Toby Poynter - The Comeback (song review) |self-released, single, 2016| 5/5 alt-rock
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.
'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.
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: "Don't come back anymore", 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.
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.
'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 Facebook
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 YouTube.
Dumb Hole – Bravest of the Galaxy |SCHÄF Records, album, 2016| 5/5 alternative rock
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
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.
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. Bravest of the Galaxy includes several songs that will instantly get you hooked thanks to their upbeat tempo and sound.
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.
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.
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.
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.
'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.
'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.
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 official video single
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.
'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.
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.
Bravest of the Galaxy 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
'damn, we're doomed!' 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!
(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock &
Metal Enclyclopedia, November 21st, 2016. Proofreading: Mike 'Vesper'
Dziewoński)
Moon Pigeon - So Far (song
review) |self-released, 2016| 4/5 alt rock
Moon Pigeon is the result of
collaborative venture between current and former members of various
South Florida and Atlanta based bands. Having gathered the
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.
The opening song of Moon
Pigeon's self-titled debut album brings
a moody yet rocking vibe. 'So Far' begins with subtle and
distinctive, new wave guitar
tones, gradually joined
by bass, drums and vocals developing into short verses and the
chorus. Both the instrumental arrangements and the performance sound
solid and give the track a solid foundation.
As a contrast, Mike
Hernandez on vocals
brings a delicate, melancholic layer on the top the music -
his voice may remind you of Richard
Patrick from
Filter. The song
is not deprived of a harsher tone,
expressed though raspy, vibrating tones
by Gaston de la Vega
striking his loose bass
strings. The 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, but Brandon
Leidel played his parts very well, nevertheless. The band
collaborates nicely, with no single sound coming
on too strong.
Technically, 'So Far' is a
short track and would certainly fit in a lot of media,
from ads to movies. It should also do well on the radio.
The song's mood feels melancholic - it brings feelings of loss,
passing of time, letting go, self-realization. Thus,
even if the 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 for contemporary audiences
or certain demographics. In
fact, many listeners enjoy what they've heard before,
and that makes it
easier for new bands to be taken under consideration too. There
is a truly modern rock vibe
present in the track - so
if you are a fan of the genre,
you will get hooked since the song is a solid piece from start
to finish.
Moon Pigeon belongs to those
bands that enjoy
touring, so if you
liked the sound of 'So Far', make sure you watch them perform live.
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?
Darice: 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.
*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.
NINa:
Do you consider yourself a composer-messenger who can wake up people's
forgotten memory through containing certain topics, moods, and
vibrations within your compositions? What areas or worlds will listeners
be invited to with your next album to be released this year?
David:
I believe I have a gift that I work on cultivating every day. I am a
vessel that music pours out of. At times I can direct it, other times it
feels like I have no control over it. I have received many
communications from people who claim to have had spiritual awakenings
through my music, so I can say that to some degree, I believe I am a
messenger. As far as next projects, I plan a deeper, darker collection
of songs, as well as an album of music inspired by changes this planet
goes through each year.
Read the entire interview here: http://industrialrock.net/php-files_en/articles.php?article_id=583 *American
composer & multi-instrumentalist David Arkenstone is a soundscape
explorer who aims to trigger your imagination by delivering both space
and atmosphere locked within a musical composition. He paints
atmospheric landscapes and thus, he's frequently present in movie and
video game projects. Games such as World of Warcraft, Lands of Lore 2
and 3, Earth and Beyond, and Emperor: Battle for Dune (to name a few)
already include David's scores. Having released over 45 albums and
several soundtracks for film and TV, he also received three Grammy
nominations for In the Wake of the Wind (1992), Citizen of the World
(2000), and Atlantis (2004).
David Arkenstone – Beneath A Darkening Sky |QDV Recordings, 2016| 5/5, dark ambient, fantasy 01. The Fog, 02. The Deep Desolation, 03. The Storm, 04. The Moonless
Midnight, 05. The Ice Forest, 06. They Are Coming, 07. The Wind From
The North
American composer & multi-instrumentalist David Arkenstone is a
soundscape explorer who aims to trigger your imagination by delivering
both space and atmosphere locked within a musical composition. He paints
atmospheric landscapes and thus, he's frequently present in movie and
video game projects. Games such as World of Warcraft, Lands of Lore 2 and 3, Earth and Beyond, and Emperor: Battle for Dune
(to name a few) already include David's scores. Having released over 45
albums and several soundtracks for film and TV, he also received three
Grammy nominations for In the Wake of the Wind (1992), Citizen of the World (2000), and Atlantis
(2004). His expertise in sculpting entire fantastic realities with
sounds recently led to the creation of yet another capturing set of
compositions.
His latest opus, entitled Beneath A Darkening Sky, was released
mid- 2016 and is an escapist venture into dark fantasy lands, reportedly
composed by candlelight. There are seven brand new tracks and each
clocks over eight minutes. The album opener ('The Fog') brings a
promising foretaste – a mystical atmosphere, supported by angelic female
voices. A slow, rhythmic pulse appears later, skillfully mixed with
incoming waves and layers of higher tones. Oriental drums and ambient
atmospheres are key elements here and obviously, such a trance-like
melody will allow listeners to detach from the outside world, and
eventually drag them into a world full of magic.
'The Deep Desolation' brings a different mood - foggier and darker than
found in the opener. There's no specific rhythm here but instead, focus
is put on orchestration, violins, and an atmosphere of sorrow. A voice
full of longing adds even more nostalgia to this already slowly passing
soundscape. Unquestionably, it's the perfect composition to be performed
live in a philharmonic with an orchestra. Finger's crossed for David to
land such an opportunity soon!
