Dogmachine - Futuristic Urban Cult

Dogmachine - Futuristic Urban Cult |self-released, 1997/2015| 4/5 industrial rock metal

1. The Killer Inside, 2. Adrenalin, 3. Disorder, 4. Wetware, 5. Fetish, 6. Bastard Son, 7. Machinehead, 8. Endymion, 9. N.F.F., 10. Love Is A Disease, 11. Shadows Of The Abyss, 12. Rock Pig, 13. Headwound, 14. Scream Of Croetious

Stereotypically, Australia is a country where you'd rather expect to find organic, folk or easy-listening electronic music courtesy of Icehouse or Kylie Minogue, rather than industrial - unlike in the usually noisy regions of Europe or US. Of course, Australians have the mining industry digging in Aboriginal sacred sites and port harbours with their specific acoustic atmosphere, but a vast part of the land doesn't inspire creating cacophony. Yet there have been several bands utilizing industrial noises which have received an international recognition such as S.P.K. or Foetus.

Dogmachine is an industrial band from Brisbane founded in 1993 by Kraig Wilson and Mark Finch. They had their music videos for "Fetish" and "Headwound" aired on MTV during the 1990s, the station's best years. They toured with Atari Teenage Riot, White Zombie, Pitchshifter, Pop Will Eat Itself, Snog, and Insurge amongst others. However, the band was put on hiatus after releasing their Futuristic Urban Cult full-length album - the only in their so far discography (1997). When Pop Will Eat Itself toured Australia again and played in Brisbane in 2014, Dogmachine was reformed to support the PWEI's event.

The digital version of Futuristic Urban Cult that you can buy these days is a re-release of the original album. It has 14 songs on the tracklist and begins with "The Killer Inside" - a murderer's confession supported by steel factory-like bursts and beats. A short techno synth sequence joins next and is followed by guitar riffs kept in then trendy metal-esque arrangement mixed with pulsating synths. The song obviously brings a lot of influences derived from punk, industrial, techno, rock, and metal.

The beginning of "Adrenalin" recalls an 8-bit game's laser shooting SFX that is then combined with punching yet bubbly synths. The arrangements are mostly built upon sound effects that the entire track is full of. After getting the 'let's go', the tempo accelerates to catch up with the pace typically offered by speed metal. If you recognized any guitar riffs here, your ears didn't mislead you - they were digitized. Vocals are distorted and quite silent. The track brings the vibe of simplistic 90s industrial rock mixed with cyberpunk and therefore, may melt a few hearts of the older generation industrial music listeners.

We're entering the factory again at the beginning of "Disorder", where the metallic hammer beat dictates the rhythm. Messy, 'disordered' guitars join next and break that harsh industrial atmosphere apart by adding more lively dynamics. Simple, repetitive riffs are quite typical for the 90s decade and may be found in other industrial bands' compositions. The lyrics are rhythmically recited, because industrial songwriting often treats the human voice as yet another device, rather than letting it preserve its natural timbre.

"Wetware" is a noisy track which may be appreciated by die hard industrial music fans thanks to its knotty composition filled with simple arrangements. It begins with a buzz and sound distortions followed by short and looped guitar riffs. The instruments keep communicating in their own secret language, while male vocals whisper and groan for 'more'. The guitar riff becomes heavier and more dominating at times, but is then quickly pushed away by dry beats.

As mentioned before, "Fetish" was featured on MTV. It is a song in vein of Atari Teenage Riot, with feisty female vocals and a speedy tempo built upon beats and a looped guitar riff. There's also a cyberpunk accent with an old-school digitized computer voice commanding to 'enter the data now'.

A transformed bass guitar sound along with a vibrating riff open the following track, "Bastard Son". It sounds very rhythmic, concrete, and probably most organic from all the songs so far present on the album. A simple arrangement reoccurs like a smashing hammer's stroke through its entire length. The spoken lyrics match it very well, leaving some space between the instrumental and vocal parts, and avoiding excessive density.

"Are you human? You are simply a machine." This statement seemingly borrowed from Robocop, opens "Machinehead". It is followed by a suggestive mix of SFX once again reminiscent of old 8-bit video games. The drum beat and down-tuned guitars join next to take this initially old-school atmosphere into a hellish underground. The arrangements are quite tight and complex, making it another non-easy listening yet classically industrial track.

"Endymion" opens with the voice of a weeping woman and a short speech delivered by a man in one of Eastern European languages. The atmosphere turns tense through slow, ritualistic drum beats dealing their sound in unison with looped synths. A sense of panic goes alive through a crowd’s screams, the chorus in the song. Such a doomed mood may illustrate some kind of an ultimate, inevitable judgment day.

Another 90s industrial metal tune is brought with "N.F.F". This song's topic refers to Nazis so you get a sample of Hitler's voice. The song keeps a military mood delivered by harsh bass lines and a lot of drumming. The repetitive vocals may embed "N.F.F." deeply in your memory.

The following "Love Is A Disease" is a short and noisy, beat-driven track with an experimental vibe and science fiction SFX wheezes. The song title is repeated over and over as the sole line of the lyrics.

When you hear "Shadows Of The Abyss", you'll notice it is kept in a completely different mood when compared to all the other tracks on the album. The atmosphere is creepy, 'vampirish' and based on graded synth arrangements and female vocals inviting comparisons with Goth music.

