favors a classic approach to the guitar as an instrument over innovation; thus its most appreciative audience are probably fans of classic rock music. It lets you relax, but also teaches how to express feelings and tell stories through utilizing as many strings as possible. The song dynamics reflect the ebb and flow of life with changing emotions. The technical side of the album — recording, mixing, mastering — are all very well done. The sound is clear and well balanced. The compositions however could benefit from slightly less predictable structures, as now the listeners previewing the first half of the album can already expect a change in the middle of every track on the other half, and that the song's opening part will always return at its end. The human ears delight in surprises created by unexpected silences, contrasts, and frequent tempo changes.<br />
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(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, January 8th, 2020. Proofreading: Mike 'Vesper' Dziewoński)<br />
<span style="font-size: x-small;">Source: http://fabryka.darknation.eu/php-files_en/articles.php?article_id=606</span><br />
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<span style="font-size: x-small;">Visit:</span><br />
<span style="font-size: x-small;"><a href="https://www.facebook.com/bruno.pittelli.12">https://www.facebook.com/bruno.pittelli.12</a></span><br />
<span style="font-size: x-small;"><a href="https://www.youtube.com/channel/UCRPeUUNOr68sQ00c5VPcIWw">https://www.youtube.com/channel/UCRPeUUNOr68sQ00c5VPcIWw</a></span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">Buy:</span><br />
<span style="font-size: x-small;"><a href="https://us.napster.com/artist/bruno-pittelli/album/angels-without-gods">https://us.napster.com/artist/bruno-pittelli/album/angels-without-gods</a></span><br />
<span style="font-size: x-small;"><a href="https://www.deezer.com/it/album/118983292">https://www.deezer.com/it/album/118983292</a></span><br />
<span style="font-size: x-small;"><a href="https://open.spotify.com/album/5FVIrCEdGjUG0EKN16Qeyw?si=vOQkiUPnRp62a4_dc8SEvw">https://open.spotify.com/album/5FVIrCEdGjUG0EKN16Qeyw?si=vOQkiUPnRp62a4_dc8SEvw</a></span><br />
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Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-83776569513450376372018-12-11T14:36:00.000+01:002018-12-11T14:36:53.422+01:00Spookshow Inc. - Visions of the Blinded World pt. I & II<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/0JvAzG7lnjh9dOib4OgltdOb51SyOTe03RKFgeJ462EKS_hT2c9QbSoxl-edYHRo02sCwUnz_opcDke5aQhoSSvLabMuXaVtY6xpsQ_d9Swgw4sTl1JpibaKLCObDN7GfMn4FbREJVL0fl8REkdimx9yjBelfc50MxDrrnRQ_QeaDlc6qOrV4HEcb8jzbbx2N5K3ji752f0mSWc8YsfFLFGPPFMxuphWTeeVqC7TQvjqL4NBRTHbInbolHrdZXB-4nxZsGw5KdHDQ2s2vZb5Kl1ogjYhhmKQJks7y1ykViOMCn2oBtnGcT3GnuroYtFEk2fF7kIQUyNAWTBGHL-reDw0XsyUO_KhJ3pQQC2uByls_u72KpJab_zKTRNXiwyzQCOXyRVx7W0UIwPJRtPMuh0zORc9_mk6LLre2VP8Vzz5n4N09Kj8ZGrCEEBAi43xODy7R4Uat89SECDw0ntv9wlnlK6HH_nEBD1xrRE9-g7pTNYVw1D3-LmS0ToMBAHOlfeYxXmv0uNxXBAW-t0yRqn_T-a3076A0cTAtNidYiGT4sSueT2CtEPCviCXZJyeC69DfPW3dq1SAL0CIpizqXxhkWXNelTGzV5CctUx_DVpmeI0iaxOhkloumdTuvi4J-mnym1mfXH7bcOBdk2YYYDA=w210-h193-no?pageId=110672807017683277156" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="193" data-original-width="209" height="184" src="https://4.bp.blogspot.com/0JvAzG7lnjh9dOib4OgltdOb51SyOTe03RKFgeJ462EKS_hT2c9QbSoxl-edYHRo02sCwUnz_opcDke5aQhoSSvLabMuXaVtY6xpsQ_d9Swgw4sTl1JpibaKLCObDN7GfMn4FbREJVL0fl8REkdimx9yjBelfc50MxDrrnRQ_QeaDlc6qOrV4HEcb8jzbbx2N5K3ji752f0mSWc8YsfFLFGPPFMxuphWTeeVqC7TQvjqL4NBRTHbInbolHrdZXB-4nxZsGw5KdHDQ2s2vZb5Kl1ogjYhhmKQJks7y1ykViOMCn2oBtnGcT3GnuroYtFEk2fF7kIQUyNAWTBGHL-reDw0XsyUO_KhJ3pQQC2uByls_u72KpJab_zKTRNXiwyzQCOXyRVx7W0UIwPJRtPMuh0zORc9_mk6LLre2VP8Vzz5n4N09Kj8ZGrCEEBAi43xODy7R4Uat89SECDw0ntv9wlnlK6HH_nEBD1xrRE9-g7pTNYVw1D3-LmS0ToMBAHOlfeYxXmv0uNxXBAW-t0yRqn_T-a3076A0cTAtNidYiGT4sSueT2CtEPCviCXZJyeC69DfPW3dq1SAL0CIpizqXxhkWXNelTGzV5CctUx_DVpmeI0iaxOhkloumdTuvi4J-mnym1mfXH7bcOBdk2YYYDA=w210-h193-no?pageId=110672807017683277156" width="200" /></a></div>
<b>Spookshow Inc. - Visions of the Blinded World pt. I & II |self-released, 2018| 5/5 Electronic/rock/metal</b><br />
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<i><b>Part 1</b>: 1. New World Crash, 2. Scary Dream, 3.
Falling Down pt. 2, 4. Game of Delusions, 5. Requiem For a Vision, 6.
Seven Trumpets, 7. Dead Shot Baby feat. Subliminal Mentality, 8. Lizard
Eyes, 9. My Secret Plan feat. Matangi Shakti, 10. Cyberage, 11. Map Of
The World, 12. Other Side Of Time<br />
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<b>Part 2</b>: 13. Virtual Insanity, 14. Devil's Triangle, 15.
Mindgame feat. XRC, 16. Little Pill feat. Subliminal Mentality, 17.
Blackbird from Karachi feat. D. Tschirner, 18. Prison Planet, 19.
Falling Down pt. 1, 20. Cold Frantic Boy, 21. Match of the Century / A.
Crowley vs. A. Einstein, 22. Underworld feat. Kissing in Graveyards, 23.
Midnight Tango, 24. Follow Me, 25. Battle for Babylon feat. R. Carey</i><br />
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Spookshow Inc.'s newest album tracklist impressively counts up to a
total of 25 industrial and electronic songs, with some familiar titles
included. The mighty set created by Lucky Spook (the band's founder,
based in Norway) includes "Falling Down pt. 2" which was developed
further into a brand new track (a pre-sequel if you will). In addition,
the new front cover definitely draws attention since it's a
thought-provoking, surreal art piece in sepia.<br />
<br />
"Virtual Insanity" offers a lot of craziness. It merges the density of
guitar riffs supported by fast-paced beats with aggressively expressed
lyrics. The dynamics slow down at some point to avoid an overload of
sounds, but then the wild sonic ride returns. <br />
Similarly, "Mindgame" offers exotic tunes in the beginning, but then an
intriguing industrial rock vibe comes in. The tempo is slow but highly
pitched soloing guitars contrast with low beats and make the whole into a
delicious listening experience.<br />
<br />
"Little Pill" talks about a fantasized psychedelic experience caused by
taking a drug delivered by a dealer. The initial dialogue to the story
was recorded in collaboration with Subliminal Mentality, an American
musician. It's delivered through a comedy or even a cartoon concept – a
guy receives a pill, feels something is not right but takes it anyway,
then is off tripping into a dreamland. The track soon evolves into an
angry, metal, and serious composition which gives an impression of being
inspired by early albums of Marilyn Manson.<br />
<br />
Despite its soothing intro, "Blackbird from Karachi" evolves into a
lively, dynamic track, driven by its repetitive guitar riff. Two vocals
placed in fitting places help the whole composition flow very smoothly.
The beat is later replaced by bells, chants, and esoteric moods. These
are then followed by a completely opposite, dynamic vibe. It turns out
in the end that the composition is cleverly split into four major
arrangements without any in-between breaks. According to Lucky Spook,
the track is inspired and dedicated to <i>Shantaram</i>, the book written by Gregory David Roberts.<br />
"Devil's Triangle" is kept in a similar atmosphere, but rooted in a
purely rock-metal vibe, and enriched with matching vocals. The
composition is well designed to hold all accompanied arrangements
tightly within.<br />
<br />
As mentioned in the beginning, "Falling Down pt. 1" is a sister track to
"Falling Down pt. II" which was featured on the first part of the
album, and again takes a listener on the mystical journey of out of body
(OBE, near death) experience. It's a very trippy track with steady,
bouncing dynamics - at once intriguing with its variety of electronic
sounds and whispered vocals in vein of The Young Gods' music, then
suddenly aggressive, guitar driven with screamed vocals. A must-have
song from this release!<br />
<br />
Pay attention to "Match of the Century Aleister Crowley vs. Albert
Einstein" which begins with the tiny sound of a music box and creepy,
whispering vocals. How awesome would it be to see the two famous
characters play chess together? Every piece could represent an argument
of a different nature – science against esotericism. Who wins? Could the
two men find a common, agreeable ground for their thoughts? Musically,
there's a repetitive guitar riff involved with many background sounds
and interlaced with vocals. These continue throughout the entire song
with breaks for a catchy chorus.<br />
<br />
When it comes to "Underworld feat. Kissing in Graveyards", its mostly
electronic yet guitar-driven vibe is accented with a broad selection of
vocals. Kissing in Graveyards' lead singer Rylan Chaos brings her
Lilith-like artistic personality here while Soltex (the other moniker of
Lucky Spook) represents provocative masculine energy. When Rylan's
voice is the bait, then Soltex's is the whip. The result is a musical
dialogue not too far from an argument between two 'possessed' souls,
rather than two talented musicians.<br />
<br />
"Midnight Tango" utilizes a very famous arrangement borrowed from
"Riders of the Storm" by The Doors. Similarly to the source track,
"Midnight Tango" also allows the mind to tune in and relax, to flow
together with arrangements and the mood. Spookshow Inc. however added
drum'n'bass beats which couldn't have been used by musicians in the 60s
and which make the song sound fresh.<br />
<br />
In terms of composition, "Follow me" sounds quite complex and consists
of a few differently sounding parts yet they easily make for a perfect
whole. Exotic music opens the track, followed by chunky, repetitive
guitar riffs and whispered vocals. The Middle Eastern sounds return to
be replaced with a black-metallish cannonade of sounds and dominating
vocals. The atmosphere gets more tense and anxious towards the end of
the track.<br />
<br />
Probably the biggest jewel on the album,"Battle For Babylon", is a
cinematic song supported by an epic atmosphere. Middle Eastern tunes are
mixed with metal soloing here. The composition is well thought and
gradually builds up. The rhythm is slow and verses become memorable
after just a moment of listening. It is a fully orchestrated track
accompanied by many different yet matching sounds which show up in the
background and make the composition even more interesting. The vocals
are definitely fitting the rest of the track (and they are performed by
R. Carey aka Fiery Jack, a singer from New Zealand).<br />
<br />
The album clearly shows lots of hard work and deeply developed ideas
that went into making it. The release comes with amazing audio quality,
showcasing mastering and production skills as well. It's obvious that
Lucky Spook listens to a lot of music, and is able to catch the best of
the best musical ideas without copying them directly, to later enhance
them with his own arrangements. If you buy this album, you'll get a
complete package of music, high audio quality, and profound sonic ideas
to recommend to your like-minded mates.<br />
<br />
(Reviewer: Katarzyna 'Draconina' Górnisiewicz, Fabryka Industrial Rock
& Metal Encyclopedia, December 3rd, 2018. Proofreading: Mike
'Vesper' Dziewoński)<br />
Source: <a href="http://industrialrock.net/php-files_en/articles.php?article_id=538">http://industrialrock.net/php-files_en/articles.php?article_id=538</a><br />
<br />
<br />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2586854072/size=large/bgcol=333333/linkcol=e99708/artwork=none/transparent=true/" style="border: 0; height: 400px; width: 400px;"><a href="http://spookshowinc.bandcamp.com/album/spookshow-inc-visions-of-the-blinded-world-pt-i-ii">Spookshow inc. Visions of the blinded world (pt.I,II) by Spookshow inc.</a></iframe>
<br />
<br />
<a href="https://facebook.com/spookshowinc" target="_blank">Facebook</a> | <a href="http://www.spookshowinc.com/" target="_blank">Official</a> | <a href="https://www.youtube.com/watch?v=6YNZdEvR-w0" target="_blank">YouTube</a> | <a href="https://soundcloud.com/spookshow-inc-1" target="_blank">SoundCloud</a><br />
Buy on: <a href="https://spookshowinc.bandcamp.com/" target="_blank">Bandcamp</a><br />
---
<br />
Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-47954353624580659302018-12-10T17:57:00.000+01:002018-12-10T17:57:18.598+01:00Retaliate of Anger - Final Echo<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/HU5TFafBc9EhJ4VK-GK11Ywdw0kGeLEbPdh3W4o-xFSrRpBhErrH2JPVdQXLD-gfsZfxyzD-Ij0lX9mf7wcrgs3DQkM6cMsRSlSy-6YOElKszuu9BmbJlbjYjsYEVVsQruzLJNw9aNQiQEMwraC8Ks4sxx63Yj5s-swtwoWd1UDJ2O28L-rmAyzBoWh_9mNYw8C-1Rxwvf3T8RQTVoiLL3SCmkm5aYLznmdzNKiNkRTDJOue7IGt2ZreB-FYdyc3-f2l2PVofuGaZt0wUzS0lvE5Pbv6e3VTIwo-u7xko0FFt5W0XjbTbtcWfD2DApTHWMO8FDOvXPpqz0ocduOao5o1BbarfP3wdJldGW9dhgdf5Y83YKeljNHRIQqaPoxgfYYFZP5D4xSeiIwsTlbFCvfHsrfSjKChFyE6qsM2gWuBJ7qwZb3ClZr300_MOKWm6_W4JCPiagy5PZGzUoZPTveLARoImvb798QdxuO6tADPRdMaMFGXII0q4axyce7L407oEWtzZqNil17uHCYHmkcJ_itLPZ9lSTBPAJHQl9ydQGk34WS_rm00NRrOO_oRu2_zcJ1JkMoyrTYBAWuY-ILjPqThSnS0URdCFyEwjzRyGrAQvCIX2M1LFl4005bhtx21HnHctuyJzMTI2upe4h0J=s598-no?pageId=110672807017683277156" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="598" data-original-width="598" height="200" src="https://4.bp.blogspot.com/HU5TFafBc9EhJ4VK-GK11Ywdw0kGeLEbPdh3W4o-xFSrRpBhErrH2JPVdQXLD-gfsZfxyzD-Ij0lX9mf7wcrgs3DQkM6cMsRSlSy-6YOElKszuu9BmbJlbjYjsYEVVsQruzLJNw9aNQiQEMwraC8Ks4sxx63Yj5s-swtwoWd1UDJ2O28L-rmAyzBoWh_9mNYw8C-1Rxwvf3T8RQTVoiLL3SCmkm5aYLznmdzNKiNkRTDJOue7IGt2ZreB-FYdyc3-f2l2PVofuGaZt0wUzS0lvE5Pbv6e3VTIwo-u7xko0FFt5W0XjbTbtcWfD2DApTHWMO8FDOvXPpqz0ocduOao5o1BbarfP3wdJldGW9dhgdf5Y83YKeljNHRIQqaPoxgfYYFZP5D4xSeiIwsTlbFCvfHsrfSjKChFyE6qsM2gWuBJ7qwZb3ClZr300_MOKWm6_W4JCPiagy5PZGzUoZPTveLARoImvb798QdxuO6tADPRdMaMFGXII0q4axyce7L407oEWtzZqNil17uHCYHmkcJ_itLPZ9lSTBPAJHQl9ydQGk34WS_rm00NRrOO_oRu2_zcJ1JkMoyrTYBAWuY-ILjPqThSnS0URdCFyEwjzRyGrAQvCIX2M1LFl4005bhtx21HnHctuyJzMTI2upe4h0J=s598-no?pageId=110672807017683277156" width="200" /></a></div>
<b>Retaliate of Anger – Final Echo (album review) |Machine Man Records, 2018| 4/5 EBM/electro-industrial</b><br />
<br />
<i>1. I Don't Like You Too Much, 2. Gunslinger, 3. Fuck In Question, 4.
The Deep Ones (Part 1), 5. Autotopsyturvy, 6. The Color Of The Enemy
(Part 2), 7. Pyre Of Absolution</i><br />
<br />
Josh Lamison (Schwenksville, Pennsylvania) is the sole musician behind
Retaliate of Anger but he's also involved in another project, <a href="http://industrialrock.net/php-files_en/search.php?stext=Dizzolve">Dizzolve</a>.
However, in contrast to the latter band which provides electronic and
guitar driven music, ROA brings sterile EBM, glitch, and
electro-industrial vibes of high audio quality.<br />
Every song on the album clocks in no longer than at around 4 minutes.
That's totally enough since the tracks are based on repetitive,
beat-oriented schemes; thus, if they lasted longer they would have
sounded overwhelming.<br />
It should be noted that the lyrical themes of the songs were inspired by literature - Stephen King's <i>The Dark Tower</i> series or H.P. Lovecraft's works amongst others, as well as MMORPG games such as <i>Secret World</i>.<br />
<br />
The first track, "I Don't Like You Too Much" gives a taste of the sounds
to come – architecturally structured electronic tunes, supported by
angry vocals processed through distorted voice effects. There are
usually many different sounds to be found in the background of cues,
which smoothly become a big part of the composition.<br />
<br />
The dynamics develop further in "Gunslinger" which sounds more
entertaining than the previous song. The vocals are distorted through
the use of a voice filter, varying between demonic and robotic.<br />
<br />
"Fuck In Question" offers a solid beat supported by vocals and synths.
Lyrics are well matched within the composition next to instrumental
parts yet each section is restricted by assigned time frames. The uneasy
atmosphere brings a feel of a danger as if a predator was on the
lookout for its prey.<br />
<br />
A slightly gothic vibe opens "The Deep Ones (Part 1)" thanks to an
automatic beat and repetitive synth, quickly replaced with lighter,
entertaining, and modern beats. Digitized voices and electronic sounds
are mixed in here yet again, so the composition develops around a scheme
similar to the ones we've heard already on the release.<br />
<br />
"Autotopsyturvy" is characterized by a complex, sturdy beat, and
swirling dynamics. There's a lot of electro-aggression put into it yet
there is also tight control for both arrangements and the general mood.