The expression found within 'The Storm' may surprise those purists who
would expect to hear a cannonade of thunders, a shock of lightnings and
a torrential flood of rain. Instead, David paints the storm with
pastels (including the obligatory thunder strike). Thus, it's not
presented as fearful but as a refreshing, life-giving atmospheric
phenomenon. Imagine a village that had been suffering due to weeks of
drought. When a storm finally arrives, the rain waters plants and
refills the river, bringing everything back into balance and safety -
all is well. However, this delicate approach applies to the first half
of the composition only, because the other intensifies gradually. The
extremely melodic ending part attracts attention through it
'multicultural' feel - as if imaginary Celtic, Indian, and Arabic
musicians united to accompany the storm by transmuting its vibration
into positive energy. One could wish this became true for the political
situation in our world – the oldest, polarized nations teaming up to
quell the fray and make Earth a peaceful planet again...
'The Moonless Midnight' could illustrate a night spent in a monastery or
at an underground occult gathering. Your mind’s eye may spot initiates
chanting around a white pentagram drawn on the floor (certainly dotted
with burning candles and smudged with incense smoke) and the master of
ceremony conjuring inside the symbol. But even if initially only men are
involved here (judging by the voices), the ceremony could be dedicated
to the invocation of a Divine Feminine whose nostalgic voice is heard in
the latter part of the composition. David used waves of ethereal
sounds, splashed with heavier tones, in perfectly matched places.
Discerning listeners should be satisfied, as it seems there's some hard
to beat stereotype of what a mystical site should sound - including
bells, ethereal voices, otherworldly choirs and, for contrast, a few
uncanny drones. 'The Moonless Midnight' is a great example of how music
can (and always should) influence imagination, just like books do -
giving listeners goosebumps!
'The Ice Forest' is a truly awesome soundscape thanks to its cold,
slowly developing set of sounds which keep changing, yet remain
perfectly balanced. In the beginning, the theme has a sci-fi feel thanks
to clearly 'galactic' sound references, despite the song title
suggesting something completely different. There's more dynamics here
compared to previous tracks and also a bit of uncertainty, as if we were
led into a new territory. Arkenstone skillfully operates the harmonic
contrast again, balancing depth and weight. When the arrangement
progresses enough, the listener - so far following mysterious footprints
or a route on an ancient map serendipitously found in a snow-covered
tree trunk - will be led out of the frozen, monochromatic land into a
peaceful, colorful village full of fires in hearths. The atmosphere
brightens up on all levels, thanks to a mirthful rhythm (produces by a
flute, a violin and drums). Our explorer is then peeping from behind the
corner of a hut at locals who dance, sing, and drink wine, celebrating
the end of a long day.
Judging solely by the song's title again, 'They Are Coming' could
probably refer to extraterrestrials. Yet it remains unclear what kind of
entities - ETs, ghosts, Lightbeings or zombies to mention a few popular
ones - the listener may expect to come. This, and other songs don't
provide lyrical content to learn more details from, so we can only guess
that those who are coming are friendly, since the song doesn't carry
any negative, frightening sounds. Instead, a deep nostalgia is
all-present here, with the sounds that build the mood appearing,
disappearing or being replaced by other tunes when their 'mood-making
job' is done. There's also a drum-based background which puts listeners
back into the safety of a trance-like state of being. The track's end
proves David's compositional skills in building finales and switching
between arrangements. Finally, if you've ever heard of the scientific
idea of a multiverse, then here we have the audible example of it –
worlds put into worlds, none fixed too tightly within another.
Even if it initially starts with a drift of a cold chill, 'The Wind From
The North' isn't only freezing - it also brings a warming feel at
times. This is thanks to a deep, bulging, hypnotic pulse, methodically
put in the forefront of the composition with other 'windy' sounds heard
in the background. The human brain is certainly receptive to such a
setting, as the pulse makes it 'attached', with other slowly floating
arrangements opening the soul and leading it into quite an out-of-body
experience. When such a dream-like state is achieved and when the
pulsation stops (it'll come back later, don't worry), the bells and
voices come in, together with a sensation of looking at a vast snowy
land.
This composition carries a very imaginative theme - the lonely voyage of
a Chosen One to survive and fulfill a mission (and obviously, it could
be the perfect match for a movie or a video game with such a plot). When
a cathedral-like atmosphere arises (thanks to suddenly appearing organ
sounds), the listeners may imagine that the traveler has been
side-tracked during the quest and unexpectedly discovered a lost
spiritual site. This place may offer our explorer an experience of
astral travel during which he or she learns more about the ancestors,
him/herself and finally, hears a prophecy related to the mission. 'The
Wind From The North' was released with a music video single, available
on Arkenstone's YouTube channel.
To sum it all up, the songs smoothly connect with each other on the
whole album, so it's not really important which song you choose to start
with – you will always tap into the album's atmospheric leitmotif with
any composition. David's tracks are produced, mixed, and mastered
extremely well. Thus, many aspiring sound designers could learn a lot
from him. He has also mastered techniques of manipulating the volume
(for the illusion of distance, spaces, and dimensions he can pave new
passages through), and operating both weight and harmonic contrasts
through darker and brighter tones. Most of the tracks, quite
characteristically for this album, have a breakthrough moment, usually
placed near the middle of the composition.
Could there be any additional use for this album, besides just
listening? In my opinion, [please credit the reviewer for bringing up
this idea ;)], Beneath A Darkening Sky should be sent to art and
literature schools, along with soundscapes of other well known
'mood-designers' (Mark Morgan and John Powell, to name a few) to develop
and deepen the students’ artistic sensitivity through a series of 'Listen, Imagine, Illustrate' classes.
My only suggestion is that it may be helpful if David uses an extended
sound library of angelic female voices so they could bring a welcome
diversity. A careful listener would rather imagine not the same, but
various 'beings’, occupying different areas of his mythical world(s).
Undoubtedly, this is a must-have album for lovers of video games, movie
soundtracks, soundscapes, dark ambient, fantasy art and more, before
David's upcoming, chill-orientated album comes out at the end of August
2016.