"Rock Pig" sounds very complex from the very beginning, contrary to the title. It offers a dirty, distorted, garage sound in the vein of 80s hardcore bands. The arrangements written for drums, bass and guitars dominate here, while vocals are aggressively spoken as accompaniment. The overall mood makes it a good interlude for the next track, "Headwound", available as a single on many CD compilations. The dynamic, in-your-face intro brings looped chunky guitars, occasionally sprayed with industrial noises, pushy drumming, a spiral-esque rhythm, some police sirens, and the feverish mood of a street riot. "Headwound" could also illustrate three attributes of modern life that make your head spin - constant rush, stress and pressure.

The ultimate track, "Scream Of Croetious", brings a murky cinematic vibe that could easily act as a soundtrack for a post-apocalyptic short movie. Background droning is mixed with a piano, spoken lyrics, a man's screams and a crying baby. This mix is followed by a large scale explosion, similar to that of a nuke or a volcano. Later, guided by a carefully selected batch of sounds, listeners may imagine lost scared souls of deceased people escaping life’s hellish drama through a skewed dimension.

Futuristic Urban Cult is a trip back to the sensibilities of 90s industrial music, proving the genre’s and the era’s authentic vibe. The rise in popularity of electronic devices in making mainstream music was profound twenty years ago. Industrial musicians were the cutting edge protagonists in testing the boundaries of what could be done. Popular yet simple sound effects and sample libraries, utilized with analogue samplers in 1997 may sound a bit rough these days, but they give you a true taste of the past. In addition, every track on this release seem to have its background story announced through the song title, and then expressed with a collection of thematically composed sounds.

The reformed Dogmachine played two shows, but currently have no plans on performing live until another opportunity comes. The musicians have other musical projects going on. Roger Menso's NyteShayde (formerly known as Punch Drum Monkey) is busy making a new album. Daniel Newstead runs Omegachild, while Craig Wilson owns Synaptic Studio and creates under the moniker of Replikant, his solo project. Jodie Taylor is an educator, author, producer, vocalist and LGBT activist. Finally, Stephen C. Birt keeps drumming for many bands and is a prolific drum teacher.
More reissues from Dogmachine’s back catalogue are coming soon, so if you enjoyed Futuristic Urban Cult, check them out and share your feedback with the musicians.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, October 13th, 2015. Proofreading: Mike 'Vesper' Dziewoński)





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Reviewed by Fabryka Music Magazine

Interview with The Seas 2015

NINa: Does having 2 full-length albums released so far (A Separation, 2011 & Give Up The Ghost, 2015) make you feel self-confident about your band and the reception these albums have enjoyed, or do you still feel that you need to 'prove' yourself musically and grab more attention of the music industry? What response to your songs do you desire the most?

Michael Sliter: We are really proud of our two albums. I think there is a confidence that comes from all the hard work that goes into writing and recording the songs. There’s something cathartic about the whole process. Releasing those albums have probably taken away some of the pressure to prove ourselves to others, but we are perfectionists - so I think it’s more about proving to ourselves that have more to contribute that what we’ve already accomplished. Ultimately, I just want people to hear our music and feel a deeper connection to it.

Source & full interview: http://industrialrock.net/php-files_en/articles.php?article_id=563

Interview by Fabryka Music Magazine

The Seas - Give Up The Ghost

The Seas - Give Up The Ghost |self-released, 2015| 5/5 electronic/rock/metal

1. Battlecry, 2. Across the Earth, 3. Broken Bones, 4. The Hunter, 5. Premonition, 6. Mistakes, 7. Heterochromia, 8. Give up the Ghost, 9. All Our Weight, 10. Staring at the Sun, 11. Into the Fray, 12. Down, 13. Sharona

It's been 4 years now since The Seas released their debut album, A Separation. The musicians of this American electronic-rock quartet have a special creative bond that has naturally grown throughout those years. This has resulted in putting out another well-thought, arranged and composed album, Give Up The Ghost, offering 13 brand new songs. The music on the new release is mostly guitar driven, but all compositions offer a variety of flavors and contrasts - either tense or uplifting, and always touching.

"Battlecry" opens the album with soft guitars, switching later to a heavier tune. The high-pitched vocals (by Michael Sliter) along with the guitar (by Logan Powell) occupy the foreground, while the bass (by Jeremy Williams) and drums (by Richard Sester) provide a matching fill in the background. The tempo is rather slow and the general feel is that of despair. A prolonged scream and low tuned guitars lead listeners to the song's end.

Give Up The Ghost was thought as a concept album and thus, every song is linked with its immediate neighbors - not technically, but rather based on moods and tempo. Therefore, "Across The Earth" begins with a heavier vibe which, judging by repetitive bass lines and slow drum beats joined by emotional male vocals, is reminiscent of Tool's music. Michael controls his voice very well - his tone and range make The Seas' songs sound very characteristic. On top of that, "Across The Earth" is a memorable, very well written composition with each arrangement in the right spot, but not sacrificing the melody’s freedom.

"Broken Bones" sounds straight up goth from the very beginning thanks to a melancholic guitar tune which once goes low and deep, then reaches up for higher, melodic tones. There are also screams of panicked people, so listeners may imagine some incoming horror. Nevertheless, the entire song sounds more like an intro to a potent sequel rather than an already completed composition. The tension is growing towards the end but never reaches the anticipated apex.

The first notes of "The Hunter" jump in with a refreshing vibe, making it an instantly memorable melody. There are samplers (by Richard Sester) in use as well, which give the arrangements an electronic feel. However, the combination of vocals, guitar, and bass keeps the organic priority here. There's even an interesting synth addition which a receptive ear may associate with Delia Derbyshire's Dr Who main theme. Such placement makes it a neat contrast with the low tuned bass and high-pitched guitar riffs so the execution of this nifty idea can be considered successful. The track's mood is nostalgic and heart-opening to the point that it might make a few more emotional listeners shed a tear or two.