This song would probably sound very powerful with edgy guitars added to
it. This would let the anger flow and be blasted onto the listeners
better.<br />
<br />
Stepping dynamics brought by "The Color Of The Enemy (Part 2)" should
make you move as the rhythm dictates. It's a good track for dancefloors
as it encourages to release one's energy through a few good cardio
exercises. Listening to the song made me think of a spiral bouncing up
and down within a glassy container as if in an animated gif image.<br />
<br />
The last song, "Pyre Of Absolution", brings a faster beat, pitched
synths, and notorious vocals perfectly fitting itself into the EBM
genre. It's another great track for the dancefloor, to let the rushing
thoughts stop and let the body process its energy in a state of
detachment.<br />
<br />
Combative electronic music allows for a passive-aggressive anger release
only, in contrast to guitar driven music which allows for a wider range
of emotions to be catapulted through. Electronic music feels
restrictive, as if it couldn't express that what a human energy field
holds within – feelings, traumas, frustration, confusion, love, etc. It
certainly allows energy to flow but simultaneously holds it within a
'circuit'; what needs to be released, bounces back to the source in a
loop. In a way, a person who tries to get rid of negative emotions gets
back to what was supposed to be released.<br />
<br />
The tracks on the album are restricted in their form, probably due to a
lack of meaningful contrasts between high and low tunes, unlike the
arrangements found in, for example, psy-trance music. Nevertheless, the
audio quality, mathematical precision, and overall dynamics should be
enjoyed by fans of EBM and electro genres and the album is definitely a
recommended listen for those groups.<br />
<br />
(Reviewer: Katarzyna 'Draconina' Górnisiewicz, Fabryka Industrial Rock
& Metal Encyclopedia, December 8th, 2018. Proofreading: Mike
'Vesper' Dziewoński)<br />Source: <a href="http://industrialrock.net/php-files_en/articles.php?article_id=605">http://industrialrock.net/php-files_en/articles.php?article_id=605</a><br />
<br />
<br />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=290057204/size=large/bgcol=333333/linkcol=e99708/artwork=none/transparent=true/" style="border: 0; height: 373px; width: 100%;"><a href="http://retaliateofanger.bandcamp.com/album/final-echo">Final Echo by Retaliate Of Anger</a></iframe>
<br />
<a href="https://facebook.com/destroyeris" target="_blank">Facebook</a> | <a href="https://machinemanrecords.com/retaliate-of-anger" target="_blank">Machine Man Records</a><br />
Buy on: <a href="https://retaliateofanger.bandcamp.com/album/final-echo" target="_blank">Bandcamp</a><br />
<br />
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<br />
Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-41544699162046662742018-11-16T21:25:00.003+01:002018-11-16T21:25:45.028+01:00Krebs – The Last Place on Earth<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/b4aUij_ySrB1Ev4VaOQEVICgU_DcvZSq1kH6PwfvPnEiP2qMWsmKDNZRzj2KYuT7Cwajvg73m74HTHI3OP4uMMheEyYiJZWLb84cIzUzD6BHvfb1T0rlYrCutzV9DB15VCHFzzo33xz-L0Hc1Zj2m4kG39EFfa03CMG2nivuwdiecjBVo6PbUyrP0RUrTiRoZwBPs3KgyZrA-bvdgHVlUA6AK3970MF2q1T_5z4KfmARoNbFL6lEe-_x2vMwwbAAtV-CfxY7fpX9gNhXqMbhCiwTL0A65CkIuNjZAu_eTzW6KafqFDRmbQaVFj9P3Ui2gu0tkLZUXTHSP7TRvZWL_j6PJYUp1Xws1Xyss5MgByPk8hshLXa4DPDWBJSZ_WsUQ3SPuSeWYRLlI4lXlUYZ84ZKSxsoiUGetY2NXDiV97x9KW2nZyCn1hod_1iTlyYOYzzWWuAjOnFDTTBsnhQgbvuG8Z_vdVJP3vQDb-mcv8uCVETPVP-laxplLmMmGbqzOfGIXtH8ioZkvgy5lVI0VBd5zll9H_jVKohZzIACGZQCiZI2HcAm_p8Z58Z1iA6tG7yZDQQjptOasVS2jp139YNlZ7GMgDLgvGh925mTaPjviKwgC2_PzpKcPuyKkWeI_2joG7RJe4ic8EOKVFIRk4m-=s611-no?pageId=110672807017683277156" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="611" data-original-width="611" height="200" src="https://2.bp.blogspot.com/b4aUij_ySrB1Ev4VaOQEVICgU_DcvZSq1kH6PwfvPnEiP2qMWsmKDNZRzj2KYuT7Cwajvg73m74HTHI3OP4uMMheEyYiJZWLb84cIzUzD6BHvfb1T0rlYrCutzV9DB15VCHFzzo33xz-L0Hc1Zj2m4kG39EFfa03CMG2nivuwdiecjBVo6PbUyrP0RUrTiRoZwBPs3KgyZrA-bvdgHVlUA6AK3970MF2q1T_5z4KfmARoNbFL6lEe-_x2vMwwbAAtV-CfxY7fpX9gNhXqMbhCiwTL0A65CkIuNjZAu_eTzW6KafqFDRmbQaVFj9P3Ui2gu0tkLZUXTHSP7TRvZWL_j6PJYUp1Xws1Xyss5MgByPk8hshLXa4DPDWBJSZ_WsUQ3SPuSeWYRLlI4lXlUYZ84ZKSxsoiUGetY2NXDiV97x9KW2nZyCn1hod_1iTlyYOYzzWWuAjOnFDTTBsnhQgbvuG8Z_vdVJP3vQDb-mcv8uCVETPVP-laxplLmMmGbqzOfGIXtH8ioZkvgy5lVI0VBd5zll9H_jVKohZzIACGZQCiZI2HcAm_p8Z58Z1iA6tG7yZDQQjptOasVS2jp139YNlZ7GMgDLgvGh925mTaPjviKwgC2_PzpKcPuyKkWeI_2joG7RJe4ic8EOKVFIRk4m-=s611-no?pageId=110672807017683277156" width="200" /></a></div>
<b style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px;">Krebs – The Last Place on Earth (EP review) |Machine Man Records, 2017| 5/5 Darkwave / electronic</b><br />
<br style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px;" />
<i style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px;">1. The Hollow, 2. When Hands Go Still, 3. Umbra, 4. Moonlit Window</i><br />
<br style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px;" />
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px;">Krebs is an electronic music project of Michael Haggerty (lyrics, vocals, programming, keyboards, guitars and bass) founded in Philadelphia in 2012. He released two EPs in 2017 – </span><i style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px;">The Last Place on Earth</i><span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px;"> is followed by </span><i style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px;">Blood and Stone</i><span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px;">.</span><br />
<br style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px;" />
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px;">A mysterious, ambient mood opens the EP with 'The Hollow', which is the longest track on this release. The chorus’ rhythm appears soon after the quick intro, but then slows down serving as the core for following verse arrangements. The track has an open composition which allows for many various elements to be placed throughout. Here, melancholic dark wave meets the brighter side of the electronic genre, while the vocals remain calm and balanced.</span><br />
<br style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px;" />
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px;">'When Hands Go Still' sounds very goth through operating on a low level of dynamics and a characteristic vibrated guitar riff appearing next to percussive parts. Compared to other tracks on the EP, the soft vocals receive an additional voice effect here. The mood isn't too dark, as a variety of silenced, lighter, and colder synth sounds appear between the cues.</span><br />
<br style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px;" />
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px;">On the other hand, 'Umbra' is a fully instrumental song which influences listener's imagination through its scenic, ocean-like waves of peaceful ambient arrangements and inner beauty. It could easily make for a soundtrack candidate for a movie with both futuristic and historical motifs (just like Highlander), thanks to utilizing newer electronica and traditional instruments side by side.</span><br />
<br style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px;" />
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px;">'Moonlit Window' (the last song) returns to the dark wave themes previously brought by 'When Hands Go Still'. Arrangements become one with carefully placed vocals and are distributed skillfully, letting the composition enchant the listeners with its instrumental lines and Michael's voice. There's something creepy going on in the background too, accompanied by sounds of an electric bolt and wind chimes at the song's end.</span><br />
<br style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px;" />
<i style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px;">The Last Place on Earth</i><span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px;"> EP offers darker moods than songs released on </span><i style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px;">Blood and Stone</i><span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px;">. It's almost as if Michael wrote them to suit listeners during all four seasons of the year – the former fits the fall/winter time, while the latter is great for spring and summer. Get both EPs and reach out to the musician to let him know how much you liked the songs!</span><br />
<br style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px;" />
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px;">(Reviewer: Katarzyna 'Draconina' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, October 31st, 2018. Proofreading: Mike 'Vesper' Dziewoński)</span><br />
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px;"><br /></span>
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px;">Source: <a href="http://industrialrock.net/php-files_en/articles.php?article_id=604&rowstart=1">http://industrialrock.net/php-files_en/articles.php?article_id=604&rowstart=1</a></span><br />
<br style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px;" />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3575253653/size=large/bgcol=333333/linkcol=e99708/artwork=none/transparent=true/" style="border-style: initial; border-width: 0px; font-family: Verdana, Tahoma, sans-serif; font-size: 13px; height: 274px; width: 400px;"></iframe><br style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px;" />
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<a href="https://facebook.com/krebsofficial" style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px; text-decoration-line: none;" target="_blank">Facebook</a><span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px;"> | </span><a href="https://machinemanrecords.com/krebs/" style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px; text-decoration-line: none;" target="_blank">Machine Man Records</a><span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px;"> | </span><a href="https://www.youtube.com/user/TheConcreteBalloon" style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px; text-decoration-line: none;" target="_blank">YouTube</a><span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px;"> </span><br />
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px;"><br /></span>
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px;">Buy on: </span><a href="https://krebs.bandcamp.com/" style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px; text-decoration-line: none;" target="_blank">Bandcamp</a><br />
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Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-81985041634905491902018-11-16T21:22:00.001+01:002018-11-16T21:22:50.338+01:00Krebs - Blood and Stone<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/xhuy1uAejxZbGzYp2XtL_GxC3Nr_VNnb8fIXdk3OBpFZKr7Oy72nKGzmtNca2ZF_HPGuc3eF1zbYzGPbB87M-n7Mv1bB-cwG7QYkb1l8YJFQMMdUyCUlAOrorYfqzoSQ_Njjp6XUu-vLNfnLIvtEtRDExnqUMYtOm_lgg002iBluW7h3tEKIBTGdDqg0yXyrJWiquO2IWtCxDbNJXfUdstquFuBlT50RKPQrJuzrcv63Fb1OySjGoSdG_LBHv985OycwAJKVyy3jkQS4vZsMPmRwTSpC553Isb8ZKtYGHBTXedR8nl6l6JcYwXiqZJnGaDoClM7vY6EDWdWMt8rnBj3bbXLRsJKecB5uKYiEZdZcZOFzNDGH1B-zXO2k3dFM3X9GCAGsLGZ63L9dqk5wX8o1IXtHYBYaf0-_6A77AckGEEXAz_BBa621H8enFForYMnNkNT2xx1PD0OqL_wJrl7ZY4z-9lkUusclzmp7Iqmra4fQpexobeEifc-S1aZv7fvGvLCqAfwfUwvZ4y5shOjG66FEKZttKDhkemQuqyWpKzTxZWvr4aZ6LVnc5v8fV44sk9hXIw6WvAeuES-PLxjIQre5-nV6FpPUKgbft2MYESBaU1Q_yMOqH-jBjDwxBzDN_sCwHl6MBSbnjtROQNzx=s611-no?pageId=110672807017683277156" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="611" data-original-width="611" height="200" src="https://1.bp.blogspot.com/xhuy1uAejxZbGzYp2XtL_GxC3Nr_VNnb8fIXdk3OBpFZKr7Oy72nKGzmtNca2ZF_HPGuc3eF1zbYzGPbB87M-n7Mv1bB-cwG7QYkb1l8YJFQMMdUyCUlAOrorYfqzoSQ_Njjp6XUu-vLNfnLIvtEtRDExnqUMYtOm_lgg002iBluW7h3tEKIBTGdDqg0yXyrJWiquO2IWtCxDbNJXfUdstquFuBlT50RKPQrJuzrcv63Fb1OySjGoSdG_LBHv985OycwAJKVyy3jkQS4vZsMPmRwTSpC553Isb8ZKtYGHBTXedR8nl6l6JcYwXiqZJnGaDoClM7vY6EDWdWMt8rnBj3bbXLRsJKecB5uKYiEZdZcZOFzNDGH1B-zXO2k3dFM3X9GCAGsLGZ63L9dqk5wX8o1IXtHYBYaf0-_6A77AckGEEXAz_BBa621H8enFForYMnNkNT2xx1PD0OqL_wJrl7ZY4z-9lkUusclzmp7Iqmra4fQpexobeEifc-S1aZv7fvGvLCqAfwfUwvZ4y5shOjG66FEKZttKDhkemQuqyWpKzTxZWvr4aZ6LVnc5v8fV44sk9hXIw6WvAeuES-PLxjIQre5-nV6FpPUKgbft2MYESBaU1Q_yMOqH-jBjDwxBzDN_sCwHl6MBSbnjtROQNzx=s611-no?pageId=110672807017683277156" width="200" /></a></div>
<b style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px; text-align: justify;">Krebs – Blood and Stone (EP review) |Machine Man Records, 2017| 5/5 Electronic</b><br />
<br style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px; text-align: justify;" />
<i style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px; text-align: justify;">1. Blood and Stone, 2. Vulnerable Outline, 3. Razor Tree</i><br />
<br style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px; text-align: justify;" />
<i style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px; text-align: justify;">Blood and Stone</i><span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;"> is the 2nd EP of Krebs, released in 2017. The band is the brainchild of Michael Haggerty (lyrics, vocals, programming, keyboards, guitars, and bass).</span><br />
<br style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px; text-align: justify;" />
<i style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px; text-align: justify;">Blood and Stone</i><span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;"> EP offers 3 high quality electronic songs. Even though moods as well as subgenres (such as dark electro, electronic rock) vary between each song, the EP's concept is consistent.</span><br />
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;">The opening song pleasantly develops until the very last note. The composition is based on a steady tempo with beats supporting various but always delicately organized arrangements. These are shared between memorable verses and the chorus which can be sung along with the vocalist. Michael's voice is soft here, and feels a bit lonely and distant.</span><br />
<br style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px; text-align: justify;" />
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;">Guitar riffs accented in the following 'Vulnerable Outline' firmly place it in electronic rock. The solid rhythm is occasionally shattered by noises and repetitive vocals. The track is memorable and short enough to become a potential hit, especially if accompanied by a suitable video. Fans of Marilyn Manson or Skinny Puppy should dig the song from the very first listening. </span><br />
<br style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px; text-align: justify;" />
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;">'Razor Tree', on the contrary, brings an uplifting, almost sunny mood. It's a perfect track that not only sounds good as it is but could also play its part really well as a component of an advertising campaign.</span><br />
<br style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px; text-align: justify;" />
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;">It should be noted that excellent the audio quality, mastering, and production enhance the listening experience of this release quite a lot. Grab it as soon as you can, whether you're deep into alternative electronic music or a listener of many tastes.</span><br />
<br style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px; text-align: justify;" />
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;">(Reviewer: Katarzyna 'Draconina' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, October 31st, 2018. Proofreading: Mike 'Vesper' Dziewoński)</span><br />
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;"><br /></span>
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;">Source: <a href="http://industrialrock.net/php-files_en/articles.php?article_id=604">http://industrialrock.net/php-files_en/articles.php?article_id=604</a></span><br />
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;"><br /></span>
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<a href="https://facebook.com/krebsofficial" style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px; text-align: justify; text-decoration-line: none;" target="_blank">Facebook</a><span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;"> | </span><a href="https://machinemanrecords.com/krebs/" style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px; text-align: justify; text-decoration-line: none;" target="_blank">Machine Man Records</a><span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;"> | </span><a href="https://www.youtube.com/user/TheConcreteBalloon" style="bfont-family: Verdana, Tahoma, sans-serif; font-size: 13px; text-align: justify; text-decoration-line: none;" target="_blank">YouTube</a><span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;"> </span><br />
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;"><br /></span>
<span style="font-family: "verdana" , "tahoma" , sans-serif; font-size: 13px; text-align: justify;">Buy on: </span><a href="https://krebs.bandcamp.com/" style="font-family: Verdana, Tahoma, sans-serif; font-size: 13px; text-align: justify; text-decoration-line: none;" target="_blank">Bandcamp</a><br />
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<br />
Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-36212038969732733362018-09-16T22:33:00.001+02:002018-09-16T22:33:28.713+02:00GoMa - GoMa<br />
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnJ3tpWfQxTbhbuwVUna74Edgsdp0DKB4-emKt76ShbNX2wRmnwrV_9q1S9ZZuYrjPpGTSSF4QFm6qMhWxrKQPWqlovhePxG_hnkOcp_iSjZpFSVqYJvB3y8-3oSRN5MTZu5UU2dKmEdPJ/s1600/GoMa+Cover+Art.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1425" data-original-width="1425" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnJ3tpWfQxTbhbuwVUna74Edgsdp0DKB4-emKt76ShbNX2wRmnwrV_9q1S9ZZuYrjPpGTSSF4QFm6qMhWxrKQPWqlovhePxG_hnkOcp_iSjZpFSVqYJvB3y8-3oSRN5MTZu5UU2dKmEdPJ/s200/GoMa+Cover+Art.jpg" width="200" /></a></b></div>
<b>GoMa - GoMa (album review) |Machine Man Records, 2018| 4/5 industrial, electronic</b><br />
<br />
<i>1. D.D.D., 2. Fool Song (Take Me with You), 3. Disappoint, 4. Hora
Gris, 5. The Monitor, 6. The Poison, 7. Trippin Trippin, 8. Untitled</i><br />
<br />
This is a one man band founded by Juan Madrigal in South Dakota.
Inspired by modern electronic music, he wrote, performed, and recorded
the eponymous debut album for his GoMa project.<br />
<br />
The opening track ('D.D.D.') has a danceable vibe, though the singer's
voice sounds somewhat tired and overwhelmed, similarly to what can
usually be found in goth music. The simplicity of arrangements and
catchy melodies make the song memorable. Then, 'Fool Song (Take Me with
You)' brings a whole new, more lively rhythm and stamina within. Since
its smart composition, lots of body moving electronica, and intensity
make the track a song hit, it could easily be submitted for matching
publication opportunities such as Various Artists compilations, to allow
GoMa reach a broader audience.<br />
<br />
'Disappoint' focuses on both vocal arrangements and sound structures.