(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, August 16th, 2016. Proofreading: Mike 'Vesper' Dziewoński)
Artist Proof – New Day (song review) |self-released, single, 2015| 4/5 rock
"New Day" is a single by Artist Proof, an indie rock band from
Melbourne, Australia. Artist Proof consists of song writers Chris
Pattenden and Drew Schapper, supported by Dan East (guitar) and Chris
Rourke (bass). They are not your typical sound only-orientated
musicians however, because they enjoy collaborating with (and are
inspired by) other people who express themselves through art – just like
teaming up with, for example, artists who paint murals while the band
is performing in the same room.
"New Day" is also kept close to art since it was inspired by the
paintings of Melbourne-based artist Dagmar Cyrulla. Her art captures
random moments in the lives of ordinary people of all ages, genders and
races.
The song begins with a delicate yet not too highly pitched piano,
sufficient to let the emotions come out by opening the listener’s heart.
It is then followed by a male voice, characteristic enough to remember
it after the first listening. Interestingly, the voice sounds as if the
singer was much older than his actual age would suggest (obviously it is
not always a rule to 'sound' according to one's age).
Once the piano paints the song theme in the beginning, the bass and
drums slightly change it in the latter part of the song. Gradually, a
vibrating guitar tune and the aforementioned instruments join the
singer. They sketch the rhythm, along with adding more sound layers,
building it up towards the chorus. Upon reaching it, the initially
sentimental song turns into a full-blown rock track, though it's still
based on a rather slow tempo, letting a listener focus on the poematic
vocals better.
The strong melody line in the song indicates that musicians have been
inspired by the 70's & 80's music, with its characteristic traits
present in songs by Freddie Mercury's Queen, Pink Floyd, David Bowie -
but also Peter Murphy at times - due to their theatrical, ethereal and
slightly dramatical expression. The arrangements were carefully chosen
and sewn into the composition.
The song is good as is, but will also make for a good background when
matched with an equally emotional video, preferably aimed at the younger
part of the population. Still, since retro seems all the rage now, it
wouldn't hurt to show older people who catch up with their younger
selves, either. Is the song inspiring? That depends on your own blood
pressure. If it's high, your body feels better hearing moody,
melancholic, almost transparent tunes, and it'll thank you for playing
"New Day". If only heavy or very dynamic music can get your body moving,
you should rather choose a different song to accompany your morning
coffee.
Merrin – Mr. Dominant (song review) |self-released, 2016| 5/5 rock, pop, funk
Merrin are a band from Wellington, New Zealand. Judging by their newest
single's vibe, the quartet is aiming to gain attention worldwide,
presenting a potential hit - something the music industry is always on
the lookout for.
The song's low, energizing groove and excellent vocals should agitate
listeners already from the very beginning. The arrangements placed
swiftly within a solid body holding the entire composition, clearly
shared between verses and choruses, make for a really catchy and
powerful song. Any chart topper needs to have some repetitions to remain
memorable, but in this case there’s not a single second of boredom
here.
'Mr. Dominant' begins with vocals that are followed by drums (Richard
Maxwell Jr), guitar (Karl Wootton) and bass (Lisa Tagaloa). The rhythm
is bouncy making the track instantly memorable, yet it ends on a
perfect, popular note with all instruments bringing the rhythm to a
gentle stop. Melodically, 'Mr. Dominant' fuses rock, pop, funk and metal
vibes thanks to edgy guitar riffs, the overall structure, and the
catchy groove. Riffs and drums are less dense, unlike when utilized in
purely metal tracks, so the song may find its way to various listeners,
not bound to any specific genre. Every instrument, including the voice,
has accurate placement, and everything is timed flawlessly. Even if the
song may sound spontaneous at first, there's quite a lot of math hiding
underneath.
The timbre of the vocals is very interesting, since they sound quite
'androgynous' - the voice could belong to either a woman or a young man,
and it’s hard to say before you have a look at the band’s line-up. It's
rebellious, confident, and distinctive - it can tap into higher notes
easily but it mostly keeps a lower, almost masculine tone somewhere in
the middle. Its range intrigues as well. To satisfy your curiosity, the
person behind the voice - Charlie Phillips - is female. Being gifted
with a voice like this, she should expect many opportunities in the
music industry (and beyond, e.g. voice acting in movies or games) sooner
or later. It seems that singing comes effortlessly to her - on top of
that, her voice is easily recognizable.
Lyrically, 'Mr. Dominant' refers to the act of seduction of an
alpha-male man, so called 'the old electric masculine' driven by own ego
and thus, always wanting to be in control. How could a female be in
control of such a guy, then? Using her sexiest attributes, according to
the song writer.
Overall, the song is great for any kind of media placement, and will
surely stir the physical energy of listeners, whether it is aired on
worldwide radio or included on a personal playlist. The song's
recognizable fragments may be a good match for a TV advertisement as
well. Guano Apes, Nico, Living Colour, Deftones, and Rage Against the
Machine - you could probably name these if you really need a sonic
reference, but make sure to check out other songs by Merrin, streamed on
their social profiles.
(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, May 12th, 2016. Proofreading: Mike 'Vesper' Dziewoński)
I would say it has become much easier to create very high quality works since hundreds of years ago. The potential options are unlimited. As mentioned, the problem is that there are way too many people who want to be artists and musicians. There is just no way to fund everybody.
*Gilbert Engle has been composing music for over 30 years and creating art for 25+ years. With over 600 music compositions, 50 albums, 200 visual works and 80 paintings completed so far, he has always had a small, but dedicated fan base. As he has found the time and backing to devote full time to his passions, Gilbert has built the newJazz.net portal to provide free access to most of his completed and upcoming works and to share his passion with a global audience.