"Premonition" opens with weird, quite disturbing sound effects that may be an attempt at imitating the resonance of telepathic communication or even an alien's messages. This short instrumental track brings a murky and mysterious atmosphere, that could easily be utilized in a thriller movie.

You will love "Mistakes" for its well written, heavy composition, amazing arrangements and professional performance. The song's intro doesn't reveal what's to come but once it develops further, you'll know there's so much to discover with every new bar.

The transition gap between "Mistakes" and "Heterochromia" is virtually inaudible. The latter is both heavy and melancholic. It seems to be written for Michael mostly, letting him present the best of his voice. His vocals are supported by subtle arrangements written for all instruments and combined with samplers. There's also a melodic guitar solo which artfully emphasizes the emotion of the voice track.

If you loved "Mistakes", you will get definitely hooked on the album’s title song as the well. The composition is rich with arrangements, including both organic and electronic sounds. There's nostalgia, mystery and tension. The melodies will carry listeners far away, anchoring their attention with a single bass line. "Give Up The Ghost" crowns the tracklist on the strength of its amazing song writing and skillful performance.

While most of so far songs sounded guitar-oriented, "All Our Weight" brings an electronic addition just in the very beginning. A repetitive, clapped beat, characteristic of pop and hip hop appears next to more elusive guitar tunes, definitely capturing listener attention. It is later replaced by drums which along with affectionate vocals continue the main motif to the end of the song.
And again, the end of the track is swiftly linked to the beginning of "Staring at the Sun". This composition is a return to the sound heard at the opening of the album - the low tuned bass and high-pitched guitars creating memorable melodies. Gazing at the Sun is generally not recommended due to the obvious danger of having your retinas damaged, but listening to this potent song (especially with eyes closed) should please you immensely.

"Into The Fray" is yet another short interval between compositions, akin to "Broken Bones" and "Premonition". Its piano-based instrumental arrangements make it a good fit for a thriller movie, while scary breathing makes eerie food for imagination.

The first tunes of the lyrical yet heavy "Down" should make your heart beat faster through a slightly increased tempo, like in "The Hunter". The vocals are high and charged at times, later giving instrumental arrangements enough space to grow. If you listen closely, you'll notice both magic and technology present in the song. The drum beats are irregular but matched within the composition very well. The bass lines sound solid and the guitar doesn't jump before vocals. Yet another song to enjoy Michael's voice.

It's time for a cover now. The original, rock'n'roll version of "Sharona" was released by The Knack in 1979. The evergreen hit song has been covered by several other artists throughout the last three decades. The Seas had taken their shot at it as well. The tune’s atmosphere feels slow and weary at first, quite surprisingly if you consider the original source. One could tell The Seas have been inspired by Nine Inch Nails' newer songs and Reznor's method of singing, specifically when Michael sings "never gonna stop, give it up". The arrangements gradually open up and grow to the point of expressing peril, supported by very heavy, pleasantly entwined and graded guitar riffs. The cover's finishing guitar sound imitates a motorbike’s engine, in accordance with the lyrics.
It definitely has the heaviest guitars on the album and certainly speaks for the band's creative potential. If the next album is going to be this massive, it should be greeted with applause.

Sensitive listeners may identify with all the difficult theme present throughout the album - spiritual development towards original purity, strength, and balance within. Songs on Give Up The Ghost speak of accepting change as a means of progress, defying fear and negativity, separating the truth from the lies, stereotypes and imposed dogmas, then finding one's place and fulfillment in the Universe. In addition, the diversity deeply entrenched within The Seas' work make their songs feel as if they were much shorter than they actually are. Four or six minutes pass by so quickly that listeners, captivated by the sound, may take a while to realize that another song is already on. If you've enjoyed the band’s first album (A Separation) or if you love Tool and similar bands but are looking for something fresher, make sure you buy Give Up The Ghost and support the band.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, September 29th, 2015. Proofreading: Mike 'Vesper' Dziewoński)
Source: http://industrialrock.net/php-files_en/articles.php?article_id=562

Interview with The Seas


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Reviewed by Fabryka Music Magazine

Cerakai - I Feel

Cerakai - I Feel (song review) |self-released, 2015| 4/5 rock/punk

If you're looking for an extremely memorable track here's one which is pretty short and has massive hit potential. "I Feel" talks about the importance of understanding the world around you with your heart and soul, not just with cold logic, as expressed in the lyrics: "We believe only what our eyes can see / We don't believe how to feel no more". The downside of an industrialized society is that when someone turns out to be sensitive and uses their feelings rather than the brain or acquired skills, the less empathetic but ego-driven people unfairly judge such an individual as 'weak'. Though, said empaths are a step further - feelings help humans connect with nature, since they come from it, and this link had never ceased to exist. When we go to a forest, we first feel its energy, then our brains recognize colors and sounds, yet all these are frequencies. The living Earth feels our actions, not just physically, but on an energetic level too, thus we must care for this meaningful relationship.

UK based Cerakai's "I Feel" addresses this subject through feisty, dynamic arrangements and an emotional performance. The track opener already gives listeners a taste of the chorus. The rebellious rocking mood turns subtle when the first fire is put out. Technically, the shift between verse and chorus is extremely well synchronized. The verse arrangement is reminiscent of 80s Punk, and New Wave judging by the melodic guitars and recognizable, slightly melancholic vocals.
Cerakai knows well how to serve tension by changing the tempo. Here, it also includes a mix of vocals and a random drum beat, both of which intensify during intersections between verses and the chorus. The voice then turns into a temperamental scream while the instrumental arrangements continue, joined by bass and guitar.