Some parts include 8-bit music, techno, experimental, and similar
electronic add-ons - all wrapped up with a dynamic rhythm. <br />
'Hora Gris' is a perfect track for an action movie (involving car racing or military jets, choppers, <i>Air Wolf</i>
like themes or video games of that kind). Rhythm and beats along with
electronic backgrounds bring back the best known sound of 90's Skinny
Puppy, with vocal arrangements nicely placed between the instrumental
lines. 'The Monitor' may give listeners ideas about a futuristic
self-conscious A.I. being locked within displays just like Shodan in the
<i>System Shock</i> video game. Again, techno beats, vocals, and
intelligently utilized electronic music create another highly memorable
track on the album.<br />
<br />
There's a duality found in 'The Poison'. Its verses offer mechanical and
darker, mysterious tunes. On the other hand, the chorus is clearly
inspired by <a href="http://industrialrock.net/php-files_en/search.php?stext=Nine%20Inch%20Nails">NIN's</a>'s
'The Perfect Drug'. 'Clicking' sounds and 'breathing' machines build up
a certain atmosphere in verses, which speaks for Juan's creative
programming skills. 'Trippin Trippin', just like 'Hora Gris' carries a
lively journey-like vibe but the overall composition lacks consistency
despite its catchy arrangements, then ends up weirdly - one could even
say 'psychedelically'. The last song called 'Untitled' offers a swirl of
gradually developing arrangements. Highly danceable and marching rhythm
forces the body to actively merge with the music. The track has a
massive potential to be re-worked and expanded further because the 4
minutes of music it contains truly isn't enough as of now.<br />
<br />
Make sure to check out this and other <a href="http://industrialrock.net/php-files_en/articles_tag.php?tag_id=351">Machine Man Records</a> releases, as Chris Bollinger (the label owner) is a prolific industrial music talent headhunter.<br />
<br />
(Reviewer: Katarzyna 'Draconina' Górnisiewicz, Fabryka Industrial Rock
& Metal Encyclopedia, September 13th, 2018. Mike 'Vesper'
Dziewoński)<br />
<span style="font-size: x-small;">Source:
<a href="http://industrialrock.net/php-files_en/articles.php?article_id=603">http://industrialrock.net/php-files_en/articles.php?article_id=603</a></span> <br />
<br />
<br />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=923454623/size=large/bgcol=333333/linkcol=e99708/artwork=none/transparent=true/" style="border: 0; height: 406px; width: 400px;"><a href="http://officialgoma.bandcamp.com/album/goma">GoMa by GoMa</a></iframe>
<br />
<br />
<a href="https://facebook.com/JuanGomaMusic" target="_blank">Facebook</a> | <a href="https://machinemanrecords.com/" target="_blank">Machine Man Records</a><br />
Buy on: <a href="https://officialgoma.bandcamp.com/releases" target="_blank">Bandcamp</a><br />
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<br />
Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-88718776116546005682018-08-09T21:33:00.003+02:002018-08-09T21:33:50.156+02:00Varicella - Dead Is Better<br />
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<b><a href="https://3.bp.blogspot.com/IQKCIZDlyNRHOh52ukAm8e23ZPsEtKXUFxPFsevMsGLhYkIjuvnvzoBYz6NWttAglsaKVs13cw=s328-no" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="328" data-original-width="328" height="200" src="https://3.bp.blogspot.com/IQKCIZDlyNRHOh52ukAm8e23ZPsEtKXUFxPFsevMsGLhYkIjuvnvzoBYz6NWttAglsaKVs13cw=s328-no" width="200" /></a></b></div>
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<b>Varicella - Dead Is Better (album review) |Machine Man Records, 2018| 4/5 industrial metal</b><br />
<br />
<i>1. Where Does Evil Live, 2. We Belong Dead, 3. Obey, 4. All Hail, 5.
Obsessed with Flesh (Fuck Slave), 6. Beautified Death, 7. A Pause for
Reflection, 8. Mindfucked, 9. The Sound of Four, 10. Burn My Eyes
(featuring Otto Kinzel), 11. (silence), 12. (silence), 13. Die Down Here
(Where The Monsters Are)</i><br />
<br />
The band is the brainchild of Chris Bollinger, the founder of <a href="http://industrialrock.net/php-files_en/search.php?stext=Machine%20Man%20Records">Machine Man Records</a>
(vocals, programming, samples) and Chris Pasquarelli (guitar and bass).
Established in Philadelphia in 2008, it aims to bring back the sound of
"good old" industrial metal known from the 90s albums of <a href="http://industrialrock.net/php-files_en/search.php?stext=Ministry">Ministry</a>, <a href="http://industrialrock.net/php-files_en/search.php?stext=Godflesh">Godflesh</a>, <a href="http://industrialrock.net/php-files_en/search.php?stext=Skrew">Skrew</a>, <a href="http://industrialrock.net/php-files_en/search.php?stext=KMFDM">KMFDM</a>, Skinny Puppy, Marilyn Manson, and <a href="http://industrialrock.net/php-files_en/search.php?stext=Pitchshifter">Pitchshifter</a>, amongst other classics of that era. It has taken over 6 years for the duo to complete their debut album. <i>Dead Is Better</i> brings 13 songs of which 2 are silent connectors between full-sized tracks.<br />
<br />
The intro ("Where Does Evil Live") is an instrumental track, giving
listeners a taste of the music pervading the entire album. Reverberated,
rhythmic sounds are mixed with obsessive guitar tunes and interlaced
with movie samples - a well known technique in industrial music. The
next track, "We Belong Dead" includes vocals with a very cool, demonic
voice effect which was used in the music of Godflesh and Skrew but is
not unknown to black metal either. The guitar riffs are often graded and
sound enjoyable if you are into the genre. The band has no drummer, so
all the beats are pre-programmed and mechanical.<br />
<br />
"Obey" sounds much more aggressive and should satisfy fans of both metal
and industrial. The guitars are densely packed, swirling and stinging
like a swarm of pissed off wasps throughout the entire track. Jumpy,
devilish vocals spice up the instrumental cues again.<br />
In the beginning, "All Hail" offers the fun of listening to the music on
alternating channels. Then it definitely borrows from Rammstein with
their marching, anthem-like rhythm and choruses but also the harshness
and simplicity of Godflesh. It's definitely inducive towards slow
headbanging as well!<br />
<br />
There's a very cool sample technique utilized in "Obsessed with Flesh
(Fuck Slave)" at the beginning, followed by a machinery of guitars,
bass, drum-beats, and distorted vocals. It's this famous 'heavy
industry' music which many industrial metal fans are yearning to hear
again. Repetitive arrangements are interlaced with movie samples just
like in Ministry's music. In fact, <a href="http://industrialrock.net/php-files_en/search.php?stext=Al%20Jourgensen">Al Jourgensen</a>’s
band sounds a bit stuck with their new albums lately, so Varicella
could steal quite a few fans from Ministry, easily. The following track
("Beautified Death") is deeply rooted in early ritualistic black metal
productions and is additionally mixed with buzzing industrial tunes. The
guitar arrangements are catchy, sometimes complex and dominating. I
enjoyed this track the most of all the ones on the album.<br />
<br />
"A Pause for Reflection" allows for taking a 7 minute-long breath before
the next flood of rough sounds. If the previous tracks stayed away from
sounding melodious or nostalgic, then this one completely changes the
album theme. Its poetic, slow but still rhythmic atmosphere includes a
bit of an experimental approach as well.<br />
<br />
What could one expect seeing a song titled "Mindfucked"? The music
explains itself. Layered arrangements are based on the bass and low
tuned, multiplied guitar lines repeating and rising up from the
underground like an army of golems, ready to storm the surface life.
Aggressive, heavy, and powerful, very memorable after the first
listening, so I'm rooting for it as the second best track on the album.<br />
<br />
"The Sound of Four" begins with intense hammering, followed by
entertaining drumming. Yet the overall sound of the song is more goth
than industrial, thanks to sentimental guitar riffs. Distorted vocals
are just an addition to the track yet it feels well-balanced this way.
Then "Burn My Eyes" is almost a 'tribute to Skrew' thanks to its slow,
heavy rhythm guitars mixed with programmed beats, a soloing guitar and
demonic, masterful vocals. The song is quite an earworm and would
benefit from an artistic video single - as I'm imagining it - full of
fire and lava in the darkness, heat, hellish theatrical scenery, and
matching outfits. My personal 3rd best on the album.<br />
<br />
Tracks 11 and 12th are silent, five seconds long breaks, leading up to
the last song. "Die Down Here (Where The Monsters Are)" is characterized
by a running tempo and a tense atmosphere of horror. The song is
somewhat experimental as it's missing a typical rock or metal
compositional structure - there aren't any verses or choruses present,
just mad arrangements based on a quick repetitive guitar riff and lots
of movie samples sewn in between the cues.<br />
<br />
It’s worth noting that a few guest musicians participated in making this
album. Tim Chandler played bass on tracks 1, 4, 5 and synth on tracks 2
and 8. Otto Kinzel can be heard on guitar and bass on "Burn My Eyes".
Michael Haggerty (Krebs) created vocal samples for "Obey". Additional
backing vocals on "All Hail" are provided by Gunns Mahoney, while Glen
Mitchell (Isolated Antagonist) with Ghoulie Julie took care of the gang
vocals in "Mindfucked". Unfortunately, the band has no live drummer, but
their music is desperately calling for incorporating such an additional
musician. I hope a new band member will join the duo sometime in the
near future to replace the beat blueprints with real, organic, and fiery
performances.<br />
<br />
If you're already an industrial music fan looking for new bands of the
scene, you should consider your money well spent on this release (either
a CD or digital download). Varicella is also a good segway for
newcomers to tap into the 90s bands for a clear idea of the sound that
the industrial subculture carried back then.<br />
<br />
(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock &
Metal Encyclopedia, July 31st, 2018. Proofreading: Mike 'Vesper'
Dziewoński)<br />
Source: <a href="http://industrialrock.net/php-files_en/articles.php?article_id=602">http://industrialrock.net/php-files_en/articles.php?article_id=602</a><br />
<br />
<br />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2755940165/size=large/bgcol=333333/linkcol=e99708/artwork=none/transparent=true/" style="border: 0; height: 472px; width: 400px;"><a href="http://varicella.bandcamp.com/album/dead-is-better">Dead is Better by Varicella</a></iframe>
<br />
<a href="https://facebook.com/VaricellaBand" target="_blank">Facebook</a> | <a href="https://machinemanrecords.com/varicella" target="_blank">Machine Man Records</a> | <a href="https://www.youtube.com/channel/UCxv95NkuEwiIGhrFCYRe4Jw" target="_blank">YouTube</a><br />
<br />
Buy on: <a href="https://varicella.bandcamp.com/album/dead-is-better" target="_blank">Bandcamp</a><br />
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<br />
Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-21842507587444029922018-02-21T21:41:00.000+01:002018-02-21T21:41:22.230+01:00Mr. Kaplan - Rage Thrills Wow<b>Mr. Kaplan - Rage Thrills Wow (song review) | self-released, single, 2017| 4/5</b><br />
<br />
Mr. Kaplan (the artistic moniker of Jason McClary) has been trained as a
classical pianist but turned to electronic (house, techno) music thanks
to his early interests. After 20 years spent on studying and
practicing, not only does he mix and produce his own songs but also
provides services to other musicians (as "Mr. Kaplan Productions",
situated in Nashville, TN). He has also released two EPs, several
singles and remixes so far.<br />
<br />
The gentle, synthetic intro does not let listeners guess what kind of
sound could follow it. As it turns out a bit later, 'Rage Thrills Wow'
has high dynamics and is kept in the vibe of 90's 'old school'
industrial metal. Most probably, Mr. Kaplan had been inspired by the
most representative attributes of songs written by such staples as <a href="http://industrialrock.net/php-files_en/search.php?stext=Ministry">Ministry</a>, <a href="http://industrialrock.net/php-files_en/search.php?stext=KMFDM">KMFDM</a>, and <a href="http://industrialrock.net/php-files_en/search.php?stext=Circle%20of%20Dust">Circle of Dust</a>.
His song is splattered with repetitive drum beats, tiny electronic
additions, and drilling metal guitar riffs as well as sampled political
(John F. Kennedy's) and radio (George Orwell's) speeches. Predatory
guitar riffs obviously carry a nice physical thrill. The selection of
samples is perfect to keep the composition entertaining. They create an
atmosphere of impatience and tension which has been prevailing in many
countries as the world rises up against tyranny and political, childish
games. The composition doesn't offer release for these emotions however,
since the repetitive arrangement continues until the song's end. 'Rage
Thrills Wow' is supported by a music video which you can find on the Mr.
Kaplan’s YouTube channel. <br />
<br />
The audio, mixing, and production qualities draw attention at once, even
if the metal-sounding song needed less-than-perfect audio purity
(compared to the requirements of any electronic track, for example).
Jason McClary has learned a lot from Grammy Award Mix Engineer Dave
Pensado whose lessons certainly paid off, as listeners can judge by
listening to Mr. Kaplan's songs and remixes (check out New Order's 'Blue
Monday' remix at his official <a href="https://www.mrkaplan.co/epk" target="_blank">website</a>).
On the downside, the percussion part in 'Rage Thrills Wow' sounds a bit
too repetitive and comes over the guitar cues almost as if it tried to
push the riffs away too hard.<br />
<br />
Regardless the final, dystopian quote borrowed from Orwell's famous <i>1984</i> novel ("<i>If you want a picture of the future, imagine a boot stamping on a human face - forever</i>"),
you will get the point – Mr. Kaplan brings the joy of life and the
rhythm to the music he makes, and thus his tunes offer quick motivation
to let you rebel against the lies and manipulations streamed everywhere.
Moreover, it looks like he could easily raise the dead with the "phat",
deep, reverberated bass being his favourite resurrection tool.<br />
Whether Jason continues releasing his own songs or focuses on
producing/mixing other artists' music, he has a ton of potential to
write obvious hits. Get in touch with him soon if your track lacks
power!<br />
<br />
(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock &
Metal Encyclopedia, February 19th, 2018. Proofreading: Mike 'Vesper'
Dziewoński)<br />
Source: <a href="http://industrialrock.net/php-files_en/articles.php?article_id=601">http://industrialrock.net/php-files_en/articles.php?article_id=601</a><br />
<br />
<br />
<a href="http://www.mrkaplan.co/" target="_blank">Official</a> | <a href="https://facebook.com/mrkapla" target="_blank">Facebook</a><br />
<br />
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<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/FLLMhVHEz0M/0.jpg" src="https://www.youtube.com/embed/FLLMhVHEz0M?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
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Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-71548423341012717992018-02-05T15:59:00.000+01:002018-02-05T15:59:05.545+01:00Gene Gorski - Nowhere To Hide<b>Gene Gorski - Nowhere To Hide (song review) |self-released, single, 2016| 4/5 spoken word</b><br />
<br />
Gene Gorski has been writing songs for the last thirty years, recording
music at his home studio. He has released three albums so far, donating
all his income to various charities. Gene follows his heart – the main
reason why he has been more interested in providing original pieces of
music instead of trying to fit in mainstream trends.<br />
<br />
This time, he re-interpreted a classic theme - passing to the other side of the mirror - as found in the <i>Alice’s Adventures in Wonderland</i>.
In Gene's version of the story, Alice lands in a dystopian, twisted
world. It is not full of wonders but rather includes many aspects found
in our reality. Suffice it to say that the protagonist of the story
becomes a stripper involved in sado-masochistic activities. <br />
<br />
The tempo of this rather short (3:15) song is very lethargic, comparable
to a slowly rocking boat stuck on a still ocean with a sole survivor on
board. The composition consists of several verses and a chorus,
repeating a few times. The lyrics are poetic and they rhyme well. They
are short and lack in meaningful details, since they are written for
those already familiar with Carroll's original tale. <br />
<br />
Acoustically, the song has a story-telling motif with random guitar play
which adds tones to the vocal line and supports the overall vibe. One
could relate this to Johnny Cash's spoken word songs. Gene also focused
on building an atmosphere of minimalism and isolation, equipped only
with a microphone, an open body Gretch guitar and a Swart Atomic Space
Tone amp. His voice is definitely memorable for its masculine strength,
tremble, vibration, pride, nasal tone, and a touch of decadence. It is
clear he perfectly knows how to control these elements to build up
tension when necessary, but also bring the song down again.<br />
<br />
It's pleasing to listen to the entirety of 'Nowhere To Hide' for both
the distinctive vocals and the random, accompanying guitar arrangements.
Those of you who search for rather intellectual than simply rhythmic
music will surely enjoy it.<br />
<br />
(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock &
Metal Encyclopedia, January 30th, 2018. Proofreading: Mike 'Vesper'
Dziewoński)<br />Source: <a href="http://industrialrock.net/php-files_en/articles.php?article_id=600">http://industrialrock.net/php-files_en/articles.php?article_id=600</a><br />
<br />
<a href="https://www.musicxray.com/xrays/2241936" target="_blank">Music Xray</a><br />
<br />
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<br />
Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-76100870207935603642018-01-30T15:29:00.000+01:002018-01-30T15:29:23.347+01:00Kevon Carter - Hey Alice<b>Kevon Carter - Hey Alice (song review) |self-released, single, 2018| 4/5, pop</b><br />
<br />
So far, many artists have paid their tribute to the imaginary Alice of
Lewis Carroll's famous story and her dream-like trip into the unknown
followed by discoveries have been interpreted differently each time.<br />
'Hey Alice' by Kevon Carter is an easy-listening, rhythmic song where
the accent is put on building a memorable melody. The composition
follows classic rules. The arrangements repeat and sound flexible so
that the song could easily exist in its original (pop) space, but could
also have a more guitar or drums driven version (which matters in case
of using the song in other media). <br />
<br />
The song speaks of a romantic relationship – the titular Alice is being
encouraged to come into physical contact with the one who wishes to
please her: (…)<i> I'll show you magic, working wonders with the palm of my hands / Won't you please come and play with me </i>(…)
This invites a comparison between Alice's icy innocence (expressed by
the piano/electronics) and the man's experience - he's trying to build
trust by gently knocking on her personal igloo door (represented by a
non-invasive beat in the composition). The details of their encounter
are what listeners may want to work out on their own. <br />
<br />
The mood here feels fragile, almost on the verge on breaking like a
layer of thin ice at times, yet it's solidly grasped by the composition.