Gianluca John Attanasio - Beyond2Doors |House Of Clouds, 2020| 4.5/5
1. King Money, 2. Black Forest, 3. In The Club, 4. I Lost My Angel, 5. God Save Every Soldier, 6. Baby Up Baby Down, 7. Sacred Flight, 8. The Life Will Continue, 9. Living In My Blues, 10. Miss Dog, 11. In The Morning, 12. Silent Roads, 13. Time Is Over
The new album of Gianluca John Attanasio took 3 years to compose during his travels between Rome, London, New York, and Los Angeles. Not only did he write music for independent cinema, theatre, and the dance scene, but also composed, arranged, and produced music during the last 15 years. This is clearly audible to careful listeners experiencing any of the tracks present on Beyond2Doors.
Thirteen brand new tracks offer a blend of many genres - blues, psychedelic rock, rock ballad, or even hip hop. All are united by the lead singer's confident and somewhat raspy voice.
'King Money' brings a typical blues feel and expressive, well trained vocals. Both arrangements and composition keep the classic tone here and, therefore, will be loved by the sound purists. The rocking vibe provided by the bass and drums is additionally contrasted with the higher-reaching harmonica. 'In The Club' is also a track that fans of The Blues Brothers may dig from the very beginning - the odd (but fitting) addition being psychedelic organs. The chorus is extremely memorable thanks to various repetitions and the overall melody. 'Black Forest' is kept in the same vein - swinging sounds just as easy to remember. Vocals, synths, and bass are accented mostly at the beginning, while the guitar and drums take over a bit later, collaborating nicely when the chorus appears. Skillfully written arrangements allow for vocals to be either highlighted by instruments or shine on their own.
Attanasio's admiration for The Doors is obvious in two of the thirteen tracks. 'Baby Up Baby Down' shows it through the use of a synth (perhaps even the famous Moog) and improvisation-like arrangements, perfectly placed within the song. Even if the singer's voice is rougher than Jim Morrison's, it matches the guitar driven musical explorations, from blues to metal. 'Silent Roads' carries the subtle, magical vibe of the iconic 'Riders on the Storm', bringing along a hefty dose of synths. There's a lot of motion in the background and the vocals are matched with these arrangements very well.
As for the ballads on the album, 'I Lost My Angel' is a track suitable for a slow, romantic dance for two, thanks to its melancholic vibe carried by guitar, bass and drums. The other half of the song includes a slightly vibrating guitar solo and a subdued synth. 'Living In My Blues' is kept in a homogenous mood, though its tone is more swinging than that of 'I Lost My Angel', with the guitars accented more strongly at times. Vocals appear frequently and are on par with all the other instruments. It's highly recommended you listen to this one with your eyes closed.
'God Save Every Soldier', as the title suggests, is a tribute to those who have been sent to fight for peace. The song includes a really surprising melody change - with the unexpected arrangement sounding more electronic, including a minimal dose of deep techno bass and a slightly faster beat. It makes the track sound less epic, though the overall mood is peaceful.
Move over, synthesizers - it's time for the piano. 'Sacred Flight' brings piano arrangements with the accompanying lyrics delivered by Attanasio's down-tuned voice, sounding more intimately than in other songs. When it comes to the atmosphere here, hope and drama keep interlacing. The piano arrangements continue in 'Time Is Over', but the style is that of a pop/rock ballad - similar to something you would hear on a Foreigner or Elton John record. The romantic atmosphere is expressed with additional samples of rainfall and subdued thunder, mostly in spots where the vocals take a break. Furthermore, it's easy to imagine 'Time Is Over' being performed by an all-stars crowd at a fundraising concert, bringing back the spirit of the 80's and Bob Geldof's & Midge Ure's Live Aid.
While the piano took over for 'Sacred Flight', guitars get to rule across 'In The Morning'. Instrumentally, it's still kept in an acoustic mood, but it's more rock-oriented, akin to Eric Clapton's music, with the vocals recalling those of Billy Joel. 'The Life Will Continue' has a warm vibe, but the accenting bass and drums take it into rock territory, with a high-pitched guitar soloing in the background, letting the synths and Attanasio's voice be more expressive. The song's production is a bit different, perhaps due to some additional ambiance surrounding vocals and guitar, as if they were recorded live on stage, and later mixed and mastered.
At the opposite end of the musical spectrum presented on the album we have 'Miss Dog', offering a complete change of instrumentation, mood, and style. It contains a lot of skillful borrowings from hip hop and modern pop music, utilizing a faster, danceable tempo and somewhat graded vocals. The lyrics are quite ironic though, referring to the idea of how the hip hop scene uses sex and women as their major song-writing inspirations. 'Miss Dog' may become a steady hit on air if offered to the right broadcasters.
Clearly, Gianluca John Attanasio recorded the album with a lot of moodiness in mind, rather than expressive dynamics. There are clearly emotions at play here, but performed rather retrospectively, with reflection trumping reaction.
Lyrically, Beyond2Doors touches many topics - from an inner journey into the self, discovering emotions, learning from karmic (romantic or erotic) relationships, a dash of loneliness, but also expressing support for soldiers. Since the album is a trip into the blues rock of the 1960's, it's highly recommendable for listeners of all ages who prefer well developed, unhurried tracks coming from the heart.
(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, June 21st, 2020. Proofreading: Mike 'Vesper' Dziewoński)
When you listen to an album that begins with a mix of looped, agitating
sounds of hammering and machines, supported by quick and heavy guitars,
then you’ll recognize the genre straight away. Indeed, Exit is a direct trip into the mainstream industrial metal
music of the 1990s, just as fans memorized its best characteristics
back then, with a distinctive sound that created a whole subculture.
Heretics in the Lab (the original spelling is hERETICS iN tHE lAB) is a
one man band from Virginia, US formed in 2004. Thomas Morgan, who uses
"h3" as his artistic moniker, is a self-taught passionate who does
everything literally from A to Z. Both recorded songs and music video
singles that promote various tracks from the band's discography come
from him. Obviously, additional live musicians are hired for live shows,
but the entire studio work is done entirely by h3.