With such a track, Cerakai may reach out to Greenpeace or any other legal ecological organization about its placement on a various artists compilation album (in case they have another musical project to be announced). Undoubtedly, "I Feel" will be a perfect match, with its intense, rebellious vibe and the main theme referring to humanity's increasing ignorance towards its natural environment. It's enough to mention that the pushy industrial society hasn't yet developed any affordable and successful ways to let the entire population escape Earth in case of a global, man-made catastrophe. Hopefully, "I Feel" will raise the awareness of its subject matter among music fans.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, August 31st, 2015. Proofreading: Mike 'Vesper' Dziewoński)

Source: http://industrialrock.net/php-files_en/articles.php?article_id=561

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Reviewed by Fabryka Music Magazine

New Breed Invasion - Eternity

New Breed Invasion - Eternity (song review) |self-released, New Breed Invasion, 2015| 4/5 industrial metal

New Breed Invasion is the new musical project of Daniel, the founder of Sekten7 and Tribeleader. Akin to Sekten7's music, the new track brings a rough, rhythmic, and industrialized vibe filled with chunky, vibrating guitar riffs and predatory vocals.
The atmosphere is dense and heavy but listeners will find the track quite easy to get hooked on thanks to well put together repetitions. Drums and guitars are put to the forefront, while the hellish voice remains a bit subdued throughout the entire track. Lyrics are rather spoken in a possessive way than sung. A simple looped yet melodic arrangement makes the guitar riffs sound mighty. Since the song is so down-tuned, any graded arrangements or sounds coming above the low scale make a big difference and engage the listeners better. This happens with the chorus, where the riff is higher and spread broader - also joined by vocals reminiscent of both 1980s Goth/Cold Wave and 90s Industrial Metal times. Fortunately, the track is not kept in any "trendy" style and therefore should age gracefully. Moreover, the guitars resonate with a slightly djent-esque distortion giving them a modern vibe.

Parts of the track are very memorable, but listeners will probably find this out only after a few additional plays. That's a good thing, since the song may not become boring after being looped on repeat.
The arrangements aren't complex, so they won't engage the logical part of your brain, but the dynamics will definitely make your heart beat stronger. The rhythm is so concrete and visual that sometimes you can easily imagine an audio graph with the dotted waves joyfully jumping along the scale.

Daniel as a sole member of the band wrote the track, played all the instruments, and then mixed and mastered it. Personally speaking, the drums could still have been cleaned a bit more, since the guitars and vocals have some depth or 'echo' effect but the drums sound too dry - specifically the cymbals sink into the composition without much of a footprint.

"Eternity" could be illustrated with a thought-provoking music video with rapidly moving, distorted images in low quality, where nothing is polished - similar to the visuals behind 90's Schnitt Acht. There could also be an additional background story like those found in The Fields of The Nephilim videos.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, August 11th, 2015. Proofreading: Mike 'Vesper' Dziewoński)



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Reviewed by Fabryka Music Magazine

Beer Killer - What Else

Beer Killer - What Else (song review) |Dogozilla S.R.L.S, Start Living Or Die Today, 2015| 4/5 hardcore/punk

Beer Killer is an Italian hardcore-punk quintet. The musicians’ influences and sonic experiences vary from metal, hardcore and punk through funky and electronic-dance to classical and jazz genres. The line up includes Fulvio (guitar), Miki (bass), Manuel (drums), Panga (guitar), and Viktor (vocals). Their musical careers began at the end of the 80s, except for Panga who started playing guitar in 1997. They performed several live shows and their tracks were played on various local radio stations. In addition, Miki - a former DJ - collaborated briefly with the once famous indie electronic act Apollo 440.

"What Else" begins with a short electronic arrangement which could illustrate such lofty themes as the Universe and its galaxies, space travel, spirituality, and more in that vein, thanks to its vibration. It then turns into an in-your-face hardcore song, clocking in at less than 3 minutes. The arrangements are fueled with edgy guitars, rebellious vocals and a fast-paced rhythm that emanates rough masculine energy all over.
The two guitars collaborate nicely with the bass in both verses and choruses. The riffs are simple, yet graded to increase the sonic tension when necessary. The intensity and dynamics run high through the entire track and hit listeners like a tornado mixed with a twister. It should be noted that Beer Killer has a very skilled and convincing drummer - Manuel plays like a well-oiled machine on this track! In addition, the drum beat is very exposed, perhaps even stealing the show from other instruments. The vocals are aggressive and coarse, and would definitely sound homely in any hardcore song.

"What Else" is a potential hit to the point that you can definitely see yourself rooting for the band to perform it live. The production sounds a bit dirty however - maybe this is what real hardcore fans like - allowing for a virtual trip to a venue rather than enjoying the track on a home stereo alone. Moreover, the song's arrangements bring back the original feel of old-school American and UK hardcore-crossover sound represented by the likes of Agnostic Front, Disorder or Broken Bones - the bands that inspired Beer Killer to form their own group. If you're in love with Ministry on the other hand, the speedy riffs here will keep you pleased as well.