The softness results from instrumental arrangements (written mostly for
the piano and synths), led by Kevon's vocals for the most part.<br />
Speaking of which, Kevon’s voice is high, melodious, and youthful - in
some tones may resemble that of Michael Jackson's and Mick Hucknall's
(Simply Red). Kevon grew up in the Caribbean Island of Trinidad &
Tobago and later moved to NYC. Inspired by a variety of famous voices
(Prince, Bob Marley, and John Lennon to name a few), he gained musical
experience in both singing (lead vocals) and performing live with
several tribute/cover bands. Lately however, Kevon has been focussing on
making solo music - recording an album, mastering his voice, and song
writing in general.<br />
<br />
The target audience for 'Hey Alice' may vary, as it could seem to be a
track meant for teenagers, but due to its accessibility it can be easily
picked up by others. It's a memorable song that any modern radio
station should appreciate, but it lacks any ground-breaking, unique
attributes - that's why it may become a seasonal hit only. It fits the
current trend of modern pop songs to be performed live, supported by a
team of dancers and flashing stage lights. It’s easy to imagine ‘Hey
Alice’ played for a large crowd singing along with the artist. Movie,
advertisement, and TV entertainment execs are always on the lookout for
songs based on light notes and romantic themes, so Kevon would be right
to submit his single for their consideration.<br />
<br />
(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock &
Metal Encyclopedia, January 22nd, 2018. Proofreading: Mike 'Vesper'
Dziewoński)<br />
<br />
<a href="https://www.musicxray.com/xrays/2237591" target="_blank">Music Xray</a><br />
<br />
<br />
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<br />
Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-34610259777760232852018-01-15T13:47:00.000+01:002018-01-15T13:49:10.696+01:00AutomatoN - Sub Coma<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/JxiOTwEKMhnvN3XuTY3IzwCVI3zzTmXM5ZZuC_bUgv9WOJxTwXTkg8NfwABRO3OD8giTN5GRqQ6dT1esyGE1o13AoTuxCNghDQEYKfR8Ph68_IfWoA9wW2CmDAuf9LKG7PrXHdz-QyyhaAvB98Zbzbe5zj6nkQBybPOurFh62aZGaopFgejiCnQWs_8sgDTluMK4Yk3RfU3KJzuudtrcfKcGaSFPUtmwvODfVdlCDFqz98F-iny3mHZkLM21H6rlIqU50WfKbI9UZYaOuUKvim0PT1aRU51VTT3ntACawkveTIeSLilT5etjp2JnDE4L_82K7CZfONQmU__5STsJ_B2JEoWR-tM_hve4gFuIIivqKzWXSo_RtD841P8aP_bn-Zpb2ny9O_blRs2B9lMydvCXr7xM0J22at9VBnJq3UBnMMwld6oNr9DrXQ0Ku9nxibShE8BcwGf3LkJsnFxyO2Hh94QJJUjpeZZ6ztAXM1CVjcpNoZBBHLi3E7kqgUfc2TatQeq4rHcIHDAx3mjoCGHDnrL1ivB7lAaQA0hpouLBZO_oOX_0dndS0RcRbYrfjBNgSXgN96MivizHCzH5_t1UtTxr7r4FMiI0QXo=s594-no?pageId=110672807017683277156" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="594" data-original-width="594" height="200" src="https://4.bp.blogspot.com/JxiOTwEKMhnvN3XuTY3IzwCVI3zzTmXM5ZZuC_bUgv9WOJxTwXTkg8NfwABRO3OD8giTN5GRqQ6dT1esyGE1o13AoTuxCNghDQEYKfR8Ph68_IfWoA9wW2CmDAuf9LKG7PrXHdz-QyyhaAvB98Zbzbe5zj6nkQBybPOurFh62aZGaopFgejiCnQWs_8sgDTluMK4Yk3RfU3KJzuudtrcfKcGaSFPUtmwvODfVdlCDFqz98F-iny3mHZkLM21H6rlIqU50WfKbI9UZYaOuUKvim0PT1aRU51VTT3ntACawkveTIeSLilT5etjp2JnDE4L_82K7CZfONQmU__5STsJ_B2JEoWR-tM_hve4gFuIIivqKzWXSo_RtD841P8aP_bn-Zpb2ny9O_blRs2B9lMydvCXr7xM0J22at9VBnJq3UBnMMwld6oNr9DrXQ0Ku9nxibShE8BcwGf3LkJsnFxyO2Hh94QJJUjpeZZ6ztAXM1CVjcpNoZBBHLi3E7kqgUfc2TatQeq4rHcIHDAx3mjoCGHDnrL1ivB7lAaQA0hpouLBZO_oOX_0dndS0RcRbYrfjBNgSXgN96MivizHCzH5_t1UtTxr7r4FMiI0QXo=s594-no?pageId=110672807017683277156" width="200" /></a></div>
<b>AutomatoN - Sub Coma (album review) |Machine Man Records, 2017| 5/5</b><br />
<br />
<i>1. Sub Coma, 2. Automata, 3. Deus Machine, 4. Corperate Oxide, 5. Get
Out, 6. Bionic Rain, 7. Run, 8. State of Creation, 9. Thought Process,
10. Light Bending, 11. Demise, 12. As the Ship Burns, 13. Silence</i><br />
<br />
This is a concept album to tell the story of a violent space battle
between humans and Synths which started in August, 2717 and lasted four
days. <i>Sub Coma</i> is the first of the trilogy (together with <i>Human Purge</i> and <i>III: A New Life</i>). <br />
The album begins on a heavy note with the title track. Arrangements roll
out slowly. Listener are introduced to the story behind the album's
concept which speaks of an isolated spaceship where Synths took over and
were not controlled by the human crew anymore. The human astronauts
feel threatened and hopeless, so they record memos while awaiting death.
Their reports and observations are cleverly mixed with low tuned
guitars, often played in unison. Occasional lyrics are sung with a
contrasting, higher voice. <br />
Next, dynamic electro lines open 'Automata', followed by grounding,
vibrating guitar riffs. Moods vary between conflicted - frustrated and
sad, expressing the readiness to rebel, then submission. Progressive
metal meets djent here - a common theme throughout the whole of the
album.<br />
<br />
'Deus Ex Machine' won't show mercy for your ears. Here, the fight
between humans and Synths gets real. Guitar riffs simulate rapidly shot
bullets and squirting blood. The vocals are angry and growled, supported
by higher backing vocals. The bass plays in unison with guitars, with
complex drum lines providing a perfect fit.<br />
The following track, 'Corporate Oxide' continues the hateful release.
Drum beats and riffs accelerate immensely here. The verses include
growled vocals and complex structures, but the choruses seem to have
been written in compliance with Fear Factory's most famous sound (high
vocals sung in quasi-childish manner), supported by a heavy metal
background. The short ending part is completely different, kept in an
electro vibe.<br />
<br />
If you love 90s industrial metal in the vein of <a href="http://industrialrock.net/php-files_en/search.php?stext=N17">N17</a>, <a href="http://industrialrock.net/php-files_en/search.php?stext=Bile">Bile</a> or <a href="http://industrialrock.net/php-files_en/search.php?stext=Ministry">Ministry</a>,
the next track is dedicated to you. 'Get Out' steals the show for all
the good reasons. It is based on a simple composition but driven by
powerful, repetitive arrangements (for guitars, bass, drums, and
vocals), which resonate within the listener's body, giving it a desired
chill. 'Get Out' brings an atmosphere of doom, threat, and domination -
indestructible demonic energy spills out in every direction here.<br />
In contrast to that, and perhaps to let you catch a breath, the
follow-up entitled 'Bionic Rain' sounds quite positive, despite of the
angry vocals utilized in verses. The song uses a classic rock and metal
composition and could easily be a radio hit. After that, 'Run' again
falls into the tune of <a href="http://industrialrock.net/php-files_en/search.php?stext=Fear%20Factory">Fear Factory</a> and <a href="http://industrialrock.net/php-files_en/search.php?stext=Mnemic">Mnemic</a> - expressed by solid, repetitive, heavier tunes and distorted vocals mixed with lighter electronic music at times.<br />
<br />
Fast, dynamic tempo and djent-like arrangements are the driving forces
behind 'State of Creation'. The contrast between high and low tunes
sounds very pleasing and makes the brain easily switch between such
amplitudes. Drumming is the most underlined instrumentation in this
track but at times surrenders enough space to let guitars lead the way
till the end of the song. Next, 'Thought Process' mixes electronica with
low tuned guitars. The vocals here are expressive in their anger, then
replaced with memorable innocence. All this is spiced up by soul-tearing
solo riffs.<br />
<br />
'Light Bending' bring melodies of sheer beauty for all ears. The wall of
sound increases and decreases, enhanced with both kinds of vocals, as
heard before. It's characterized by sudden changes in tempo, where
arrangements are cut rapidly then replaced - and by memorable choruses.
All the song writing techniques should keep your ears full and
interested enough to follow on.<br />
Afterwards, 'Demise' lets you experience catharsis through powerful and
complex arrangements. The composition is built upon contrasts, where
hellish doom meets divine beauty. In the beginning, a sensitive ear may
find the electronic background not very much in sync with guitars and
drums, yet there is no trace of an unacceptable discord here. During the
choruses, the whole song shines victoriously like the rays of a new
dawn. In the ending part of the track, the arrangements and general mood
touch one’s heart so deeply that the more sensitive among you may shed a
tear or two. The verses drag you forcefully back into the darker side
of music. It totally makes sense to press 'stop' after hearing 'Demise'
to let your heart cope with emotions a bit better, until you're able to
continue listening to the last two tracks of the album.<br />
<br />
The battle for the ship is over 'As the Ship Burns'. Whether humans have
won or not, it's time for evacuation before mass destruction erases all
of its current crew. The song's atmosphere brings tension, yet the
music can become quite peaceful at times. It's the longest track on this
release and is definitely memorable thanks to the ending choruses. The
whole fight will never be forgotten.<br />
The final scene: the sky is filled with smoke. The only survivor looks
on as the burning parts of the exploded spaceship fade in the outer
space. Emotions of sadness, realization of loss mixed with relief are
expressed through electronic sounds, piano tones, and a dead-tired
automaton's report. Love energy and beauty radiate from 'Silence'
strongly, thus sensitive, imaginative listeners may burst into tears
again.<br />
<br />
AutomatoN's <i>Sub Coma</i> album is a purifier of a record. There are
melodies, smart passages between arrangements, the vibe of both doomsday
and victory, and a heart-opening catharsis experience. The band has
been founded by Nate Exx Gradowski. Judging by the complexity of
arrangements, compositions, and the overall amazing performance, nobody
could have guessed it's the work of a single person. Nate's not a
newbie, however - he's been a member of Isolated Antagonist since 2014.<br />
Fans of Fear Factory, Mnemic, Dagoba, Sybreed or Strapping Young Lad, as
well as hard sci-fi stories will be greatly pleased with this release
and should definitely hunt down the remaining two parts of the trilogy. <br />
If you're however into different genres, you should give <i>Sub Coma</i> a try simply because it may drastically influence your musical interests and broaden your horizons.<br />
<br />
<div class="western" style="line-height: 150%; margin-bottom: 0cm;">
(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock &
Metal Encyclopedia, January 14th, 2018. Proofreading: Mike 'Vesper'
Dziewoński)<br />
<span style="font-size: x-small;"><i>Source:
<a href="http://industrialrock.net/php-files_en/articles.php?article_id=598">http://industrialrock.net/php-files_en/articles.php?article_id=598</a></i></span></div>
<br />
<br />
<a href="https://facebook.com/theautomatonband" target="_blank">Facebook</a> | <a href="https://www.youtube.com/channel/UCjwLDZBDF-pv7PzS63QaeQw" target="_blank">YouTube</a> | <a href="https://machinemanrecords.com/automaton" target="_blank">Machine Man Records</a><br />
<br />
Buy on: <a href="https://automatonofficial.bandcamp.com/" target="_blank">Bandcamp</a> | <a href="https://itunes.apple.com/us/album/sub-coma/1292871152" target="_blank">iTunes</a> | <a href="https://www.amazon.com/gp/product/B07664771J/?tag=distrokid06-20" target="_blank">Amazon</a> | <a href="https://play.google.com/store/music/album/Automaton_Sub_Coma?id=Byvl2vauad2f6vlr6skqwp7i2fi" target="_blank">Google Play</a> | <a href="https://automatonofficial.threadless.com/" target="_blank">Official Merch</a><br />
<br />
<br />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3557556881/size=large/bgcol=ffffff/linkcol=e99708/artwork=none/transparent=true/" style="border: 0; height: 472px; width: 400px;"><a href="http://automatonofficial.bandcamp.com/album/sub-coma">Sub Coma by AutomatoN</a></iframe>
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Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-10208945534040194122017-11-27T15:47:00.000+01:002017-11-27T15:48:57.227+01:00Dizzolve - The Hookwirm EP<br />
<div class="separator" style="clear: both; text-align: center;">
<b><a href="https://4.bp.blogspot.com/qHd7GR9-bxk9Jz0bQz0LYscN0NZ9k7ueQ_YZgrF69Q02YU6MbiVIZ8tI4Ll4o02XPOz9XvWmcaukxxS0J1Q_ZwzVB8VXYHSYQOopRUGxcOcRqovDAPS_4yK5WnrbfHpUIxipzIW7Ai0kS-tdore1loeovL7rjrxVZ7hxpFfXQfU3UmSV7G1DyDctOWCaz8jm9NhQzydgbXNVYOlcQLoOxqEBdFSRgYo9QBH_GQpsMfTFX_dnHfVDd87Qld5VNGJJqwvnS4sab7vo3NWLnllrJxjMH_DT4uP0YNHrg96hD2d2BKpS5xjX2MNQc5RElUM6gk9tXI2GvIyvw5is2lb4VsS5_1A8bR_lBUg3EtYSzEczF1uWEwyDWSySEczbx_8VnzmOcN8JZDYRGvv4RnIdJBkUamcvBjdlBndaonF5YABYLoeu6UspXdhzslHH3qNtBxMOwe_YBRyieoYmrHnW4_Kh9ijZ57tVoxLS9MNS2ayxfdUIcl2dSFGZeZPnUxI9zHdEpTK3uQ7URm512feQkC_JJgNYzS5jjdEQwnW-bs10R398s3mLMroLECt2-JniITPiIZl1tO9lVg5oTZ2i5ThIvTAn3_OEaRrzAi7FMw=s594-no?pageId=110672807017683277156" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="594" data-original-width="594" height="200" src="https://4.bp.blogspot.com/qHd7GR9-bxk9Jz0bQz0LYscN0NZ9k7ueQ_YZgrF69Q02YU6MbiVIZ8tI4Ll4o02XPOz9XvWmcaukxxS0J1Q_ZwzVB8VXYHSYQOopRUGxcOcRqovDAPS_4yK5WnrbfHpUIxipzIW7Ai0kS-tdore1loeovL7rjrxVZ7hxpFfXQfU3UmSV7G1DyDctOWCaz8jm9NhQzydgbXNVYOlcQLoOxqEBdFSRgYo9QBH_GQpsMfTFX_dnHfVDd87Qld5VNGJJqwvnS4sab7vo3NWLnllrJxjMH_DT4uP0YNHrg96hD2d2BKpS5xjX2MNQc5RElUM6gk9tXI2GvIyvw5is2lb4VsS5_1A8bR_lBUg3EtYSzEczF1uWEwyDWSySEczbx_8VnzmOcN8JZDYRGvv4RnIdJBkUamcvBjdlBndaonF5YABYLoeu6UspXdhzslHH3qNtBxMOwe_YBRyieoYmrHnW4_Kh9ijZ57tVoxLS9MNS2ayxfdUIcl2dSFGZeZPnUxI9zHdEpTK3uQ7URm512feQkC_JJgNYzS5jjdEQwnW-bs10R398s3mLMroLECt2-JniITPiIZl1tO9lVg5oTZ2i5ThIvTAn3_OEaRrzAi7FMw=s594-no?pageId=110672807017683277156" width="200" /></a></b></div>
<b>Dizzolve - The Hookwirm EP |Machine Man Rec., 2017| 4/5</b><br />
<br />
<i>1. Porno Dump, 2. Hookwirm, 3. Trident, 4. sPill Ur bLood, 5. WEAPONZ (Take What's Mine)</i><br />
<br />
Dizzolve merges a few non-contrasting genres such as harsh electro, EBM
and cold wave. Since its date of inception (6/6/2006, in Philadelphia),
Dizzolve’s musicians have released 8 albums, also successfully
overcoming a hiatus during the 2012 Mayan 'end of the world' event.