The newest album brings eight, highly (and equally) energizing songs. If
you, the 90's industrial rivethead, had lost hope for the arrival of
any flooring albums by once recognizable industrial rock and metal
artist such as Marilyn Manson, Nine Inch Nails or Powerman 5000,
then Heretics in the Lab will make your dreams come true, in lieu of
these bigger names. People new to the genre can find the album
entertaining as well, thanks to its dynamical, aggressive vibe.
Let's look into the tracks in detail now. 'Death' is the intro to the
album, with a plainly industrial theme mentioned before. It is also
enriched by sampled speech. The track sounds mighty thanks to a skillful
blend of briefly scratched, predatory guitar riffs and drums laid only
in places where the composition requires and allows that.
Sonically, the introduction's foretaste shouldn’t mislead you, since
'Atrocity' begins with a closely packed, pulsing sound of some device,
of possibly a medical purpose. Medical references – nurses, syringes,
hospital, blood, scars, drips, patches, and bandages are often utilized
in modern but not less mainstream industrial music, thus you've got a
bit of a refresher here. The high beat is then empowered by a deeper
drumbeat and the listeners are taken into a twister of all kinds of
overlapping sounds. These are still kept under rigid control by the
overall composition, which can be witnessed in the song's very end when
the wall of sound is slowly cleaned and pulled down, leaving only the
buzzing guitar to accompany you on your way to the next track.
The industrial opening of 'Precious' sounds very haunting. The song is
accompanied by a promotional music video single (check out the band's YouTube),
full of rapidly firing, thought-provoking images - long-time industrial
music fans should be familiar with such visuals. Since they are matched
with the song's aggressive theme and rhythm very well, I don’t think
many viewers can complain. The sound effects and memorable vocal lines
combined with raspy guitars will guide careful listeners back to ”the
best of NIN” and act as a strong reminder of the vibe known from the now
legendary Broken and The Downward Spiral albums.
'Forever' brings a lot of clicking electronica in the beginning, but
then lashes out with metal through slow and heavy guitar riffs.
Surprisingly, vocals are kept rather high and peaceful here. After
hearing the intro, metal fans would obviously expect growling,
expressive screams or other emotional explosions found within the
verses. This changes a bit when the chorus comes, the vocals however are
mixed with a voice effect that makes the song's overall vibe
mechanical. When accompanied with spoken rather than sung lyrics
(similarly to many other songs on this album), the track becomes a good
reminder of Manson's mortuary, somber, tormented music, not deprived of
memorable dynamics either.
'Special' is a potential hit with its clearly and rhythmically spoken
lyrics, dynamic bass, drums, and noisy guitars - as well as highlighted
moments of anger. It’s very memorable and will definitely work well
during live performances. After that, 'Sorry' arrives with a bit more of
synths, making it sound like an 8-bit game music memorabilia at times.
Aside of distorted vocals, edgy vibes and a slightly 'outer-space'
atmosphere (through the aforementioned synths), you'll also come across a
sweet electro-pop melody appearing in choruses.
'Rise' is a track partially different from the others. Not only is it
entirely instrumental, but also driven by a distinctive, graded, simple
and recurring bassline. This, blended with a melancholic piano gives the
song a flavour of NIN, Primus, and Joy Division smelted together.
Listeners would perhaps expect more of that theme to be extended
further, since the melody and mood progress in an intriguing direction.
The grand finale of the album titled 'Away' is a lovely tribute
to NIN with its typical setting within arrangements made for lyrics and
shortly outlined guitars, as well as a groovy, haunting background
including synth and drums. Everything in 'Away' is pure synergy spiced
up with matching vocal expressions and yet, it's skillfully connected
with 'Death', the album's opener. This is an excellent potential hit
that deserves either a music video single or serving as a soundtrack to a
short movie.
Overall, Exit is a pleasant and engaging listening experience.
All tracks are pretty short but it's almost required for catchy and
potentially popular songs to stay under the five minute mark nowadays.
In addition, many of these tracks could make a good match with s/f and
adventure movies (think of the Marvel series or David Lynch's
weirdness). Special attention should be paid to the vocal work of h3,
who perfectly catches up with any tempo changes present throughout the
album. Industrial metal and rock music fans are highly advised to get
this album and support h3's endeavours – you won't be disappointed.
(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, April 18th, 2016. Proofreading: Mike 'Vesper' Dziewoński)
Ethan Pell - The End Is Now (song review) |self-released, single, 2015| 4/5 soundtrack
Nuclear weapons and their use resulting in mass destruction have been a
source of inspiring fear for many authors since its proven, long lasting
effects have been historically witnessed in Hiroshima and Nagasaki. As
if the weapon's impact hadn't been already tested enough, rocket makers
permitted by governments have kept trying out their products through
'nuclear tests' which affected the Earth's natural structure, its
people, oceans and stratosphere most negatively. A post-nuclear tremor
does also leverage the planet's natural energy/vibration - therefore,
sensitive people who are not even close to the test site can still feel
its friction, which is just as disturbing - we all are vibrational
beings after all.
A number of sci-fi writers, video game developers, movie directors,
graphic designers, musicians, and other creative individuals have been
trying to illustrate life's development and its limitations if such
bombs were simultaneously unleashed in many locations around our planet.
The idea of post-apocalyptic survival behaviors and all life aspects
being turned upside down (or often reverted) feels both fascinating and
terrifying. It also resonates with Ethan Pell - a Canadian musician from
Montreal, who tried to depict such an event through his 'The End Is
Now' song. His direct contact with musical instruments started when he
was a child, but he still keeps trying to learn more each year.
Currently, he's studying at a music school, specializing in jazz, and
focusing on playing the guitar, hoping to utilize some of the gained
knowledge through writing progressive and space rock compositions.
The song starts with a moment of silence followed by a sad piano
leitmotif, supported by electronic, vibrating sounds. Both are then
joined by a raspy, weeping guitar solo with a slow, well matched drum
and bass rhythm in the background. The guitar solo receives a hard rock
ballad-esque tone later on.