Beer Killer's forthcoming album Start Living Or Die Today will be out in September 2015, available on iTunes, Amazon and other digital distribution channels. Interesting trivia: the band received the permission of the Madrid Pardo Museum to use a famous painting by Hieronymus Bosch as its cover.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, August 1st, 2015. Proofreading: Mike 'Vesper' Dziewoński)
Source: http://industrialrock.net/php-files_en/articles.php?article_id=559


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Reviewed by Fabryka Music Magazine

Cerakai - Against It

Cerakai - Against It (song review) |self-released, Cerakai, 2015| 4/5 Punk/British Rock

Cerakai is a UK based producer and musician with over 10 years of experience in the field. He's been measuring his song writing and compositional skills against various music genres to find the best match for further musical development. Now he presents a brand new punk-rock track, making a solid departure from his previous hip-hop and electronic compositions released on the Within Your Realm solo EP.

"Against It" blooms from the very beginning with open dynamics provided by accented drums and high-pitched guitars, followed then by the bass and straightforward, shouted vocals. The mood and performance are as spontaneous as the punk attitude requires. The vocals have a taste of a 'young & rebellious' yet sound 'metallic', probably thanks to a mic filter. The arrangements are melodic but also include a mix of metal and hardcore sounds. The graded, vibrating guitar riffs and filling drum beats found in the third part of the composition make for a neat change from the simplistic punk rock songs which you may have heard before. The rhythm changes help the composition remain interesting by shifting the listeners' attention.

The song writing as well as the rhythmic, smart and well rhymed lyrics sound great. Consider this: "I was born in the ocean and dragged from the sea, I got goldfish lungs and I can't breathe (…) There's a bunch of vultures cycling me, I gotta find my way back to the sea". As you may suspect, the theme of "Against It" calls out for resisting things you are forced to do against your needs or will and the overall world-wide bigotry supported by the lack of human empathy. The song is quite memorable and could easily engage the audience to sing along with the band's leader when performed live. It may happen soon, as Cerakai is planning a national UK tour to promote the album.

On a final note, a few things you should know. Firstly, the reviewed track is a slightly different version to the final one appearing on the upcoming album, which you'll be able to buy from on-line music distributors in the last quarter of 2015. Secondly, Cerakai doesn't have a solid line-up yet as they've just formed mid-2015 - various guest musicians were invited for the album’s recording while Ben, the group's founder, sings and plays the guitar on each of the twelve songs. Finally, the mastering and production sound as if done a bit intuitively in this version, so an overall cleanup may be needed before the final release, since the current mixdown gives the impression of a live event rather than a studio version. Undoubtedly, the song's quality will be improved for the final release.

Overall, if you like bands that perform for the joy of playing and bringing pure British Rock energy at the speed of 145bpm, then Cerakai's sounds may be ideal for you.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, August 1st, 2015. Proofreading: Mike 'Vesper' Dziewoński)
Source: http://industrialrock.net/php-files_en/articles.php?article_id=558


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Reviewed by Fabryka Music Magazine

Cerakai - Only You Know

Cerakai - Only You Know (song review) |Gracie Productions, Within Your Realm EP, 2015| 4/5 electronic lounge

Cerakai is a UK based producer and musician with over 10 years of musical experience. Despite playing in a UK band before, he traveled to Sydney, Australia, where he launched a solo project. This probably lets him get more control over writing and managing own content for further development.

Fans of mellow lounge music will definitely enjoy this well balanced song at its “just about right” length. "Only You Know" includes arrangements written for several instruments. The graded, organic bass lines sound moody and velvety. The synth is high-pitched, cold and at times resonating. The occasional guitar riff vibrates nicely and pins into the arrangement like a needle. The beats are quick and dry. On top of all this, there are also delicate male vocals reciting the lyrics. The voice is matched well to the subtle yet groovy atmosphere.

The composition is simple and based on sweet repeating arrangements. Nevertheless, it sounds 'multidimensional' thanks to the vibration of each sound - the bass brings a lot of warmth, countered by the coldness of the synth. Both always oscillate, catching your attention in their opposing ways. Therefore, the human brain's hemispheres seem to be equally involved in processing these sounds - their math (through the timing of repetitions) and harmony (overall mood) together.

However, the track undoubtedly needs a matching intro and outro, that would help emphasize the body of the content better and 'zap' it into a shapely form. Without these, the song has no frame and opens with the same synth-bass arrangements which continuously repeat to the very end.

Finally, what makes the most for an electronic song’s potential is its audible charm and power, but also repetitions that get you hooked. In case of "Only You Know", we can't talk of any overwhelming sonic impact, but the pleasing repetitions are definitely here. Despite the song's gentle vibe (definitely not meant for headbanging), it has a chance to catch on with the right crowd, thanks to memorable fragments in which a sampled female voice repeats "you know". So, a short part of this track could potentially be successfully used as an advertisement jingle.

Cerakai provides music for movies and TV shows as well. Within Your Realm EP which was released in May 2015 is also available in US. It has aired on BBC Radio as well.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, June 22nd, 2015. Proofreading: Mike 'Vesper' Dziewoński)

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Reviewed by Fabryka Music Magazine

Ronan Le Barbare album review

Ronan Le Barbare - Ronan Le Barbare |self-released, 2015| 4/5 instrumental metal

1. Intro, 2. A Furor Normanorum, 3. Ascension Of The Black Insane Heart, 4. Tamdin, 5. In Utero, 6. The Barbarian, 7. Thulsa Doom, 8. Aromael, 9. Amen (Sepultura Cover)

Ronan Le Barbare is a solo project by French guitarist Ronan LeBouc. He has been making music for the last 17 years and the self-tilted album is his debut. Judging by the title, the musician has been touched and inspired by iconic 80's movies about a mighty warrior - Conan The Barbarian - which illustrated such aspects of human nature as brutality, spirituality, honor, vengeance, and sadness.