Their newest EP will be available to purchase since mid-December 2017 -
let's take a closer look at it.<br />
<br />
There are five brand new tracks clocking around 4 minutes each on
average. The duo (Josh – vocals, AleK - guitar) prefer minimalistic
compositions based on repetitive arrangements, supported by angry,
hating, and slightly digitally distorted vocals. The beat is all-present
but is also mixed with vocals and divided by synths, offering nice
breaks from the notorious 'move your body' rhythm. All this is delivered
within the first (and shortest) track entitled 'Porno Dump'.<br />
Later, the guitar plays a more important role in the title track. The
noisy guitar additions make the underlying amalgam of vocals and synths
sound like 90's industrial rock. The arrangements are based on a 1-2-3
rhythm, imprinting themselves upon your memory. There's a bit of guitar
soloing too but it's purposely distorted to match the overall industrial
vibe of the song. <br />
<br />
'Trident' is a word tribute to the band 3Teeth, since the Dizzolve guys
are fans of their music. It may make some of the original industrial
fans feel old, considering that 3Teeth have been influenced by the 90's
cold wave and industrial genres. Thus, we're facing the 3rd generation
of musicians who dig the mechanical yet beat-driven vibe with fresh
interest. Technically, 'Trident' brings evenly distributed parts of
guitars, beats and synths/samplers. Again, the hateful vocals dominate
on top of the cues but the overall expression feels as if the core fire
of vengeance hadn't been released fully, waiting to be sprayed onto the
listeners further down the line.<br />
<br />
'Weaponz (Take What's Mine)' initially brings a less tense atmosphere
supported by 8-bit tunes, very popular these days and hailing back from
the Atari/Commodore gaming scene of the 80s. However, the song continues
the beat-driven theme later. The danceable rhythm makes the chorus
memorable, but the old school, robot-esque effects as already known from
the 70's electronic music can put off some ‘old school’ listeners.<br />
<br />
The lyrics are obviously judgmental, though it's difficult to understand
their meaning without having the right context. According to the
songwriter Josh, the lyrics were written while dealing with feelings of
betrayal and vengeance but also retrieving his own power after being
emotionally abused. It makes sense as it's been a common theme in many
genres though industrial music somewhat incorporated it the strongest –
musicians cool down both their soul's and their ego's suffering with
mechanistic tunes in an attempt to either express, or on the contrary,
dehumanize the pain of disappointment.<br />
<br />
Time for a few final thoughts. First of all, do use a pair of good
headphones for the best sonic experience since there are so many
individual sounds on the EP to attract your ears, that regular speakers
may not reproduce them too well due to environmental noise (unless you
already have an audiophile setup in place).<br />
Secondly, 'sPill Ur bLood' is a hit song on this EP and could be easily
used for broader promotion or submitted for use in a video game. The
track truly moves energy in the body, as much as it brings a desired
thrill in the skull. This happens through contrasting, low sounding
synths and a multitude of other higher sounds, matched with the vocal
parts and the danceable beat very well.<br />
Thirdly, if you've been a fan of electro/industrial music, you'll find
the EP pleasing to digest. However, purists who are used to listening to
more mainstream genres like pop or rock may find the songs here too
harsh and variable. <br />
Finally, the EP encourages to check out other parts of Dizzolve's
discography to find out if they've developed much since 2006, either
thanks to the technological boom, or their own songwriting ideas.<br />
<br />
(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock &
Metal Encyclopedia, November 27th, 2017. Proofreading: Mike 'Vesper'
Dziewoński)<br />
<br />
<br />
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/JnZ-z5Gl7UQ/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/JnZ-z5Gl7UQ?feature=player_embedded" width="320"></iframe>
<br />
<br />
<a href="https://facebook.com/Dizzolve" target="_blank">Facebook</a> | <a href="https://www.youtube.com/channel/UCA-4ocopc2MuAqQcPcpM18g" target="_blank">YouTube</a> | <a href="https://machinemanrecords.com/" target="_blank">Label's website</a><br />
<br />
Buy on: <a href="https://dizzolve.bandcamp.com/music" target="_blank">Bandcamp</a> (since December 15th, 2017)<br />
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<span style="font-size: x-small;"><i>Source:
<a class="western" href="http://industrialrock.net/php-files_en/articles.php?article_id=595">http://industrialrock.net/php-files_en/articles.php?article_id=595</a></i></span></div>
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Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-9581066214823345102017-04-18T11:37:00.003+02:002017-04-18T11:37:58.893+02:00Interview with Malice Machine<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOH4SQofsVURpqKIl52ojnq7HKImrdTNFf5zNR_I8GVYlJEf9s09LD0Lwtof7meNTINEw-UXdr9HYt3FhOkQ-xthV4Fm6OM-U_Yp7qirRhvGJ3iGrSOhwLEZstuSODx3CYSav-ujUKEfZv/s1600/Bandimage.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="143" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOH4SQofsVURpqKIl52ojnq7HKImrdTNFf5zNR_I8GVYlJEf9s09LD0Lwtof7meNTINEw-UXdr9HYt3FhOkQ-xthV4Fm6OM-U_Yp7qirRhvGJ3iGrSOhwLEZstuSODx3CYSav-ujUKEfZv/s200/Bandimage.jpg" width="200" /></a></div>
<strong>Malice Machine - interview (2017) (industrial rock, industrial metal) </strong><br />
<br />
<strong>NINa:</strong> Your excellent <i>Digital Scars</i> album released this
year features 13 songs - over 60 minutes of material. Have you addressed
and expressed everything what was on your mind at the time of writing
it, or are you already getting into new song ideas and working on the
follow-up?<br />
<br />
<strong>Ammo & Sepsis:</strong> <i>Digital Scars</i> was not
formulaic, some of the songs were written over a couple of years so it's
attitude doesn't express a consistent vibe. It was different feelings
and experiences at different times. It's also taken us time to acquire
the knowledge and ability to record, mix, and produce our own music. Of
course there's things that we could vastly improve on but overall we're
pretty happy with our first album.<br /><br />Read full interview here <a href="http://industrialrock.net/php-files_en/articles.php?article_id=593">http://industrialrock.net/php-files_en/articles.php?article_id=593</a><br />
<br /> <br />
<br />
Interviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-5091083722794754152017-02-23T20:40:00.000+01:002017-02-23T20:40:53.301+01:00Commit Samantha - The Fallen<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/OnZAFh_0lxuSJsk2vEoLf8rckF5wvFYHp_milVww9Arrq45leKsCFitcWCz5fQjMjx2O99hdQZ0TLRdjxUtxtoBnWgBh-NtbCKU_9WRO8wNT6gnRfCAchd33I4EwdgTmyO_4tXcJSmTcm3k_nj1B5i_ZobhCGrBMkV77BMra1K0fgxmN-7d0FYlQII0CH_Yic4HF4ySr1r8qBmvLkAp_2yl6pidM3Sqvj7JzFkthrcGzrecduAMWbkf2ODrCU58KMzffXjj6l4f4F-CzLxJxt4RFrFrRvp9CTqSNNPIA9BC0MFbrzyYq5PRyaa4VixjlXa88AKoH3v6zr8AbqDGSPKSuQNAgn-_aof_OEO1rz_HvBLHoRUK5uY-dEpeky8X5_oQOKQtlCVluUu4LDP4aA1sFQmcLAfE8KcoXGccd_u2dhiXcL16tjp--ioyuztGf-UmzmFnCFB4-TdRse145KPxC_UL_Lv0xBpXcMBFPYf-khIfXcSQpgjpjH8qzXQWNBi8bjLMCN2lg6HThBI33jE9j0d6ZZlkwbcZqw6aXigkR8--HR1qGvOzrq3NYaJAK4TJOClBP90x72206mpRzpPc0EgdnoccevZQywsQ2c67rtOBf61Lt=s422-no?pageId=110672807017683277156" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://1.bp.blogspot.com/OnZAFh_0lxuSJsk2vEoLf8rckF5wvFYHp_milVww9Arrq45leKsCFitcWCz5fQjMjx2O99hdQZ0TLRdjxUtxtoBnWgBh-NtbCKU_9WRO8wNT6gnRfCAchd33I4EwdgTmyO_4tXcJSmTcm3k_nj1B5i_ZobhCGrBMkV77BMra1K0fgxmN-7d0FYlQII0CH_Yic4HF4ySr1r8qBmvLkAp_2yl6pidM3Sqvj7JzFkthrcGzrecduAMWbkf2ODrCU58KMzffXjj6l4f4F-CzLxJxt4RFrFrRvp9CTqSNNPIA9BC0MFbrzyYq5PRyaa4VixjlXa88AKoH3v6zr8AbqDGSPKSuQNAgn-_aof_OEO1rz_HvBLHoRUK5uY-dEpeky8X5_oQOKQtlCVluUu4LDP4aA1sFQmcLAfE8KcoXGccd_u2dhiXcL16tjp--ioyuztGf-UmzmFnCFB4-TdRse145KPxC_UL_Lv0xBpXcMBFPYf-khIfXcSQpgjpjH8qzXQWNBi8bjLMCN2lg6HThBI33jE9j0d6ZZlkwbcZqw6aXigkR8--HR1qGvOzrq3NYaJAK4TJOClBP90x72206mpRzpPc0EgdnoccevZQywsQ2c67rtOBf61Lt=s422-no?pageId=110672807017683277156" width="200" /></a></div>
<b>Commit Samantha - The Fallen (song review) |self-released, 2016| 4/5 alt-rock</b><br />
<br />
Mixing alternative rock with exotic sounds always gives a song an
intriguing atmosphere. This is exactly the sonic idea behind 'The
Fallen', written by the Bostonian quintet working together as Commit
Samantha. 'The Fallen' is a multi-layered track with many instrumental
parts placed in sync, which are wisely distributed within a less complex
composition. Fans of Godsmack, Tool, Alice in Chains or Stone Temple
Pilots (but not only) should get in gear with this vibe right away.<br />
<br />
Initially however, listeners will be gently guided into the song with
said exotic vibe, where the only dominant element is a beat played on a
hand drum. The voice of Kon, which comes next is characterized by a nice
& light, masculine timbre. The vocals are nicely balanced,
distanced and a bit detached in a non-emotional way, except for a few
tense moments where the musicians scream all together. <br />
The deep drums (Mike Stanislovitis), bass (Grant Harris), and guitars
build an advanced structure for the song, exposing the listeners to its
entirety within the next four minutes. The band has two lead guitar
players in the current line-up: Jeff Peck and Mark Gorman; this allows
for a wide variety of guitar riffs performed simultaneously. All
musicians play their respective parts very well. It should be also
mentioned that Commit Samantha invited Casey Young (who programmed &
toured with YES) to layer an additional texture into their song.<br />
<br />
The lyrical idea behind the track is an unattached analysis of Biblical
Judas – the possible reasons behind his decisions, emphasizing destiny's
path, default directions, and similar philosophical & spiritual
issues. To quote a part of the lyrics: "<i>We the chosen few / What more
can we do / The future has begun / A truth we can't outrun” (…) No
choice in the matter / It's perfectly clear / The pathway is chosen / No
innocence here.</i>" Despite the subject matter, it's not Christian music at all.<br />
<br />
'The Fallen' brings an intellectual (rather than rebellious) mood, which
definitely helps with focusing on individual instrumental parts. The
whole track was mixed by Pete Doell at Universal Music, based on the
band's own studio recordings. The song however still feels like a
cleaner version of a live recording due to the additional ambiance - the
sound 'leaks' slightly, thus possibly causing some purists to sniff
disapprovingly. It's not a biggie though, since the arrangements clearly
speak in favour of the band's creative potential.<br />
Make sure you give Commit Samantha constructive feedback via their
social profiles, see them live during the incoming shows, and buy their
music. This should encourage the band to continue on their enlightened
path of creative & philosophical escapism.<br />
<br />
(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock &
Metal Encyclopedia, February 23rd, 2017. Proofreading: Mike 'Vesper'
Dziewoński)<br />Source: <a href="http://industrialrock.net/php-files_en/articles.php?article_id=591">http://industrialrock.net/php-files_en/articles.php?article_id=591</a><br />
<br />
<br />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/track=713431818/size=large/bgcol=333333/linkcol=e99708/tracklist=false/artwork=none/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://commitsamantha1.bandcamp.com/track/the-fallen">The Fallen by Commit Samantha</a></iframe>
<br />
<br />
<a href="https://www.commitsamantha.com/" target="_blank">Official</a> | <a href="https://reverbnation.com/commitsamantha" target="_blank">ReverbNation</a> | <a href="https://twitter.com/CommitSamantha" target="_blank">Twitter</a> | <a href="https://facebook.com/commit.samantha" target="_blank">Facebook</a> | <a href="https://www.youtube.com/channel/UCztdOzqpnnU_Fa29WDgIDYw" target="_blank">YouTube</a> | <a href="https://plus.google.com/+CommitsamanthaBand" target="_blank">Google+</a> | <a href="https://www.instagram.com/commit_samantha/" target="_blank">Instagram</a><br />
<br />
Buy on: <a href="https://commitsamantha1.bandcamp.com/track/the-fallen" target="_blank">Bandcamp</a><br />
<br />
<br />
Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-82651060672461887202017-02-22T17:06:00.001+01:002017-02-22T17:06:29.946+01:00Malice Machine - Digital Scars<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/vlkVDddpTNq4iHqoU2tUe_W-stXAudp10aNxlOeBUBas01jerzDqTmzLh5WUSgkx88FiF67SId-3D-6uPs-r5AQjy4R_zGcbpObxo-Ul53Y7t4JX7yk3oyIBCduR2fRzloZKLICg6aTpEm-9XbXWX0JRsmw9JyKDS0iYBYWPDEVARAtEl-cwuheM_MNkz4Bnfeb12HJ3QC1QxpWEEleZci4hp2_Hi4y_pTuEXUsV2QGhQwVG9WcsJbZc1LnOSzAZvGqmSs-yp9x2TLieW8sCM25Po9hTeHLSKM8fcvajtEqi8ivjIh_h0bNrSWXGLkz87arKmV7cLcSdjVpdSuiLdBUmGQqeMa7nE23XMW8GFZtUueIKPaP9HngpbjAfE4qNYVtj6KG3ZtyUVOn9B3uyGUtEI7L_OIi2ynNvu52W9CcoGe-_-QxW4ja5I4mHwCaynMNZ509ytDSNU-fXXqPUwJgUrFoQus0LoDWr56D77ALMtbfoQtAr1sM9zGGYxCtSIYLtkYHLCfKBhudgEHB1wGoUR3B6tKiMdC3V2PsaEexiQ6Ru8raBY2RmTCjBy-l-xDIiF2nstewjq0h4XD3nVQwcVANyDcLREpXjXRLXPA9jxA4hUqHL=w594-h596-no?pageId=110672807017683277156" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://1.bp.blogspot.com/vlkVDddpTNq4iHqoU2tUe_W-stXAudp10aNxlOeBUBas01jerzDqTmzLh5WUSgkx88FiF67SId-3D-6uPs-r5AQjy4R_zGcbpObxo-Ul53Y7t4JX7yk3oyIBCduR2fRzloZKLICg6aTpEm-9XbXWX0JRsmw9JyKDS0iYBYWPDEVARAtEl-cwuheM_MNkz4Bnfeb12HJ3QC1QxpWEEleZci4hp2_Hi4y_pTuEXUsV2QGhQwVG9WcsJbZc1LnOSzAZvGqmSs-yp9x2TLieW8sCM25Po9hTeHLSKM8fcvajtEqi8ivjIh_h0bNrSWXGLkz87arKmV7cLcSdjVpdSuiLdBUmGQqeMa7nE23XMW8GFZtUueIKPaP9HngpbjAfE4qNYVtj6KG3ZtyUVOn9B3uyGUtEI7L_OIi2ynNvu52W9CcoGe-_-QxW4ja5I4mHwCaynMNZ509ytDSNU-fXXqPUwJgUrFoQus0LoDWr56D77ALMtbfoQtAr1sM9zGGYxCtSIYLtkYHLCfKBhudgEHB1wGoUR3B6tKiMdC3V2PsaEexiQ6Ru8raBY2RmTCjBy-l-xDIiF2nstewjq0h4XD3nVQwcVANyDcLREpXjXRLXPA9jxA4hUqHL=w594-h596-no?pageId=110672807017683277156" width="198" /></a></div>
<b>Malice Machine – Digital Scars |self-released, 2017| 5/5 industrial rock, industrial metal</b><br />
<br />
<i>1. Welcome to the Machine, 2. My Virus, 3. We Breed Insects, 4. Venom
Me, 5. Digital Christ, 6. Defect, 7. Only the Void, 8. Slave Nation, 9.
Infest, 10. End of Everything, 11. My Virus (Alternate Version), 12.
Stripped, 13. N.W.O</i><br />
<br />
<a href="http://industrialrock.net/php-files_en/search.php?stext=Industrial%20rock">Industrial rock</a>
and metal music (called 'old-school' these days) fell out of the
mainstream after Y2K. Due to this, die hard fans of these genres have
had a difficulty finding many releases which could satisfy their picky
tastes. Luckily however, the NYC duo behind Malice Machine (Ammo -
drums, drum programing, artwork; Sepsis - guitar, vocals, bass,
programming, songwriting, production, mastering) got inspired by both
the 1990s guitar-driven industrial sounds and modern electro/darkwave
vibes. A great quality blend of these appears on their <i>Digital Scars</i> album released in 2017.<br />
<br />
'Welcome to the Machine' is the first of three cover songs here,
originally released by Pink Floyd. As the album intro, it perfectly
suits the purpose since it's the shortest yet the most seductive track.
Its slowly pulsating tempo allows listeners to calm down, before they
enter the heart of the Machine. Factory-like beats and emotional guitars
bring a variety of emotions such as love, longing and sadness – all
expressed towards the device.<br />
<br />
Most industrial musicians frequently pick up topics for their songs
related to contamination, radiation, global epidemics, and a zombie-like
apocalypse - probably inspired by the slew of 1980 & 90's horror
s/f movies with these themes. Two versions of 'My Virus' appear on the
album, but they don't differ much. The song is characterized by catchy
choruses and melodious arrangements with the addition of edgy guitar
riffs. It also sounds like Ammo & Sepsis were inspired here by <a href="http://industrialrock.net/php-files_en/search.php?stext=KMFDM">KMFDM</a> and Sasha Konietzko's voice. To put it bluntly, 'My Virus' is the first potential breakaway hit on the tracklist.<br />
<br />
'We Breed Insects' is a truly mighty industrial metal piece, moving
listeners deeply. The slow tempo amps up the heaviness of the sound
here. The song's atmosphere brings to mind the image of a hidden
predator tracking its prey from a hideout, then jumping out to hunt it
down. The vocals are distorted, even screamed at times, and they often
open up space for instrumental parts to shine. Amazing guitar riffs in
the second part of the track are followed by and contrasted with an
intriguing synth arrangement which gives the sensation of relief or
success (in reference to the predator suggested above).<br />
<br />
'Venom Me' is the second hit song on <i>Digital Scars</i> and will surely please industrial metal fans, specifically those in love with bands such as <a href="http://industrialrock.net/php-files_en/search.php?stext=Ministry">Ministry</a>, <a href="http://industrialrock.net/php-files_en/search.php?stext=Bile">Bile</a>, or <a href="http://industrialrock.net/php-files_en/search.php?stext=N17">N17</a>
amongst others. The song's mood feels very aggressive, and the rhythm
is fast. The arrangements sit tightly within the composition, while the
sound of guitars is angry, with riffs entwined with more accented bass
lines. Finally, Sepsis' vocals are almost growled, matching the
instruments really well. <br />
<br />
There's something sexual going on at the beginning of 'Digital Christ',
as you may judge by female moans ending in a climax. The vibrant,
goa-trance-like drum beats programmed by Ammo dictate the rhythm and
support Sepsis' vile vocals. The underlined beats, danceable dynamics,
easily memorable lyrics, cold synths, and edgy guitar riffs make the
track another instant hit.<br />
<br />
The dark and droning intro for 'Defect' is followed by predatory guitar
riffs which additionally spin up the already tense dynamics. Invasive
drums are entangled with harsh, slightly distorted vocals. A single,
high pitched guitar line over rhythm guitars found at the end of the
track creates an attractive contrast. Careful listeners may associate
this song's specific vibe with early works of Marilyn Manson and <a href="http://industrialrock.net/php-files_en/search.php?stext=Nine%20Inch%20Nails">Nine Inch Nails</a>. <br />
<br />
'Only The Void' is another industrial metal track with strong electro
& goa-trance influences that utilizes both heavier guitar riffs and
synths. The song's chorus is memorable, but the vocals fade away a bit
behind the synth & drums. 'Slave Nation' is a potential hit as well,
and certainly a must-have if you like spinning around inside a spiral
of sounds. The track is full of looped heavy guitar riffs, darkwave
synths, and industrial noises, all wrapped up into melodic arrangements
and a danceable rhythm.<br />
<br />
'Infest' in its entirety can help purging personal demons very well. As
many NIN fans may recognize, the opening drum part is a straight-forward
tribute to the band that brought industrial rock into the mainstream in
the 90s. The song deals an aggressive, aroused vibe from the very
beginning, which is then supported with a lovely wall of sounds in the
third part of the composition, and followed by a neat tempo slow-down.