The song may seem purely instrumental in the beginning, but vocals
appear after the track's fourth minute. The voice is distorted, as if
the vocalist was only a shadow or suffered from radiation illness in the
post-apocalyptic world. The vocals are skillfully transmuted into noise
(or wind) at the end. This allows listeners to imagine the 'before
& after' landscapes – the same area, once alive and covered with
fresh grass and flowers, now a dead and barren wasteland with specks of
ash lifted by the wind.
The song and its dramatic mood obviously refer to a post-event reality
and bring themes such as loss, sorrow, hopelessness, ending,
surrendering, and a monochrome scenery to mind. These motifs touch the
heart and soul, turning very memorable when the song eventually stops.
Thus, 'The End Is Now' can be a great song for a short movie with a
matching theme or setting. The composition and arrangements are very
accessible - they don't bring any unnecesary, knotted complexity within.
On the production side, the whole track was put together on an iPad
with Garageband.
(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, April 2nd, 2016. Proofreading: Mike 'Vesper' Dziewoński)
Interview with MSHAA (industrial metal, electro metal, Poland)
NINa: Which acronym of the band name's meaning resonates with you best?
CS (Cien Soulwhore): They are two equally important acronyms... The first meaning - Mary Should've Had An Abortion - is to criticize religion and encourage people to do their own research about the real history of Christianity...
The Catholic Church started persecuting and killing non-believers as
early as the 4th century. The slaughter of heretics, Jews, atheists,
agnostics and pagans was supported by Vatican for over a thousand years.
The cult of Jesus has been used to create the false empire, built on
slavery, torturers, murders and pedophilia scandals. Prevailing
religions were implemented by way of violence, which makes the
Christians at least as adept at mass murders as the Jihadists. Holy
Inquisition murdered nine million women, worshipers of the Great Mother,
accusing them of satanic witchcraft. The native population of what is
now South America was literally massacred going from 80.000 to 10,000
people. They've destroyed the pagan cultures, dissipating the real
legacy of first holidays. So if people cannot draw any conclusion from
the life and death of their "messiah", then perhaps the "holy birth"
propaganda was just a waste of time.
MSHAA - Dystopia |self-released, 2015| 4/5 industrial metal, electro metal
1. Dystopia (intro), 2. No Way Back, 3. Nuclear Fallout, 4. Beyond
The Lambs, 5. The Earth Is Bleeding, 6. Suck My Gun, 7. Dealer, 8. We're
Used To The Rules Of The World We Made Up, 9. Walking In My Shoes, 10.
The Imperfect Gods, 11. Delusion, 12. Dehumanized Society
MSHAA was founded by Cien Soulwhore (vocals/synths/programming) in
Poland in 2011, who was afterwards joined by cEndyman on drums and Darth
on guitar. According to the musicians, the acronym can be translated to
Mary Should’ve Had An Abortion but 'msza' also means 'holy mass' in
Polish. MSHAA's sound can be described as a blend of dark electro,
industrial, cyber metal and horror, traditionally inspired by music of Ministry, Rob Zombie, Marilyn Manson, Skinny Puppy, or early Nine Inch Nails.
When it comes to the subjects covered on the album, the songs describe
degradation of the human kind, media manipulation, as well as enforced
theocracy.
At the very beginning, listeners - citizens of Earth - are greeted with a
message from aliens or ancient spiritual guides. The spoken words are
floating in a cloud of airy, noisy, modulated sounds and accompanying
SFX. Initially the first full track on the album - 'No Way Back' -
continues this motif from 'Dystopia (intro)', but then a high electro
synth comes in at full force and takes the lead. Since the song's
subject and mood sound uneasy, the synth is joined by drums, guitars and
vocals simultaneously, adding more heaviness and torment.
'Nuclear Fallout' seems like an evergreen theme amongst industrial music
fans because it conveys both fear and fascination with the possibility
of global annihilation and the curiosity of what would happen next. The
song makes for a neat reminder of 90's simplistic aggro-industrial as
it's based on a marching rhythm, guitar riffs and hateful vocals.
Another classic theme - organized religion with its close-mindedness and
superstitious fears - appears in the form of 'Beyond The Lambs'. It
begins with agitation, thanks to the fast tempo and modern vibe provided
by the mix of heavy guitars, jumpy drum beats and synths. Verses and
choruses sound much more distinctive and separate when compared to the
previous track.
'The Earth Is Bleeding' sounds hooky from the very beginning thanks to
its dynamic 'phat' beat and aggressive vibe - a solid reference to 90's
industrial music in the vein of Skinny Puppy. The song warns against a
foreign nation draining natural resources such as oil in other countries
under the cover of bringing peace and protection. The choruses are
memorable, and the general production is very sharp, both making this
track a true hit. The bouncy rhythm continues into 'Suck My Gun' as
well, which is an 'electro' reply to Marilyn Manson's music, with
equally explicit lyrics about a psychopathic murderer looking for
revenge due to a failed relationship. The atmosphere feels dense and
sluggish with the song's heavy instrumentation, though the choruses are
catchy. 'Dealer' has a lot of hit potential too and will be instantly
noticed by fans of industrial metal. This composition is one of the best
on the album because all arrangements are equally distributed
throughout the track, instead of being simply collected and repeated.
Plus, the guitar riffs use in the track infuse the body with a nice
vibration.
The multi-layered melodic lines and sounds along with declaimed lyrics
engage both ears nicely in 'We're Used To The Rules Of The World We Made
Up' which mirrors the naive yet twisted atmosphere known better from
Skinny Puppy's music. The subject matter here refers again to false
spirituality that provides no care to its supporters, but is focused on
own financial gain first and foremost.