The album brings a collection of professionally arranged and performed instrumental songs which were mixed and mastered by Ronan's friend Vonig Le Mee. The highly poetic, spiritually moving "Intro" opens the tracklist with light guitar leitmotifs as well as an intriguing synth part. It is then followed by a series of chunky guitar riffs synced very well with drums, which all announce the arrival of "A Furor Normanorum". Technically, this 8+ minutes long track consists of two parts. The first is dynamic and metal-orientated and provides catchy arrangements (loud rhythm guitars vs soloing, background voice samples and slightly intrusive drums). The second is built upon repetitive, heavy guitar parts and sounds less rhythmic, yet captures the essence of human pain and suffering. It's finished with a murky, buzzing, electronic effect.

The introduction to "Ascension Of The Black Insane Heart" is a large quote taken from American Psycho movie where the protagonist, Patrick Bateman was confessing about his inner drama. The song keeps the tension, expressed through altered, extended, and sometime heavier guitar riffs, whereas a woman's lamentation and her insane laughter are the cherry on the pie of the overall atmosphere of this track. The arrangements are quite repetitive and tightly fill in this lengthy suite.

"Tamdin" begins innocently with an almost Victorian or even New Age set of passages. These then become enriched and develop into an epic guitar-driven arrangement. A Tibetan-like invocation comes in surprisingly, lowering the tone of the track and preparing the listener for a heavier ride. The drums, bass, and guitar that follow collaborate nicely, bringing a progressive metal vibe that sounds very vital thanks to a multitude of changes. The heavier part could definitely make a dynamic soundtrack for an action video game. Gloomy voices return to decrease the tempo and lead to an ending where two guitar arrangements (one gradual, the other stretched) collaborate together nicely, building up the mysterious atmosphere.

If you like melodious gothic moods, then the opening of "In Utero" should please you with its 'windy' mood and subtle, positive guitar arrangements. There's a feel of loneliness and isolation here, which slightly warms up until the spirited progressive rock riffs show up. Next, a very well written and performed, and also instantly memorable part of the composition starts. The listeners might vividly imagine a lone guitar virtuoso performing on a high cliff, with a grey sky as background, but also thunder and lightning approaching behind his silhouette. This lengthy composition gives some space for more 'exotic' instruments and ambient sounds such as ocean waves, which it ends with.

Now, in the name of aforementioned Conan, here comes "The Barbarian", with the most memorable Q&A quote from the movie ('Conan! What is best in life?') in the beginning, and the heaviest metal arrangements presented on this album. The rhythm guitars are layered and sound dirty, with shredding bringing us into higher tones. The drum parts are packed tightly and put on the top along with the bass lines. Tuned down, mighty guitar riffs come up next, reminiscent of Ministry's dense industrial metal vibe and enriched with similarly sampled quotes. Ideal for headbanging. Then the chase slows down again and the focus changes to cold melodic guitar riffs, supported by a slightly chaotic background. Both gradually fade away into the end of the song.

"Thulsa Doom" is another sonic trip into the heavy metal lands, with a dramatic performance by James Earl Jones, also sampled from the first Conan movie. Vibrating guitar riffs keep the sound up and spacey, while interestingly altered rhythm guitars attack from the other side like a swarm of angry hornets. The drums are very well matched, and don't steal attention from the initial guitar-driven dynamics. It's the best track of the whole album in my opinion, thanks to lively arrangements and equally interesting sonic backgrounds. It seems as if they make both of your brain’s hemispheres engaged into processing the incoming sound waves. Ronan openly and successfully shows a full spectrum of both playing and songwriting skills here.

You'll need some rest after the exposure to such a heavy cannonade. The eighth track on the album brings acoustic, subtle arrangements written for both guitar and synths. Moreover, it is the song which Ronan wrote for his daughter. Guitar riffs flow in steadily like ocean waves, later shaped into rock arrangements. A modulated sound of bells ends the track giving it a spiritual, ambient vibe.

The album’s closing track is the only one with actual vocals. Ronan chose to cover Sepultura's "Amen" with his very well matched, partly-growled voice that comes very close to the original. When the original song's overall tune is harsher, and more 'underground' thanks to a strongly accented bass, Ronan's version sounds much cleaner & spacey. Yet, his guitar riffs sound heavier and more modern than Sepultura’s. The song features an opera-like singer's voice, though Sepultura's original sounds more exotic, with the classical vibe playing that part here.

Ronan LeBouc seems to enjoy changing arrangements and may not settle down for making a track with just one mood, one arrangement, and all those repetitions that usually appear in popular song structures. The entire debut presents a cross-section of Ronan's best compositions so far, rather than being a concept album, but the music has lots to say to careful listeners. His songwriting and instrumental talents definitely are in their prime for another release, which could cover an original story narrated with several integrated chapters.

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

Source: http://industrialrock.net/php-files_en/articles.php?article_id=557

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Tengger Cavalry - Horseman

Tengger Cavalry - Horseman (song review) |Metal Hell Rec., Blood Sacrifice Shaman, 2015| 4/5 Mongolian folk metal

While browsing through a long list of metal bands, a listener may find out there are very few internationally recognized China-based groups in the genre. Here however comes an innovative and powerful Chinese quartet presenting traditional Mongolian music mixed with heavy metal guitars. The band members call it ‘Mongolian folk metal’, which is definitely an interesting addition to the already wide spectrum of metal music subgenres. Tengger Cavalry was established in 2010 as a solo project of Mongolian music, film & game music composer Nature Ganganbaigal. He formed the full band with Xin Wang, Kai Ding and Wei Wang later in 2012, and has released four albums in both Europe and United States up to date.