The arrangements are spiced up with guitar riffs that the majority of
industrial metal fans should admire at once.<br />
<br />
On a different note, 'End of Everything' may be a real teaser/pleaser
for lovers of electro-industrial and darkwave. Bouncy beats encourage
listeners to dance without hesitation, but if you dislike dancing, this
track is great for an intense fitness workout too. Skillfully written
arrangements are equally distributed within the entire composition,
leaving enough space for both lyrics and instrumental parts.<br />
<br />
The original synth-driven song 'Stripped' was written by Depeche Mode.
Once it became a global hit, many other bands challenged themselves to
make cover versions. Malice Machine turned the track into an angry
industrial rock piece through metal riffs, strongly accented drums, and
twisted vocals, but obviously keeping the original song's notable
attributes.<br />
<br />
The album ends with the last cover song - Ministry's 'N.W.O.'. Malice
Machine's version doesn't alter the track too much, probably to keep its
famous, genuine vibe alive. Honestly, we should be thankful for such
very few sound manipulations here - every industrial music fan who sees
the 'N.W.O.' title will actually hear in their head a replaying memory
of the iconic looped chorus: 'a new world order'. It would probably be
risky to 'desecrate' it ;)<br />
<br />
Some people worship gods, but these two musicians faithfully praise the
Machine. Thirteen compositions which make for a 1 hour long album are
filled with a variety of angry, dehumanized, industrialized, and
'math-mechanical' arrangements. Therefore, <i>Digital Scars</i> may help
younger listeners discover primary industrial rock/metal
characteristics, but also easily identify with some emotions brought by
the classic sounds present on this release. Older fans, tired of
spinning the same industrial albums over and over again, may find a few
new sonic gems here. In any case, make sure you buy this release, since
it is definitely worth the price of admission. Only with your help can
the duo break through the corroded walls of a forgotten and largely
unsupported scene and continue expressing their passion for 'the
Machine' by releasing another set of songs sometime soon.<br />
<br />
(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock &
Metal Encyclopedia, February 21st, 2017. Proofreading: Mike 'Vesper'
Dziewoński)<br /><span style="font-size: x-small;"><i>Source:
<a href="http://industrialrock.net/php-files_en/articles.php?article_id=590">http://industrialrock.net/php-files_en/articles.php?article_id=590</a></i></span><br />
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<br />
<br />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3720915564/size=large/bgcol=333333/linkcol=e99708/artwork=none/transparent=true/" style="border: 0; height: 500px; width: 500px;"><a href="http://malicemachine.bandcamp.com/album/digital-scars">Digital Scars by Malice Machine</a></iframe>
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<a href="https://facebook.com/MaliceMachine" target="_blank">Facebook</a> | <a href="https://www.youtube.com/channel/UC3KrvJ2YrLS1XCPEqlBc9og" target="_blank">YouTube</a><br />
<br />
Buy on: <a href="https://malicemachine.bandcamp.com/album/digital-scars" target="_blank">Bandcamp</a> | <a href="https://www.cdbaby.com/cd/malicemachine2" target="_blank">CDBaby</a> | <a href="https://play.spotify.com/album/3FwA97JW5DxEwJLPh9V38J" target="_blank">Spotify</a> | <a href="https://www.amazon.com/Digital-Scars-Explicit-Malice-Machine/dp/B01LYSE773" target="_blank">Amazon</a> | <a href="https://itunes.apple.com/us/album/digital-scars/id1152664020" target="_blank">iTunes</a> | <a href="https://play.google.com/store/music/artist/Malice_Machine?id=Aqwvar24pmeetv4cjrrxfo27gl" target="_blank">Google Play</a><br />
<br />
<br />
<br />
Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-27487354611375881192017-02-19T19:43:00.001+01:002017-02-19T19:43:10.630+01:00State of Being - Signs<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/xds_RABrewpNalDteh6iOEdKkdeGr7LHeZzipMW2Wll1EinjID6G-2RxEiRpAmmI69U0AozRuKjCjCMdq6W25bUFpq96UjublCopVsNl1_dXKU_oTFniZLW-OuJ1NbrYynQ7lO2h6ZAFNpnHMjmmBZa8V6u_Zul3hCwJTjQeIxaUFRhWjhoqZrjrD8ZkL5deWPTC4yhmxiSHUC9MEXltEW_Cixr7ZWrmCf_2GEjUl96_40v3q8zXvM0QVd2PELVBK_bHlpbxpEvDdD7Uj27vDIsuV41vYe-UeBBzEx4nayIEfiMBHTcZOWZNMTMiRDz7s_taRVTPrwHyQkrCHkJr0QPGrOJ_nG746HHoSO60xHQIHIPyFeqCgFkXzhECYkrdjjZdi35mntTlnlrErWmQ4LdjuLgK653zo84vE2Yso27gmhE8d5kA3seZPTGpBR4xh2GOglkBF3-LLVmTFRamKxuaIDDjF7R31mgBIRLjgRzpV2zYi8Auj_K0NTl9v4kgSkiaqZYejPTkIXTSxPoBVLs_CraEoTg6EJ2Q8TKUavL2KHn2im0rvpvv5xOAF3uaOM_RPHe4nnWq-vdAesRZePO5Nz4xFIDAG84jnOCLws9mC97suHMl=s593-no?pageId=110672807017683277156" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://2.bp.blogspot.com/xds_RABrewpNalDteh6iOEdKkdeGr7LHeZzipMW2Wll1EinjID6G-2RxEiRpAmmI69U0AozRuKjCjCMdq6W25bUFpq96UjublCopVsNl1_dXKU_oTFniZLW-OuJ1NbrYynQ7lO2h6ZAFNpnHMjmmBZa8V6u_Zul3hCwJTjQeIxaUFRhWjhoqZrjrD8ZkL5deWPTC4yhmxiSHUC9MEXltEW_Cixr7ZWrmCf_2GEjUl96_40v3q8zXvM0QVd2PELVBK_bHlpbxpEvDdD7Uj27vDIsuV41vYe-UeBBzEx4nayIEfiMBHTcZOWZNMTMiRDz7s_taRVTPrwHyQkrCHkJr0QPGrOJ_nG746HHoSO60xHQIHIPyFeqCgFkXzhECYkrdjjZdi35mntTlnlrErWmQ4LdjuLgK653zo84vE2Yso27gmhE8d5kA3seZPTGpBR4xh2GOglkBF3-LLVmTFRamKxuaIDDjF7R31mgBIRLjgRzpV2zYi8Auj_K0NTl9v4kgSkiaqZYejPTkIXTSxPoBVLs_CraEoTg6EJ2Q8TKUavL2KHn2im0rvpvv5xOAF3uaOM_RPHe4nnWq-vdAesRZePO5Nz4xFIDAG84jnOCLws9mC97suHMl=s593-no?pageId=110672807017683277156" width="200" /></a></div>
<b>State of Being - Signs (song review) |self-released, The Misinformation Age, 2016| 4/5 electronic rock</b><br />
<br />
<a href="http://industrialrock.net/php-files_en/search.php?stext=State%20of%20Being">State of Being</a>
are an electronic-industrial rock band from Cleveland, OH. I met them
on Myspace in 2005 when social networking, self-promotion, and HTML
customization were not only allowed, but also actually fun. SOB released
their debut album in 1995, followed by an EP and three other full
length releases until 2005. They played a variety of US shows back then,
supporting well known <a href="http://industrialrock.net/php-files_en/search.php?stext=industrial%20rock">industrial rock</a> acts such as Pigface, <a href="http://industrialrock.net/php-files_en/search.php?stext=My%20Life%20with%20The%20Thrill%20Kill%20Kult">My Life with The Thrill Kill Kult</a>,
or Kill Hannah. However, as many die hard industrial fans may admit,
industrial rock music started fading away after Y2K. Therefore,
Christopher Foldi (the founder) put the band on hiatus for 10 years,
occasionally producing remixes and playing with his new band Frigid
Touch.<br />
<br />
Industrial music hasn't returned to its mainstream position since then,
but nowadays bands can find better on-line opportunities to promote and
sell their songs. It seems that this encouraged Christopher to resurrect
SOB by focusing on lighter electronic music, and give it a shot by
releasing <i>The Misinformation Age</i> - a new album in 2017.<br />
The nine brand new songs were inspired by: the increasing divide between
the darkness and the light within human civilization, provocative
media, political & religious manipulations ('fake news'), attempts
of stealing & destroying the land of indigenous people (the Standing
Rock protests) - just to mention a few sources. Despite such alarming
themes, the music on the album is free of distress.<br />
<br />
As an example, the fifth song on the tracklist (entitled 'Signs') brings
deep bouncy beats mixed with a steam release-like sound, and a
low-profile guitar. Foldi's vocals, fitting within these arrangements
very well, can be recognized by any careful listener who heard him sing
before. His voice holds pessimistic and optimistic timbres at the same
time, with one in 'control' and balancing the other. The dark tone is
something you can find in goth & darkwave vocals, the more positive
one fits pop music.<br />
Both verses and choruses are extremely catchy, which should make it easy
even for a child to sing along. In addition, the unstoppable drum beats
are wisely contrasted with pitched synth sounds. The idea to prevent
sameness is remarkable here, because it's well known that human ears
find sonic contrasts entertaining. All this makes 'Signs' a highly
danceable track supported by colorful, vibrant dynamics. An interesting,
perhaps cartoon-like video could be made to illustrate the song
further.<br />
<br />
All these 'signs' and shifts we've been witnessing on many recent
occasions speak for our world's re-design and they will certainly awake
those who are still spiritually asleep. We all know one truth however -
the light will prevail in the end. If you feel overwhelmed by the gloom
seen on the TV, then perhaps listening to this song may brighten your
mind for four and a half minutes.<br />
<br />
(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock &
Metal Encyclopedia, February 15th, 2017. Proofreading: Mike 'Vesper'
Dziewoński)<br />
Source: <a href="http://industrialrock.net/php-files_en/articles.php?article_id=92">http://industrialrock.net/php-files_en/articles.php?article_id=92</a><br />
<br />
<br />
<a href="http://www.stateofbeing.com/" target="_blank">Official</a> | <a href="https://twitter.com/stateofbeing" target="_blank">Twitter</a> | <a href="https://facebook.com/stateovbeing" target="_blank">Facebook</a> | <a href="https://www.youtube.com/playlist?list=PLrX6DgSF4jbkf8M7xG8K7jxO0K-LcJSyD" target="_blank">YouTube</a><br />
<br />
Buy on: <a href="https://stateofbeing.bandcamp.com/" target="_blank">Bandcamp</a> | <a href="https://www.amazon.com/dp/B01MY5WOJV" target="_blank">Amazon</a> | <a href="https://itunes.apple.com/us/album/the-misinformation-age/id1193441779" target="_blank">iTunes</a> | <a href="https://www.cdbaby.com/cd/stateofbeing8" target="_blank">CDBaby</a><br />
<br />
<br />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3769766471/size=large/bgcol=333333/linkcol=e99708/artwork=none/transparent=true/" style="border: 0; height: 439px; width: 100%;"><a href="http://stateofbeing.bandcamp.com/album/the-misinformation-age">The Misinformation Age by State of Being</a></iframe>
<br />
Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-23521462356142939342017-02-19T19:40:00.000+01:002017-02-19T19:40:17.417+01:00Merrin - Sin<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/PNeoYHGdV4RlDcijjbRTBDzNV-XbG4tjvfWj5r8Odp4arF3oaQcjF8lNZyhJDl8WW7E_rQVeqsDMWuKXlDlAHyTBjkkVXK4vnoqOAInHy0bD5SVmiyKwNhfLL1_38wGPnlMr9qcM5v6PLadWkNnodTKbmQbum-6Rzk18tCxwtud4Atwkx7ql-oVvX5IgxdlzW6_7ph1DAcYAqqwhddtgumGnBuLTxJlySWPMyJ8k4W5MyNUr3ykrH5Eg_zEzaCaZpB-sOq7euXSoNLQWnZCCNzii4Wzjr37c2aKyQoGShfy7dD9C9N7kR_I2PmfbdhajVdDW_Ad1PkT8cRYBnr7_WuZBPLo3WFthF6lu2CnFq-B7WP7pvVR-fziIIYWbhT-ZtOTqwXKvMkEPZr-It9YwAnhkyxs_k2p16pem7xpd4lIu19Q0QX9zKNlyGeAQNyuUngu5PqFd3_Iprr_Qpu-V0Mk4Qh0ISjTHa4aI0p8Zsh7Lks4Eja07LmMioEa4o7wsuAFTQPHZMrIiDGUvPFffEpiKwa1bnhgndQ2iclfeLJk0953VwbJvSBBGf5xD4BfkFwrqovuixuPr2wy__25jRZSZ_hAqWAdkqpx2h3cNEU2WVKy8q-fY=s398-no?pageId=110672807017683277156" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://4.bp.blogspot.com/PNeoYHGdV4RlDcijjbRTBDzNV-XbG4tjvfWj5r8Odp4arF3oaQcjF8lNZyhJDl8WW7E_rQVeqsDMWuKXlDlAHyTBjkkVXK4vnoqOAInHy0bD5SVmiyKwNhfLL1_38wGPnlMr9qcM5v6PLadWkNnodTKbmQbum-6Rzk18tCxwtud4Atwkx7ql-oVvX5IgxdlzW6_7ph1DAcYAqqwhddtgumGnBuLTxJlySWPMyJ8k4W5MyNUr3ykrH5Eg_zEzaCaZpB-sOq7euXSoNLQWnZCCNzii4Wzjr37c2aKyQoGShfy7dD9C9N7kR_I2PmfbdhajVdDW_Ad1PkT8cRYBnr7_WuZBPLo3WFthF6lu2CnFq-B7WP7pvVR-fziIIYWbhT-ZtOTqwXKvMkEPZr-It9YwAnhkyxs_k2p16pem7xpd4lIu19Q0QX9zKNlyGeAQNyuUngu5PqFd3_Iprr_Qpu-V0Mk4Qh0ISjTHa4aI0p8Zsh7Lks4Eja07LmMioEa4o7wsuAFTQPHZMrIiDGUvPFffEpiKwa1bnhgndQ2iclfeLJk0953VwbJvSBBGf5xD4BfkFwrqovuixuPr2wy__25jRZSZ_hAqWAdkqpx2h3cNEU2WVKy8q-fY=s398-no?pageId=110672807017683277156" width="200" /></a></div>
<b>Merrin - Sin (song review) |self-released, single, 2016| 5/5 blues, rock</b><br />
<br />
Merrin entered 2017 with a new line-up as well as a bit of a changed
sound, yet they've kept all former innuendos within both music and
lyrics. The melody of their brand new track 'Sin' sounds very
radio-friendly - as much as that of the band's previous song, 'Mr.
Dominant' (which was later supported by a steamy, high quality music
video single - find it on <a href="https://www.youtube.com/watch?v=TspMWYqoMGM" target="_blank">YouTube</a>).<br />
<br />
'Sin' opens with a blues'n'rock guitar riff (by Karl Wootton) and a
gently jingled tambourine. They are then followed by the bold, cheeky,
and instantly memorable voice of Charlie Phillips. Having a golden asset
like this means it will always allow the singer to contribute to a
variety of genres with success. When drums (by Richard Maxwell Jr) and
bass (by Logan Wood, the new member) join next, they bring up a steady
line of dynamics, and therefore leave no doubts that the track is an
insta-hit. Guitars are reinforced by the other new member, Angelo
Pantelakis (on lead guitar).<br />
<br />
When it comes to arrangements, it seems they were written with a
classical rock'n'blues structure in mind. Verses and choruses are easy
enough to remember from the first listening for a proper sing-along with
the vocalist. This obviously makes 'Sin' accessible for the majority of
listeners around the world and definitely makes it fun during live
performances. The song's composition is also not too complicated, with
said arrangements distributed throughout evenly and an occasional guitar
twist to shake the relaxed rhythm up a bit. All musicians here perform
their parts dynamically. Again, Charlie's dominating alto entangles with
all instrumental tracks, vibrating nicely within, and thus boosting
every sound.<br />
<br />
The mood and energy here are confident, direct, open, and positive. The
down to earth lyrics talk of an episode in a shady bar: a woman drinks
tequila, meets a man, then they both follow an increasing desire to know
each other better and deeper. Yet it seems this event leaves her
feeling guilty when she sobers up: “<i>See this half empty bottle, holds
bad memories / Head face down in the dirt / Cos I’m addicted to the
misery / Like a fallen angel</i>”.<br />
<br />
'Sin' clocks in at 3 minutes and its length along with the catchy vibe
make it a great fit for lots of music opportunities in need of a strong,
melodic accent. The song is currently only released and available to
buy on tour for Merrin's fans, however it'll be globally available with a
complete music video around June 2017. Merrin plans on playing a few
performances in New Zealand (where the band originates from) this year.