If you're looking for an earworm, 'Walking In My Shoes' is a very strong
candidate. Not only does it have a memorable melody line together with
wicked vocals aligned to an average tempo, but also a clearly dystopian
atmosphere and grim lyrics. Next, 'The Imperfect Gods' speaks about gods
of technology whom the narrator blames for arrogant and spoiled humans,
triggering wars based on fearful survival instincts. A high-pitched,
disturbing synth starts it all off and continues throughout the track.
This motif is layered with down-tuned guitars, a damped beat and
distorted vocals, although the synth occasionally comes back to the
surface.
Obviously, love as a topic couldn't have been skipped on the album,
since that emotion is an inseparable part of the human life. 'Delusion'
speaks of a romantic disappointment, accompanying the album's joyless
atmosphere. It sounds more electronic than guitar-driven and the song
lyrics match the instrumentation very well - they leave space for both
parts to balance and then combine together.
Finally, gadget lovers should pay attention to 'Dehumanized Society',
which also provides more beats, industrial noises and vocals rather than
guitars, ending the release on a lullaby-like note. The vocal style
suggests that we can sleep safely now since there's nothing to worry
about - we have been reduced to files in a human database, notoriously
tracked and controlled by various electronic devices, deprived of
privacy, comfortable alternatives, and the liberty of opting-out.
Dystopia, just as the title suggests, is not an uplifting release
and it clearly wasn't meant to be one. The depth of drums usually
sounds alike in most songs, perhaps to reflect a lifeless society's
tedious rhythm. The endings of most songs could have been re-worked to
intrigue listeners a bit more, as they sound a bit too plain. Also, some
tracks include too many vocal parts and may feel over-saturated. Cien
Soulwhore uses a distorted, ugly, and vile voice on the entire album. It
sounds as if he turned into one of the human monsters-to-be to send a
warning to the modern civilization, pointing out the issues threatening
Earth and people. Explicit lyrics are not a rarity on this album.
However, despite of such wake-up calls, the lyrics do not offer any
solution, except for questioning authority or simply making a noose for
yourself. In fact, Poland seems to be a fertile ground for establishing
such a project - an artistic protest against organized religion with its
bigotry and clearly financial directives, the misuse of which has also
been supported by the current right-wing government.
Songs like 'The Earth Is Bleeding', 'Suck My Gun', and 'Dealer' show
the band's expressive potential the best. Buy this album if you wish to
get a taste of hopelessness, although a few songs on the tracklist may
give a solid boost to industrial and electro dance-floors too.
(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, February 13th, 2016. Proofreading: Mike 'Vesper' Dziewoński)
Barefaced Liar - Mind Over Matter (song review) |self-released, Mind Over Matter, 2015| 5/5 pop/rock
The human brain when bombed with negative news and images every day
becomes either over-sensitive or indifferent. The topic of 'Mind Over
Matter' refers to the fear of unknown. This emotion often freezes the
heart but kicks the brain into survival mode. The track encourages to
face unidentified issues to discover their true colors and then make
one's individual judgment instead of acting pre-maturely based on other
people's superstitions. Music has been used as a successful method of
therapy since the ancient Greek times and Barefaced Liar's 'Mind Over
Matter' is a continuation of this tradition, thanks to its super
positive melody and irresistible rhythm, aside of prompting lyrics.
The song begins with a neat and high tuned guitar, with a full blown
rhythm section adding a groovy vibe to the opening arrangement soon
afterwards. The majority of these arrangements is based on uplifting
sounds brought by vocals and guitars. The lively sounds of bass, rhythm
guitar, and drums bring forth a darker, heavier tune into the song's
background, making for a neat contrast with the opening leitmotif. The
composition is open yet controlled by arrangements, even though the
sound spreads really wide when the chorus comes up. Akshay's voice is
soothing and pleasant for the ear, but kept in a rock vibe. Vocals
intersect with instrumental parts perfectly – they are fitted within the
composition tightly to engage your attention until the very end. In
addition, some arrangements are kept out of the stream to prioritize
vocals at times, proving professional song-writing.
The Barefaced Liar duo undoubtedly have taken their lessons in pop music
structures. Firstly, vocals finish in all the right spots, and there’s a
fade-out effect used at the end of the track. Secondly, the opening and
closing arrangements are the same which perfectly binds both ends of
the track for looped replaying. Thirdly, choruses are full of prolonged
'oh-oh' which is an evergreen method for creating a non-intrusive mood
and makes for memorable track as well. It'd be difficult to find anybody
who could resist reacting spontaneously to such melody and performance
when combined.
All of the above prove that 'Mind Over Matter' has a lot of well-knit
hit potential for listeners of all ages, and doesn't sound boring after
giving it a few more spins. Moreover, this all-embracing track should be
a good match for all kinds of media opportunities ranging from ads to
series.
The song was composed and performed by two friends since high school -
Akshay Chowdhry and Sumant 'Bala' Balakrishnan - from Delhi, India who
decided to try their musical skills in making modern rock music. They
have released 3 albums since 2008 and their newest, Mind Over Matter,
was mastered by Jens Bogren (Fascination Street, Sweden). He is a
notable name in the industry, with credits on albums by Devin Townsend,
Opeth, Marty Friedman, and many others.
Barefaced Liar sound like a good duo to Like on Facebook and their song
will be the perfect addition to your mobile phone’s playlist, assuming
you enjoy intelligent pop-rock tunes.
(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, January 29th, 2016. Proofreading: Mike 'Vesper' Dziewoński)
Sekten7 - Skyfall (song review) |self-released, 2015| 4/5 industrial metal
Industrial metal band Sekten7 - as well as New Breed Invasion
- are projects established by Brazilian musician Daniel who wishes to
remain partially anonymous. He releases these and other, more
ambient-orientated songs through his own Tribeleader Music label. His
new song entitled 'Skyfall' conjures forth a dark, distorted
guitar-driven atmosphere with lots of gravity.