"Horseman" is Tengger Cavalry's newest track and was released on their Blood Sacrifice Shaman album (released as a limited demo version in 2010). The song title refers to a Mongolian nomadic man, one of those who are historically known for their excellent horse-riding skills (as well as hunting with falcons and eagles, as you might have watched in many movies). Fast horse-riding means an accelerated tempo and therefore, the band showcased that in this track.

The song begins with a surprising intro that would work well for an electronic composition, but leaves no doubt what is to come when it is followed by a straightforward guitar cannonade soon after. The track is entirely instrumental but it could sound mighty with growling vocals as well. The arrangements include the aforementioned traditional Mongolian tunes, skillfully combined with heavy, dirty metal guitars. The composition allows for giving space to both - at first you'll hear the folk vibe, then fast-paced drums, bass and guitars, then finally a complete mixture of them all.
The sound is heavy and vibrating but also soft and dreamy at times. Thus, it is a straight call to action that a bit later invites you to take a break. Listeners may imagine a furry horseman resting in front of a tent, next to a bonfire, eating fried meat and relishing the view of the place he was born in and belongs to - a vast grassland overlooked by the snowy mountains in the distance. Such a landscape may look boring to some foreigners, but it means freedom, survival, and a direct contact with nature for any native. After the rest, you can see him continue his mounted exploration of the land.

Is this kind of music inspiring? Definitely, as much as Norwegian metal drives listeners to dig into the Norse mythology to study about Valhalla, Fenrir or Yggrasil. In fact, Tengger is the name of the sky god of the Mongolian land. Moreover, if you're a fan of metal music looking to branch out, then this track may encourage you to not only start listening to Mongolian and more Asian ethnic music, but also researching and supporting the growing metal music scene over there.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, June 5th, 2015. Proofreading: Mike 'Vesper' Dziewoński)





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Interview with In Virgo

NINa: An album that offers catchy, smartly arranged and composed tracks, with many potential hits, almost calls for a tour to check out how people react to your music. I've heard you'd like to perform for soldiers, just like Filter did in Iraq a few years ago. Would you be interested in playing shows for the U.S. Army only or perhaps other allied military forces as well?

Chris Hodges (vocals): Performing for the wounded warriors at Camp Pendleton was one of the highlights of my musical career. It was a special moment, because a lot of them had just landed back in the states from Iraq, and they were so excited and welcoming to us. I got to meet some very brave soldiers who lost their limbs only two weeks prior, but the energy and passion they brought to the show with them was unforgettable. I have so much respect for our military; I'd do a tour for them any day, any time, any location.

Chris Egert (guitar/synth/programming): It would be a real honor to do a gig like that. It’s refreshing to play to people outside of the “scene” who are so enthusiastic and receptive to the music, and a show like that would certainly carry more gravitas and meaning than some stupid bar on the Sunset Strip! My little brother is actually part of the National Guard and getting ready to deploy overseas again this fall, so this kind of opportunity would really resonate with me as well.

April 6th, 2015, full interview at: http://industrialrock.net/php-files_en/articles.php?article_id=555

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In Virgo - In Virgo

In Virgo - In Virgo |self-released, 2015| 5/5 industrial rock, alt-rock, metalcore

1. Set Me Free, 2. The Light At the End, 3. The Chosen, 4. Lost All Of You, 5. The Poison, 6. Breaking Apart, 7. Public Enemy, 8. Bully The Few, 9. Revolution, 10. Colors, 11. Exposed, 12. Part Of Me

It's quite common in the music industry to find a guitar-driven album holding between one and four hit songs. In Virgo's release however may be a breakthrough in that category, since almost every of the 12 tracks present here has the potential to be a hit.
Chris Egert (guitar/synth/programming) has already proved his songwriting skills through making catchy music for his past project Replica. He then joined an electro/rock band September Mourning a few years later. The singer, Emily Lazar worked together with Chris, and also a little with Chris Vrenna (Nine Inch Nails) and Dave "Rave" Ogilvie (Skinny Puppy), leading to the Melancholia album released in Europe in 2012. While we’re talking collaborations, In Virgo's tunes are enriched with clear and metal-orientated voice of Chris Hodges, who definitely sounds fitting.

"Set Me Free" opens the tracklist with a gentle piano arrangement which is then joined by a dynamic fusion of edgy guitars, drums and metalcore vocals. There are guitar rock solos, the bass sounds thick, and every tune fits into the place perfectly. The lyrics here, and in other compositions on the album, refer to breaking from restrictions - and that can mean a break-up, a suicide attempt, opposing bullying, but also awakening to something new or an emotional detox.

"The Light At the End" brings a buzz of dynamics thanks to a tight mix of the guitar-bass-drums combo and rebellious, slightly raspy vocals. The track sounds catchy from the beginning to the very end and the choruses are going to etch themselves in your memory pretty easily. Such attributes make it a smashing hit to be performed live in front of a bigger audience.

The pace slows with the arrival of "The Chosen". The song's mood feels a bit darker than in the first two compositions. A bit more light shines through the choruses, however. As the song’s lyrics develop, a line of standing out vocals casts a feel of courage as indeed, anybody feeling as a 'chosen one' would be expected to express. Amazingly well written arrangements make this track a must-listen. Fans of Filter will dig "The Chosen" right away.