Make sure to check out their official website & Facebook page for
the schedule.<br />
<br />
(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock &
Metal Encyclopedia, February 15th, 2017. Proofreading: Mike 'Vesper'
Dziewoński)<br />Source: <a href="http://industrialrock.net/php-files_en/articles.php?article_id=589">http://industrialrock.net/php-files_en/articles.php?article_id=589</a><br />
<br />
<strong>Read also: Merrin 'Mr. Dominant' <a href="http://industrialrock.net/php-files_en/articles.php?article_id=579">song review</a>.</strong><br />
<br />
<br />
<br />
<a href="http://www.merrinmadness.com/#%21about/ct0n" target="_blank">Official</a> | <a href="https://facebook.com/merrinnz" target="_blank">Facebook</a> | <a href="https://twitter.com/merrinaised" target="_blank">Twitter</a> | <a href="http://instagram.com/merrinaised" target="_blank">Instagram</a> | <a href="https://soundcloud.com/merrinaised" target="_blank">SoundCloud</a> | <a href="https://www.youtube.com/user/merrinaised" target="_blank">YouTube</a><br />
<br />
<br />
<br />
Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-66119304045502129562017-01-02T11:16:00.001+01:002017-01-02T11:16:43.324+01:00Hendrik Jan Vermeulen - Krieg<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/W4ZxXTf7zhB-ORkMGN7-PJFwrNTfzd0tpPw8Bge28Ski3DLVkdMAR-m8Fo0QlNQjBwqbBaHOUGgbp9PpQFm3BM4TJWzCTLSiW57HVOVyUDq84Dr9lnu_2fqDZIWLzFPZVFgFlp9GrKBpQCTA5kpDfuFMhWZOwCdsK8quyRzFmIvV_9oPuBpl5wEUi6B5A8wdIi8PRU1GcxJz8rHu5P0YtZKg0WMMF7XFF8rQ2h-p5H3-WSTyhlpRNafLyCs2U6xdM7oGM0ZXA1tyLNnxQPg2ZMI6plGzvHBealhWjK4PqUaRfvtZrFgGkSzqjaqUJjH9yrqnvw-GRq-0rWh6SOLLdVAO5FNVNl0fU4Scs0cqc38potAcDdlemSGlLSYnrxlTvCRSBZgqLX5YQpIwESOtjqLZukXJ9HNVL3x4HlVymgKCe1nzvXhlMmp0c2SwZEFQEypYu8eWrPondETDwX6ZoB8Pn3sTDWIu8oXh2oFSMVOFWB-1eLjG9o9G4GuI5-HfGryJVeingCAvzNE7MtawwuCYuINMvnqWOzi-D92Alw5QQcLbhJNrgUnms2O4z5cdpIxZYCKioHTgeSR7k1QnjF4COccpQeTd7PeA0YWC3hGmjnNODe2V=w603-h596-no?pageId=110672807017683277156" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="197" src="https://3.bp.blogspot.com/W4ZxXTf7zhB-ORkMGN7-PJFwrNTfzd0tpPw8Bge28Ski3DLVkdMAR-m8Fo0QlNQjBwqbBaHOUGgbp9PpQFm3BM4TJWzCTLSiW57HVOVyUDq84Dr9lnu_2fqDZIWLzFPZVFgFlp9GrKBpQCTA5kpDfuFMhWZOwCdsK8quyRzFmIvV_9oPuBpl5wEUi6B5A8wdIi8PRU1GcxJz8rHu5P0YtZKg0WMMF7XFF8rQ2h-p5H3-WSTyhlpRNafLyCs2U6xdM7oGM0ZXA1tyLNnxQPg2ZMI6plGzvHBealhWjK4PqUaRfvtZrFgGkSzqjaqUJjH9yrqnvw-GRq-0rWh6SOLLdVAO5FNVNl0fU4Scs0cqc38potAcDdlemSGlLSYnrxlTvCRSBZgqLX5YQpIwESOtjqLZukXJ9HNVL3x4HlVymgKCe1nzvXhlMmp0c2SwZEFQEypYu8eWrPondETDwX6ZoB8Pn3sTDWIu8oXh2oFSMVOFWB-1eLjG9o9G4GuI5-HfGryJVeingCAvzNE7MtawwuCYuINMvnqWOzi-D92Alw5QQcLbhJNrgUnms2O4z5cdpIxZYCKioHTgeSR7k1QnjF4COccpQeTd7PeA0YWC3hGmjnNODe2V=w603-h596-no?pageId=110672807017683277156" width="200" /></a></div>
<b>Hendrik Jan Vermeulen - Krieg |self-released, 2016| 4/5</b><br />
<br />
<i>01. Der Krieg, 02. Präsentiermarsch, 03. Sankt Michel, 04. Lazarett,
05. Visé, 06. Ein toter Mensch, 7. Brüder, 08. Handgranatenwerfer, 09.
Im Feldkwartier auf hartem Stein, 10. Der Hohenfriedberger, 11. Angriff,
12. Schwerverwundet, 13. Totentanz 1916, 14. 1917, 15. Im Osten, 16.
Abschied, 17. Totensignal</i><br />
<br />
Artists get inspired by a variety of things including, but not limited
to legends, dreams, events, personal experiences, or futuristic visions.
The Dutch guitarist, music teacher, and founder of Krieg - Hendrik Jan
Vermeulen - dedicated the entire Krieg1916 project to his late
great-uncle Bernhard Kronauer who fought as a soldier of the German Army
and died in the eastern parts of Galicia (present Ukraine) in 1916. The
<i>Krieg</i> album was released a 100 years after Kronauer's death.<br />
The music here becomes a complementary background for carefully chosen,
early 20th century poetry created by various poets, who also did
military service during WWI. Undoubtedly, German-speaking listeners will
be pleased by both verbal and instrumental content interlacing on this
release.<br />
<br />
Most of the 17 songs are short, often clocking under 2 minutes. 'Der
Krieg' is a perfect representative of the whole collection, with a high,
young female voice begins a spoken poem - an apocalyptic and prophetic
tale of a wrathful War God (written by Georg Heym in 1911). The young
orator (Franca Ley) is then joined by a lower and less expressive
masculine voice (Frank Fiedler). Finally, a cold, haunting ambient sound
rises in the background, giving the track an uncanny feel. This leads
to the interlude entitled 'Preußischer Präsentiermarsch', which brings
an uplifting and slightly 'aged', war propaganda-like melody (as found
in many Nazi movies), possibly preparing imaginary soldiers for marching
off into war.<br />
<br />
A beautiful, almost magical guitar melody opens the next song - 'Sankt
Michel', where listeners get the first impression of Heiko Schmidt's
vocals. This male singer and actor from Cologne owns an extremely
intriguing voice, the timbre which resembles a female alto. The musical
arrangements match the poem perfectly here, as it's performed
expressively through necessary dramatization, creating several memorable
moments.<br />
'Lazarett' is the first song on the tracklist kept in a slightly
goth-rock vibe with additional drums and bass instrumentation. While the
freely swinging guitar riff brings freshness, Heiko's dramatic
recitation of Wilhelm Klemm's poem gives the heart a much desired
thrill. Later, the delicate sonic background of 'Visé' (based on graded
guitar accords) becomes a great fit for the warm and distinctive voice
of a different, female singer - Charlotte Illinger. Krieg1916
collaborates with many artists, musicians (including Vermeulen's family
members), and technicians, with everyone involved getting full credit on
the project's official <a href="http://www.krieg1916.nl/" target="_blank">website</a>.<br />
<br />
'Ein toter Mensch' is a short track, purely based on spoken poetry. It is then followed by <a href="http://industrialrock.net/php-files_en/articles.php?article_id=537#bruder">'Brüder'</a>
- a melodious and instantly memorable composition. Heinrich Lersch's
poem is delivered by Heiko Schmidt again, and a melancholic mood comes
from the guitar, though rhythmic bass and drums lines prevent extensive
mourning from taking over. The song (the title of which is German for
'Brothers') while dedicated to all soldiers, wasn't written to glorify
mass murder through warfare, but to emphasize the importance of living
in peace and mutual tolerance.<br />
<br />
The freezing, yet beautifully snowy atmosphere of 'Handgranatenwerfer'
was created with simple sounds of synth and guitar. They repeat in the
background throughout the entire track, dominated by the early 20th
century poem written by Anton Schnack. Another short acoustic song ('Im
Feldkwartier auf hartem Stein') is supported by a solo guitar melody.
Together with the vocal interpretation it may suggest that the performer
(Hugo Luyten) tried to bring a positive vibration of hope to soldiers
who would impatiently expect the war's end, rather than the arrival of
new combat orders. 'Der Hohenfriedberger' is an instrumental composition
carrying the motif of victory through an uplifting mood and
arrangements typical for an anthem, performed with a high-pitched
guitar, quiet bass, and drum cymbals.<br />
<br />
The 'Angriff' poem by Kurt Heynicke becomes the leitmotif of the next
track, where a delicate piano arrangement creates the only background.
It's enough though, because the masculine voice (H. Schmidt) recites the
poem with an entire spectrum of emotions, making for a desired
retrospective insight. It's then followed by 'Schwerverwundet', which
begins on a positive note with expressive tones of an acoustic guitar
and equally dedicated female vocals (Janina Raguse) getting an angelic
vibe later on. The mood and voice may suggest she depicts the spirit of a
Virtue drifting over a battlefield, searching for those who were
severely wounded or dying, to transfer their souls to a better place.<br />
<br />
Verses used in 'Totentanz 1916' were written by the German Dadaist and
sound poem pioneer Hugo Ball, who was rejected when he applied to join
the army due to his medical condition. Ball's anti-war sarcasm gave him
the label of a 'traitor', forcing him to flee to Switzerland, where he
successfully continued working as part of the Dada movement by
co-founding Cabaret Voltaire. The song is enriched with percussive,
wake-up sounds calling out to action. The following track ('1917')
starts with an uplifting, acoustic guitar part. The skilfully written
composition is equally shared between the story-telling vocals (reciting
the poem by Carl Zuckmayer) and soothing arrangements, additionally
supported with an electric guitar soloing later on.<br />
<br />
'Im Osten' brings as melancholic mood as sad the life story of the
poem's author is. Georg Trakl was an Austrian expressionist, working as a
pharmacist and medical official, who suffered from post-war depression
that eventually led him to cocaine overdose and death in a military
hospital in Kraków, Poland. Since Trakl died in late autumn, the imagery
of falling snow comes to mind again, thanks to delicate guitar and
synth sounds wrapped into slow rhythm arrangements and enriched with
matching male vocals.<br />
Countering this mood is 'Abschied' - the only pure rock piece here,
starting with a soloing guitar, then joined by bass, drums, and male
vocals reciting a poem by Alfred Lichtenstein. He could foresee his own
death in this prophetic writing, completed just a few weeks before he
was killed on a French battleground. This and 'Brüder' could work great
with a music video with screenplays based on existing historical
material.<br />
<br />
Finally, the instrumental 'Totensignal' brings the end of the tracklist
on an epic, peaceful note with a 'rest in peace' motif. No eulogy is
necessary however, as the guitar gives an emotional tribute to the late
soldier. It could be performed at Bernhard Kronauer's funeral, if only
his body was found.<br />
<br />
Even though there are historical traces hinting at Hendrik Jan's great-uncle's last location, there's no grave to be visited. <i>Krieg</i>, an <i>in-memoriam</i>
work of art, is a gift from a family member who despite never having a
chance to meet or know more about his ancestor, got inspired enough with
the story of his life to write music, curate a selection of war poems,
and engage talented performers to combine these two elements into a
solid unity. The songs of <i>Krieg</i> will be presented at various
events and radio shows starting in January 2017. Many European countries
hit by WWI and WWII celebrate their rise from ashes every year, so
there should be many opportunities to present these pieces to a wider
public, perhaps accompanied by a theatrical performances on the
historical subject as well.<br />
<br />
(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock &
Metal Encyclopedia, December 30th, 2016. Proofreading: Mike 'Vesper'
Dziewoński)<br />
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<span style="font-size: x-small;"><i>Source:
<a href="http://industrialrock.net/php-files_en/articles.php?article_id=588">http://industrialrock.net/php-files_en/articles.php?article_id=588</a></i></span></div>
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<br />
<br />
<a href="http://www.krieg1916.nl/" target="_blank">Official</a> | <a href="https://www.youtube.com/watch?v=wNK94mliCN8" target="_blank">YouTube</a> | <a href="https://hendrikjanvermeulen.hearnow.com/" target="_blank">HearNow</a><br /><br />
Buy on: <a href="http://www.cdbaby.com/cd/hendrikjanvermeulen" target="_blank">CD Baby</a> <br />
<br />
Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-84313630307123000502016-12-05T14:25:00.001+01:002016-12-05T14:25:17.411+01:00Toby Poynter - The Comeback<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/NcnYHZp_78SqlTTxH68ZPOjlOgeCXeoHesrwi8yix47rV7kY76_ZVemEuIDlHDGe78M0THk4el2HZNCqL7TNqWJvzRJUvYMbWtJP_04OacPS8B95u6z1s5XQup1gKSs_jRpe7D-ppSG0UEJh2STf4cpu1jz5yyBQvly4lmCU1tNfdWsJGiH4Dm1Ct5KXKv7rqZQzn9BiWoE4w5EhlsYVkoA4wSkd7cX4pOpZY9tmQs-_NQx9Sl08caIddn7DESNWoIxjzE_ssMZkdC_690-3s_OtQ9mP8agltY2-rLg4yT8PCWaRPg-YFZUn4LDIl_rYbe1J_HhL-Jw0ig2luVfyC3vMskePTu5Krn8iVDVhdnX6QbWGa-fHzX6_imxK03c0Ubx33aKiK8GrwZxigGDKXV-_4cAifSGp71jTFE8dQo8Q3kZCp1Jzo7ro5jKQvg9U2FpZ2xiVWMRf6pMsDTBMo7Bb-oUWF0yY2hZRzt6vWGj0F3auejnm0hFiRPxo04-nck5lXyr6MdyOboV4JKc7Jz_dWB6WMRMB5B_q4gKSuTJPcRZOU4RsOIgT7qTvB4230j674jy2oLSTkZtNHbZpQwAcTwe89JQHn-PIxL8mUex0CQMI=s596-no?pageId=110672807017683277156" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://3.bp.blogspot.com/NcnYHZp_78SqlTTxH68ZPOjlOgeCXeoHesrwi8yix47rV7kY76_ZVemEuIDlHDGe78M0THk4el2HZNCqL7TNqWJvzRJUvYMbWtJP_04OacPS8B95u6z1s5XQup1gKSs_jRpe7D-ppSG0UEJh2STf4cpu1jz5yyBQvly4lmCU1tNfdWsJGiH4Dm1Ct5KXKv7rqZQzn9BiWoE4w5EhlsYVkoA4wSkd7cX4pOpZY9tmQs-_NQx9Sl08caIddn7DESNWoIxjzE_ssMZkdC_690-3s_OtQ9mP8agltY2-rLg4yT8PCWaRPg-YFZUn4LDIl_rYbe1J_HhL-Jw0ig2luVfyC3vMskePTu5Krn8iVDVhdnX6QbWGa-fHzX6_imxK03c0Ubx33aKiK8GrwZxigGDKXV-_4cAifSGp71jTFE8dQo8Q3kZCp1Jzo7ro5jKQvg9U2FpZ2xiVWMRf6pMsDTBMo7Bb-oUWF0yY2hZRzt6vWGj0F3auejnm0hFiRPxo04-nck5lXyr6MdyOboV4JKc7Jz_dWB6WMRMB5B_q4gKSuTJPcRZOU4RsOIgT7qTvB4230j674jy2oLSTkZtNHbZpQwAcTwe89JQHn-PIxL8mUex0CQMI=s596-no?pageId=110672807017683277156" width="200" /></a></div>
<b>Toby Poynter - The Comeback (song review) |self-released, single, 2016| 5/5 alt-rock</b><br />
<br />
Toby Poynter lives for music and expresses his pure soul by making
emotionally charged, rhythmic songs. When you screen his past
music-related achievements, you'll spot that he feels about writing and
performing alt-rock songs the best these days, yet he listenes to all
kinds of music - from The Beatles to Bon Iver. Therefore, he didn't shy
away from playing grunge and funk with a few other bands back in the
1990s.<br />
<br />
'The Comeback' was recorded in Sweden and is an alt-rock track speaking
of a love relationship's end. The author gave the song a light, romantic
mood despite of the theme - which, when personally experienced, may
turn some people to grieving. The vibe gives the idea of a diplomatic
farewell, not followed by hating, bullying, and burning bridges.<br />
<br />
Technically, there no sneaky intro here, but the verse comes in
instantly after a short, buzzy guitar riff. A rhythmic bass line and a
drum beat join the guitars - the latter sounds dirty at times for a good
reason, considering some old good grunge references. The melody
instantly roots itself in your brain thanks to the track's catchy
pop-based chorus: "<i>Don't come back anymore</i>", which repeats quite
often and is supported with male backing vocals. Toby's voice is
characteristic, at times raspy, at times high enough to handle the
required pitch. He's a self-taught singer and composer - his voice might
be influenced by voices of the original grunge scene - Eddie Vedder
(Pearl Jam) or Chris Cornell (Soundgarden). It's also noticeable that
Poynter's singing had improved a lot since the 90s thanks to many years
of practice.<br />
<br />
The unquestionable strength of his music - the songwriting - allows Toby
for expressing the call of his heart. The composition here was
thought-out carefully with all possible parts filled by matching
arrangements, and never choking on anything. The arrangements sound
memorable, however not unique - they were fitted for the vibe loved by
alt-rock aficionados, though they do make this song tight and vital
overall, thanks to their placement. Even the ending moment doesn't weigh
the track down as it sounds just as one could only wish it to be - the
rhythm, instruments, and arrangements gradually stop.<br />
<br />
'The Comeback' is one of the Poynter's newest productions. It seems to
be a candidate for a fuller tracklist of a yet-to-be released album;
make sure you follow Toby on <a href="https://facebook.com/TobyPoynterartist" target="_blank">Facebook</a>
to get fresh updates about his recording process. The song is a
potential hit, and is already being played on various radio stations.
Obviously, certain demographics and entertainment branches are on a
lookout for such a vibe, but it depends on how the author wishes to have
his song used. It's a necessary part of a healthy mind to release an
emotion out of one’s heart sometimes, yet it won't hurt to reach out to a
larger audience and get paid for your creative skills turned into
making others feel good. Finally, do watch 'A New Beginning' - his
other, professionally recorded music video single available on <a href="https://www.youtube.com/watch?v=eC14ndy86I4" target="_blank">YouTube</a>.<br />
<br />
(Reviewer: Katarzyna 'NINa' Górnisiewicz, December 4th, 2016. Proofreading: Mike 'Vesper' Dziewoński)<br />
Source: <a href="http://industrialrock.net/php-files_en/articles.php?article_id=587">http://industrialrock.net/php-files_en/articles.php?article_id=587</a><br />
<br /><br /><span style="font-size: small;"><span style="font-family: inherit;"> </span></span><br />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/track=3139070910/size=large/bgcol=333333/linkcol=e99708/tracklist=false/artwork=none/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://tobypoynter1.bandcamp.com/track/the-comeback">The Comeback by Toby Poynter</a></iframe>
<br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><a href="https://soundcloud.com/toby-poynter" target="_blank">SoundCloud</a> | <a href="https://twitter.com/PoynterToby" target="_blank">Twitter</a> | <a href="https://facebook.com/TobyPoynterartist" target="_blank">Facebook</a> | <a href="https://www.youtube.com/channel/UCyRch5pN1GSGoRs09acjFzg" target="_blank">YouTube</a><br /> </span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">Buy on: <a href="https://tobypoynter1.bandcamp.com/releases" target="_blank">Bandcamp</a>| <a href="https://play.spotify.com/artist/43XYJsuTelDsfmF8DHa2Fk" target="_blank">Spotify</a> | <a href="https://itunes.apple.com/us/album/the-comeback-single/id1148458186" target="_blank">iTunes</a> | <a href="https://play.google.com/store/music/artist/Toby_Poynter?id=Agn2rrbrqgs24folzjvadq5iele" target="_blank">GooglePlay</a></span></span><br />
<br />
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<span style="font-size: small;"><span style="font-family: inherit;">Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a></span></span><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-12472993074629453722016-11-22T15:43:00.003+01:002016-11-22T15:43:26.630+01:00Dumb Hole - Bravest of the Galaxy<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-nTBfpyadhFo/WDRYa4iiLOI/AAAAAAAACjQ/tgaKZQCbBTAn9_0cdymwNnPnN6TPDgdLwCL0B/s506-no/bravestofthegalexy_cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://2.bp.blogspot.com/-nTBfpyadhFo/WDRYa4iiLOI/AAAAAAAACjQ/tgaKZQCbBTAn9_0cdymwNnPnN6TPDgdLwCL0B/s506-no/bravestofthegalexy_cover.jpg" width="200" /></a></div>
<b>Dumb Hole – Bravest of the Galaxy |SCHÄF Records, album, 2016| 5/5 alternative rock</b><br />
<br />
<i>1. Somebody, 2. I'm Ready, 3. Invincibles, 4. Now I See, 5. She's All
My Love, 6. Dancing Without Sound, 7. Killing for Love, 8. Proud of
You, 9. Deadline, 10. A Free Old Man</i><br />
<br />
These days, human civilization is greatly divided not only due to skin
color, location, financial status or music taste. It's now about a pure
vibrational friction between the heart-driven truth seekers and the
brain-based manipulators, considering that the human brain is more
receptive to fears and illusions. When there's an attempt to tame the
vibration of truth, people feel it and revolutions are ignited. This can
be already observed world-wide: manifestations, and individual
re-valuations of every aspect of one's life. It's not an exclusive
'mid-life crisis' anymore, but an Awakening that touches every age
group.<br />
<br />
With Bravest of the Galaxy we get a new album which addresses the topic
of revolutions really well. Leonardo Guzman (vocals, guitars) and Magnus
Almqvist (drums) – the Swedish/Argentinian duo working under the name
Dumb Hole channeled the rebellion’s vibe into ten dynamic songs. <i>Bravest of the Galaxy</i> includes several songs that will instantly get you hooked thanks to their upbeat tempo and sound. <br />
These musicians don't wish to make you wonder whether they're good with
their instruments. 'Somebody', the album opener, already offers amazing
drum play aligned with guitars and vocals. Since there's no bass in the
band, the drum kit has been set up carefully to compensate that lack.