'Skyfall' does not have a specific intro since said chunky guitar riffs
along with a less deeper drum beat open the track without delay. Vocals
are altered through the use of effects and the resulting slightly
demonic tuning perfectly matches the overall hellish atmosphere. You'll
also hear a quick roar of a Jericho-like trumpet that could illustrate
the sky opening and the angel's fall. A captivating, angelic voice
appears in the background soon after – akin to that of a mermaid from
Greek myths, tempting a lost soul to approach closer and stay forever.
Such a soothing add-on instantly dissipates the heaviness with light and
beauty, while guitars and drums continue dictating a moderately fast
tempo until the end of the song.
Interestingly, there's a love theme within this serious, down-tuned
song. A demonic narrator speaks of finding the perfect soul mate ("She is just like an angel / That fell from the sky") who makes him feel one with the girl and the entire Universe ("You look in her eyes you see the light / You follow the light into the stars / Into the sky / Into eternity").
He then marries her to live together, forever. Ancient history knows
such love stories - Plato wrote about the perfect soul split in two,
remained entangled and longed to become one again. Though as romantic as
it sounds, persisting on the path towards a reunion becomes a challenge
here. The reality proves that even if meeting such a perfect mate is
very likely, the ego often sabotages the needs of both heart and soul.
The brain makes people run from fear of inexplicable things and the
overall spiritual transformation such a love companion triggers.
The key instrumental parts of 'Skyfall' repeat very often, but since
they are enriched with various effects (ie. stretched to depict a flight
into the stars), they do not become boring. However, since the lyrics
speak of a life-changing event, a careful listener could be forgiven for
expecting a more pronounced development in the composition as well. If
such a phenomenon becomes a breakthrough in the narrator's life,
arrangements could have been equally altered to illustrate a distinct
division between the 'before' and the 'after'. The difference here
sounds very subtle though. Nevertheless, it's still a solid, dynamic
track, letting the listener dive into a sea of guitar-driven noisiness
without having to pay much attention to less important details.
(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, January 20th, 2016. Proofreading: Mike 'Vesper' Dziewoński)
Unified Past - Peace Remains In This World (song review) |Melodic Revolution Records, Shifting the Equilibrium, 2015| 5/5 progressive rock
Progressive rock turned out to be a fertile ground that has been
developing successfully for the last 40 years. While older listeners
started their sonic journey from lengthy and serious compositions by
ELP, Genesis, King Crimson or Pink Floyd in the 70s, and their
successors danced to the 80s music by Yes, Jadis, Rush, Marillion or
Asia, fans of the genre nowadays enjoy an amazing spectrum of new bands
to choose from, not just traditionally coming from UK or USA, but
virtually every corner of the world. Moreover, a significant subgenre of
'prog' - progressive metal - revitalized the metal scene. However,
writing such music demands a lot from musicians - they simply must be
really pro(g? ;-)) about composing, performing, collaborating (which
usually includes a lot of improvising, writing/reading musical notation,
studying music theory etc.) because time signature is what progressive
rock loves. If the time signature is put in a wrong spot, the joy of
listening is pretty much over, unless you prefer to enjoy experimental
sounds.
Based in New York, Unified Past has been continuously taking the
progressive rock scene by storm since 1999, and accelerating their
ascent every year. The 'Peace Remains In This World' single comes from
their newest, 7th album titled Shifting the Equilibrium (2015). A
chance listener doesn't have to be a die-hard fan of prog to feel the
track's vibe resonating within their body, since the song has loads of
unquestionable depth, juiciness and spirit.
The songs' intro sounds typical for the genre thanks to the cold
virtuosity of Stephen Speelman's keyboard work, but what follows are
heavier, modern guitars and a spacious drum sound. When the bass shifts
to down-tuned notes, the keyboards continue their lively leitmotif. Dave
Mickelson uses the lowest notes on the bass at times, literally
dragging the balance 'down', especially when compared to keyboards and
vocals (which, in turn, stretch the composition 'upwards').
The chorus brings an excitedly-sounding keyboard arrangement, making
your ear focus on that instrument, though it does take a second row seat
in favour of vocals and bass at perfectly chosen moments. Victor
Tassone provides masterful drumming, produced to stay in the middle of
other instruments, providing the composition with a solid backbone. All
arrangements repeat and yet remain spirited until the very end of the
track.
Phil Naro's voice is quite high (but not as high as that of Jon
Anderson's of Yes fame) and sounds very upbeat, both attributes making
it characteristic. Interestingly, the top vocal part makes for a
separate melodic line at times, and is perfectly supported by the
instrumental melody in the background.
Overall, the composition (spanning seven minutes) is open and includes
many matching variations - imagine spirals spinning inside spirals. It
sounds as if all instruments were biting the composition from every
possible direction - at times simultaneously, then letting only one of
them feed. This means that every musician got enough of space to
showcase his skills. Therefore, peace and balance kept far from boredom
remain present throughout the entire track and engage your attention
along with dynamical, intersecting instrumentation. The arrangements
oscillate between cold and warm vibes, and the tempo and time signature
change pretty often. Such contrasts along with memorable melodies are
always a turn-on for any sensitive ear and stimulate brain waves a lot,
too.
Finally, the song's subject is a peaceful reminder about keeping
serenity in the world through refreshing the values that once used to
matter, such as authentic spirituality ("Time to go inside") and
kindness. Making peace and not war or money is humanity's goal - our
lives are very short when perceived through a broader, time-related
perspective. Therefore, it's pointless to waste all that precious time
on provoking one another, leading to easily predictable results.
Thanks to such a mindful theme and non-aggressive (yet lively) music,
many listeners will certainly get hooked on 'Peace Remains In This
World'. Undoubtedly, the song sounds huge when performed live on the
stage, so make sure you buy a ticket (and the album too) when you learn
that Unified Past goes on tour.
(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, January 15th, 2016. Proofreading: Mike 'Vesper' Dziewoński)