"Lost All Of You" begins with the sound of an unplugged guitar and catchy choirs, as if to avoid a repetition of intro techniques. It then develops into an alt-rock composition by bringing broad, uplifting choruses. My guess is that it was written to flow with sounds of many new and liked bands of the aforementioned genre. Yet there's no copycatting - it’s just In Virgo's original song writing enriched with the by now ‘usual’ edgy guitars. A lively and gentle guitar tune finishes the song, making its end a smooth match with the song's beginning, inviting to a looped listening.

A different vibe is utilized for "The Poison", which is kept in the vein of drum'n'bass thanks to phat and bubbly synths. There are, however, softer vocals used on the top of all the electronica. These can speak for Hodges' talent - his voice sounds at times rebelling, then velvety - and always adjusted to any song's mood. Since "The Poison" is one of tracks bringing slower tempo to the album, you can catch a breath before the high energy returns.

"Breaking Apart" will definitely please Filter’s fans, but they will not be the only ones enjoying it. Aside from bringing a familiar groove and melody, the song is vibrant to the point of spawning images of a fast-pace music video accompanying the track in your head. It has moments of drama, followed by the release of all the gathered-up tension. The drums and bass collaborate nicely here, keeping the dynamics steady. The vocals also comfortably appear as planned along all the instrumental parts, making the whole composition of "Breaking Apart" a prime example of great songwriting. Listeners who prefer heavier tunes get an exciting wall of sound, spiced up with aggressive vocals near the end of the song. Big applause to Chris Egert for the spreading of a harmonious mix of both electronic and guitar driven arrangements.

Next, we have "Public Enemy" with its vibrating, graded guitar riffs and a rebellious, marching vibe. The song moves from aggressive to melodic (and back again), especially in choruses. Through this track, In Virgo proves that a balanced composition needs to keep vocals at bay when there's a good moment to bring up instrumental parts only (and vice versa). Yet another great live show song.

As the title implies, "Bully The Few" touches on the very hot and relevant topic of bullying and speaks about breaking away from your enemies to honor your personal human freedom. It brings an equal portion of synths and guitars along with aggressive vocals and powerful dynamics. Yet again, In Virgo gives you a lesson in how to end a track properly.

"Revolution" comes with a slower tempo than its predecessors, but remains energetic thanks to the edgy guitar riffs. Its overall tune is softer, gives a hopeful feel, and could swap the vocals for female ones. Yet another track on the album good enough to be supported by a music video, as it brings a lively set of images to your mind while listening. While the synths put more 'air' and build up a space within the tune, the guitars, bass, and drums keep the entire composition properly grounded.

"Colors", on the other hand, is opened very lightly, with electronic samples. An effusion of guitar riffs follow next bringing a completely different 'color' to the palette of available sounds, including both brighter and darker shades. The riffs here sound dirty at times, while the drums are exposed. The song's mood is positive and uplifting though, with wide-open straightforward and repeating vocal parts make it a highly memorable hit song.

The theme of "Exposed" refers to dropping a mask without fear and living one's life in peace with the authentic self. The composition begins with a delicate tone which is then surrounded by a groovy, interlaced line built upon bass, drums, and guitars. Again, Chris Hodges presents his full voice range and you should be able to tell by now that he's a talented and definitely well trained singer. In addition, tiny choral elements in the background bring an “easy listening” feel to the track.

The album finishes on the peaceful note with yet another mild song. "Part of Me" offers a blend of modern rock sounds and therefore is a perfect track to be aired on the radio. The vocals and guitars are strongly accented but not pushy at all. They both flow smoothly, supported by matching drums and bass lines. "Part of Me" also calls for providing a suitable video for promotional purposes. Finally, if you listen closely to the lyrics, you may find traces of romantic poetry expressed through lines such as "I traded a photograph for sand and blue sky / It fades when the light falls short of your eyes when you cry".

Every composition on this album recalls a full circle - an entirely complete piece of art with extremely well written arrangements and compositions, professionally mixed, mastered, and produced. The tracklist order is set to gradually shift the listeners’ mood and attention for the ultimate listening experience. Fans of industrial rock, alt-rock, metalcore and those in love with Dope, Filter, the 90s Nine Inch Nails or even Celldweller will not be disappointed - but by no means should the audience for this album be limited to those groups. All the tracks could easily find their way to TV, movies or ads through licensing. They are equally promising for powerful live performances or intimate private listening sessions. The LA-based duo distribute their debut album in tune with a revolutionary new business model - you can either download music files for free or buy them. This should guarantee the In Virgo album reaches as many listeners as possible. Make sure you give it a try as soon as you finish reading this.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, April 9th, 2015. Proofreading: Mike 'Vesper' Dziewoński)





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Reviewed by Fabryka Music Magazine

Nick Kane - At The End Of His Line

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

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

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

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

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

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

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Reviewed by Fabryka Music Magazine

Interview with Spookshow inc.

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

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

Interviewed by Fabryka Music Magazine

Sekten7 - I Will Be Light ver 2015 review

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


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

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

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

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

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

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Reviewed by Fabryka Music Magazine

melodic DIRT album review

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

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

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

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

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

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

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

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

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

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

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

Source: http://industrialrock.net/php-files_en/articles.php?article_id=551

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In_zekT - Industrial-Scale Murder

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

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

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

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

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

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

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

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

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

Source: http://industrialrock.net/php-files_en/articles.php?article_id=525

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Reviewed by Fabryka Music Magazine