Not only is the song immediately memorable but its production is
professional and lets its dynamics bloom. The performers want you to
open your eyes and stand up for your own truth, rebelling actively.<br />
<br />
Are you ready for a change if the song put you in a proper mood? The
band teases - 'I'm Ready', then fires up with another rocking tune. This
song speaks of breaking free from capitalism and overcoming related
societal fears. It's supported by a slightly anxious tempo, though the
overall mood is light. Almqvist again delivers his drumming, on par with
the likes of Marco Minnemann, for example. The composition is rather
traditional for both rock and pop genres, and consists of well written
arrangements. 'I'm Ready' includes also more aggressive moments, which
definitely spice up the overall atmosphere.<br />
<br />
Guzman's a fan of Jimi Hendrix, Led Zeppelin, and Queen among others.
You can hear that in 'Invincibles', with the 1970s rock feel in the
beginning, though a bit later the added guitar effect gives it a
fresher, more modern vibe. In contrast to the previous songs however,
the vocals and heavier, groovy guitars are accented much more than
drums. The song has many instrumental moments which bring a nice balance
to the composition. 'Invincibles' speaks of humans as an invading
species – in the eyes of ETs, we're aliens after all. The band brings an
awareness to the fact that if humans desire to colonize Mars and other
planets, there's a serious threat to any local, original life forms (and
ETs' sacred sites). They could be destroyed due to our disrespectful
conquest, just as we had proved our arrogance towards indigenous
inhabitants of many regions on our own planet.<br />
<br />
In many families, there's often a power struggle between father and son.
It becomes more evident when the son grows up and begins noticing
unfair, outdated rules and regulations imposed not only on him, but the
rest of the family too. 'Now I See' speaks of psychological abuse of
power by masculine members of a family. The vibe is touching with its
mood full of resentment and reproachfulness. The vocals are much higher
here, while the drums and guitars are tightly packed at times.<br />
<br />
'She's All My Love' is all about playing fast, loud, and intensively.
The song has very high dynamics - also in terms of the subject, as it
speaks of a man falling in love with a prostitute, and obviously not
being happy in that relationship. The track illustrates many shifts and
stormy moments, perfectly bringing up the picture of how rough and
twisted this couple can be with each other. Therefore, listeners may
literally imagine them arguing, throwing items on the floor, the man
spying on the woman during her working hours, etc. Since the song
doesn't end with a strong accent but the swirling guitar arrangement
continues, listeners may suspect the couple decided to purge their
karmic connection further.<br />
<br />
'Dancing Without Sound' has the 90s rock feel with both dominating,
raspy guitars and softer moments within the composition too. The song is
a potential hit thanks to its encouraging atmosphere but also a
smoothly flowing rhythm. Moreover, prominent vocals let the singer be
remembered and recognized.<br />
<br />
Tense bass and assaulting guitars along with dynamic drum beats begin
the next song - 'Killing for Love'. The chorus eases the built up
tension, is memorable, and makes the song a potential hit. The emotion
brought by the song, and the must-see <a href="https://www.youtube.com/watch?v=GH2aJ0yTsCo" target="_blank">official video single</a>
is related to manipulative attempts of so called 'Cabal' to control and
terrorize people, to weaken and force them into making desirable
choices, since non-conformity is unacceptable. It always triggers
dramatic events world-wide because there's usually a bigger agenda
behind it all, organized by politicians, Catholic and Islamic religions,
and also negative aliens, according to conspiracy theorists. <br />
<br />
'Proud of You' speaks of the problem of giving up one's passions due to
becoming a parent. Like the previous songs, it brings tension and
changing moods. Many tempo switches can be found here along with tightly
packed drum beats and vocals. It's a great track for movies thanks to
its storytelling qualities. The following 'Deadline' brings more noise
within arrangements depicting lives of drug addicts while they navigate
between fixes. In spite of this dark topic, the song is melodious and
instantly memorable. Progressive rock fans may find some interesting
instrumental references to the sound of Rush here.<br />
<br />
The last track, 'A Free Old Man' is a mix of a few sibling genres
including rock, industrial, and alternative. It is melodic and memorable
but by no means simplistic. It’s the longest on the album and consists
of several wisely intersected parts. The track begins with a
melancholic, 'farewell' tune, but a dense combo of arrangements and
speed comes into play with time, making for a nice contrast between the
varied sections.<br />
<br />
<i>Bravest of the Galaxy</i> is an emotionally charged album set within
an uplifting, dynamic atmosphere, usually aimed at listeners in their
20s and 30s. No composition on here will make listeners feel like saying
'<i>damn, we're doomed</i>!' despite the song topics. The tracks were
composed to trigger listeners to stand up for what their hearts resonate
the best with. The writing on the album is clearly Dumb Hole's forte;
the compositions vary acoustically, avoiding ear fatigue, yet all
arrangements are professionally distributed within tracks to make the
listening experience enjoyable. On top of that, since every song tells a
different story, the arrangements mirror the emotions contained within
the song motives; if it’s about difficult love, there's confusion;
personal problems cause sonic tension; an addiction is linked with a
'noisy' mind, and so on. This mastery should help the band draw interest
from those interested in TV music licensing, ads, radio airplay,
audiobooks and many other creative media. Do support the band's efforts
and buy their album ASAP!<br />
<br />
(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock &
Metal Enclyclopedia, November 21st, 2016. Proofreading: Mike 'Vesper'
Dziewoński)<br />
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<span style="font-size: x-small;">Source:
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<a href="http://www.dumbhole.se/" target="_blank">Official</a> | <a href="https://facebook.com/dumbhole" target="_blank">Facebook</a> | <a href="https://www.instagram.com/dumb.hole" target="_blank">Instagram</a> | <a href="https://twitter.com/dumb_hole" target="_blank">Twitter</a> | <a href="https://www.youtube.com/channel/UC_mGJ6UfDJ_KYmcowGHaNuQ" target="_blank">YouTube</a><br /><br />
Buy on: <a href="http://www.cdbaby.com/cd/dumbhole12" target="_blank">CD baby</a> | <a href="https://itunes.apple.com/se/album/bravest-of-the-galaxy/id1163907125" target="_blank">iTunes</a> | <a href="https://open.spotify.com/album/6hc24ilUxTWVv0s3RjK3BR" target="_blank">Spotify</a><br />
<br />
<br />
Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-73071080237718533982016-10-20T15:13:00.000+02:002016-10-20T15:13:00.153+02:00Moon Pigeon - So Far<div class="separator" style="clear: both; text-align: center;">
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<a href="https://4.bp.blogspot.com/xnXWi1Ezzh92ptmOofyiy8-r8e8Ot3It8PeKOiYGFIDYJPj4UxciIoLVyitQ3AMUGYzGFw6YwCobghGohPrV2nJSHU3zYF-BHE3zITevlbKDoJJOq_WsghxfwMsx8pRvj1cu6Topv_fDxcY1oBUa_wHPoG6yU6TOFJAiasK3zYSJYH0t3GfS4WE1zq6Q_iurFJXGFtUJ6QZIY4Z-Ar6hrls-bgMiZiiKReskNKBDqsXpOHVOWKCiAvdYQxFmuTTXVBKP1t3s4JvLZLvTZDzbyUS39BoiIXVitxuVfHjWJAfeyUJ0I6JMEaW6UgwxfYb_YvSr7u1hwElqqfv65Wwuv1iIetIYq-b10cg_LlBhhKMijhQ_6kzCmujpT8Y72eQrzXKTzJRVSb6KPPaNxyUe5_C4_1DQg1YEQZB-BAAREtQ1EA9XNHNJyiPTA9gYTnsNB6iM-MjnrnhveMfmlBLUS9ODLC_KjjZt0xwvidS2AaN3NQrJyoXrE2NcbWy-Ls4gI-432ZC_ex8a2Al3WhSkmP063-cE8HUzPH81nOYUXfZhz528VG2E0kOQQIKXYTq9Mn-MFov_Q7hPJGqqkIqZPIWs0aBmha4QVp4z86FDChYUyDg3=s398-no" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://4.bp.blogspot.com/xnXWi1Ezzh92ptmOofyiy8-r8e8Ot3It8PeKOiYGFIDYJPj4UxciIoLVyitQ3AMUGYzGFw6YwCobghGohPrV2nJSHU3zYF-BHE3zITevlbKDoJJOq_WsghxfwMsx8pRvj1cu6Topv_fDxcY1oBUa_wHPoG6yU6TOFJAiasK3zYSJYH0t3GfS4WE1zq6Q_iurFJXGFtUJ6QZIY4Z-Ar6hrls-bgMiZiiKReskNKBDqsXpOHVOWKCiAvdYQxFmuTTXVBKP1t3s4JvLZLvTZDzbyUS39BoiIXVitxuVfHjWJAfeyUJ0I6JMEaW6UgwxfYb_YvSr7u1hwElqqfv65Wwuv1iIetIYq-b10cg_LlBhhKMijhQ_6kzCmujpT8Y72eQrzXKTzJRVSb6KPPaNxyUe5_C4_1DQg1YEQZB-BAAREtQ1EA9XNHNJyiPTA9gYTnsNB6iM-MjnrnhveMfmlBLUS9ODLC_KjjZt0xwvidS2AaN3NQrJyoXrE2NcbWy-Ls4gI-432ZC_ex8a2Al3WhSkmP063-cE8HUzPH81nOYUXfZhz528VG2E0kOQQIKXYTq9Mn-MFov_Q7hPJGqqkIqZPIWs0aBmha4QVp4z86FDChYUyDg3=s398-no" width="200" /></a></div>
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<span style="font-size: x-small;"><b>Moon Pigeon - So Far (song
review) |self-released, 2016| 4/5 alt rock</b></span></div>
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<span style="font-size: x-small;">Moon Pigeon is the result of
collaborative venture between current and former members of various
South Florida and Atlanta based bands. Having gathered </span>the<span style="font-size: x-small;">
required experience, they've drawn interest of many modern and
alternative rock fans all over the world through active on-line
promotion as well as touring.</span></div>
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<span style="font-size: x-small;">The opening song of Moon
Pigeon's self-titled debut </span>album <span style="font-size: x-small;">brings
a moody yet rocking vibe. 'So Far' begins with subtle</span> and
<span style="font-size: x-small;">distinctive, new wave guitar
tones</span>, <span style="font-size: x-small;">gradually joined
by bass, drums and vocals developing into short verses and the
chorus. Both the instrumental arrangements and the performance sound
solid and </span>give the track a solid foundation<span style="font-size: x-small;">.
</span>As a <span style="font-size: x-small;">contrast, Mike
Hernandez</span> on <span style="font-size: x-small;">vocals
brings a delicate, melancholic layer on the top </span>the music <span style="font-size: x-small;">-
his voice may </span>remind you of <span style="font-size: x-small;">Richard
Patrick</span> from<span style="font-size: x-small;">
Filter.<br />
</span>The <span style="font-size: x-small;">song
is not deprived of a harsher tone</span>,<span style="font-size: x-small;">
expressed though raspy, vibrat</span>ing <span style="font-size: x-small;">tones
</span>by <span style="font-size: x-small;">Gaston de la Vega
</span>striking his loose <span style="font-size: x-small;">bass
strings. </span>The <span style="font-size: x-small;">arrangements
are written to expose the players either separately or together,
through in terms of modern rock, obviously the guitar played by Oscar
Rodriguez is placed in the foreground. The drums could have sounded a
bit heavier and deeper at some point</span>, but <span style="font-size: x-small;">Brandon
Leidel played his parts very well, nevertheless. The band
collaborates nicely</span>, with no single sound <span style="font-size: x-small;">com</span>ing
<span style="font-size: x-small;">on too strong.</span></div>
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<span style="font-size: x-small;">Technically, 'So Far' is a
short track and would certainly fit in a lot of </span>media<span style="font-size: x-small;">,
from ads to movies. It </span>should also do well on the radio.<span style="font-size: x-small;">
The song's mood feels melancholic - it brings feelings of loss,
passing of time, letting go, self-realization</span>. T<span style="font-size: x-small;">hus</span>,
<span style="font-size: x-small;">even if </span>the <span style="font-size: x-small;">theme
is not necessarily related to love or passion, it'd still match a
variety of emotionally touching, creative ideas. Does 'So Far' sound
original? Not really, but Moon Pigeon certainly know what's
attractive </span>for contemporary <span style="font-size: x-small;">audience</span>s
<span style="font-size: x-small;">or certain demographics. In
fact, many listeners enjoy what they've heard</span> before<span style="font-size: x-small;">,
</span>and that <span style="font-size: x-small;">makes it
easier for new bands to be taken under consideration too. </span>There
<span style="font-size: x-small;">is a truly modern rock vibe
</span>present in the track - <span style="font-size: x-small;">so
if you </span>are a fan of the genre<span style="font-size: x-small;">,
you will get hooked since the song is </span>a solid piece from start
to finish<span style="font-size: x-small;">.</span></div>
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<span style="font-size: x-small;">Moon Pigeon belongs to those
bands </span>that <span style="font-size: x-small;">enjoy
touring, </span>so <span style="font-size: x-small;">if you
liked the sound of 'So Far', make sure you watch them perform liv</span>e<span style="font-size: x-small;">.</span></div>
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<span style="font-size: x-small;">(Katarzyna 'NINa'
Górnisiewicz, October 15th, 2016. Proofreading: Mike 'Vesper'
Dziewoński)<br />
</span><span style="font-size: x-small;">Source:
<a href="http://industrialrock.net/php-files_en/articles.php?article_id=585">http://industrialrock.net/php-files_en/articles.php?article_id=585</a></span></div>
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<a href="https://facebook.com/moonpigeonofficial"><span style="font-size: x-small;">https://facebook.com/moonpigeonofficial</span></a></div>
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<a href="https://www.youtube.com/channel/UCBotI22uh9iTofe7VD0iyBg"><span style="font-size: x-small;">https://www.youtube.com/channel/UCBotI22uh9iTofe7VD0iyBg</span></a></div>
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<a href="http://reverbnation.com/moonpigeon"><span style="font-size: x-small;">http://reverbnation.com/moonpigeon</span></a></div>
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<a href="https://twitter.com/moonpigeonband"><span style="font-size: x-small;">https://twitter.com/moonpigeonband</span></a></div>
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<span style="font-size: x-small;"><br />Buy on:
<a href="https://itunes.apple.com/us/album/so-far/id1159456915">https://itunes.apple.com/us/album/so-far/id1159456915</a></span></div>
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<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/ka2mn6fPn90/0.jpg" src="https://www.youtube.com/embed/ka2mn6fPn90?feature=player_embedded" frameborder="0" allowfullscreen></iframe><br />
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Reviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2279994722550057226.post-41382561022560675792016-09-13T11:15:00.000+02:002016-09-13T11:15:55.968+02:00Interview with Darice M. Kannon<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifb7Apzxy9y1PCRrvxGJDw1EsdQqIfyHlCzRZYK_Jhsp9TY5VHBsnxrUSir6tVsaTmB_eKXrdoupuwYce3d8L0zSENtdJMC9WMJd6jxB69gyLdneouz41rxhYbXRrqKishUMhhYXiouzCp/s1600/AnaheimStadium_frontMoving.avi.Still017.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifb7Apzxy9y1PCRrvxGJDw1EsdQqIfyHlCzRZYK_Jhsp9TY5VHBsnxrUSir6tVsaTmB_eKXrdoupuwYce3d8L0zSENtdJMC9WMJd6jxB69gyLdneouz41rxhYbXRrqKishUMhhYXiouzCp/s200/AnaheimStadium_frontMoving.avi.Still017.jpg" width="200" /></a></div>
<b>Interview with Darice M. Kannon (2016)</b><br />
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<strong>NINa: Do you have any advice for aspiring writers? Is it always a
matter of 'believing in yourself' or self-discipline and hard work to
have the book completed and published? Or maybe it's other people's
encouragement that makes writers succeed? Finally, where will you
publish your book, and in what formats?</strong><br />
<br />
<strong>Darice</strong>: Find your authentic voice no matter what anyone
thinks and build the empire behind you. Also, outline your story.
Without a spine to follow, it's possible to quit because you lose your
voice and begin to question yourself.<br />
<br />
<b>Full interview: <a href="http://industrialrock.net/php-files_en/articles.php?article_id=584">http://industrialrock.net/php-files_en/articles.php?article_id=584 </a></b><br />
<br />
<i>*Darice, a writer and musician, had an interesting concept of merging both of her interests. She wrote a book titled Condemned and illustrated the emotions of the book's characters through songs, gathered on an album with the same title.</i> <br />
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<br />
Interviewed by <a href="http://industrialrock.net/" rel="publisher">Fabryka Industrial Rock & Metal Encyclopedia</a><div class="blogger-post-footer">2020 (C) Fabryka Industrial Rock & Metal Encyclopedia http://industrialrock.net</div>Unknownnoreply@blogger.com