Retaliate of Anger - Final Echo

Retaliate of Anger – Final Echo (album review) |Machine Man Records, 2018| 4/5 EBM/electro-industrial

1. I Don't Like You Too Much, 2. Gunslinger, 3. Fuck In Question, 4. The Deep Ones (Part 1), 5. Autotopsyturvy, 6. The Color Of The Enemy (Part 2), 7. Pyre Of Absolution

Josh Lamison (Schwenksville, Pennsylvania) is the sole musician behind Retaliate of Anger but he's also involved in another project, Dizzolve. However, in contrast to the latter band which provides electronic and guitar driven music, ROA brings sterile EBM, glitch, and electro-industrial vibes of high audio quality.
Every song on the album clocks in no longer than at around 4 minutes. That's totally enough since the tracks are based on repetitive, beat-oriented schemes; thus, if they lasted longer they would have sounded overwhelming.
It should be noted that the lyrical themes of the songs were inspired by literature - Stephen King's The Dark Tower series or H.P. Lovecraft's works amongst others, as well as MMORPG games such as Secret World.

The first track, "I Don't Like You Too Much" gives a taste of the sounds to come – architecturally structured electronic tunes, supported by angry vocals processed through distorted voice effects. There are usually many different sounds to be found in the background of cues, which smoothly become a big part of the composition.

The dynamics develop further in "Gunslinger" which sounds more entertaining than the previous song. The vocals are distorted through the use of a voice filter, varying between demonic and robotic.

"Fuck In Question" offers a solid beat supported by vocals and synths. Lyrics are well matched within the composition next to instrumental parts yet each section is restricted by assigned time frames. The uneasy atmosphere brings a feel of a danger as if a predator was on the lookout for its prey.

A slightly gothic vibe opens "The Deep Ones (Part 1)" thanks to an automatic beat and repetitive synth, quickly replaced with lighter, entertaining, and modern beats. Digitized voices and electronic sounds are mixed in here yet again, so the composition develops around a scheme similar to the ones we've heard already on the release.

"Autotopsyturvy" is characterized by a complex, sturdy beat, and swirling dynamics. There's a lot of electro-aggression put into it yet there is also tight control for both arrangements and the general mood. This song would probably sound very powerful with edgy guitars added to it. This would let the anger flow and be blasted onto the listeners better.

Stepping dynamics brought by "The Color Of The Enemy (Part 2)" should make you move as the rhythm dictates. It's a good track for dancefloors as it encourages to release one's energy through a few good cardio exercises. Listening to the song made me think of a spiral bouncing up and down within a glassy container as if in an animated gif image.

The last song, "Pyre Of Absolution", brings a faster beat, pitched synths, and notorious vocals perfectly fitting itself into the EBM genre. It's another great track for the dancefloor, to let the rushing thoughts stop and let the body process its energy in a state of detachment.

Combative electronic music allows for a passive-aggressive anger release only, in contrast to guitar driven music which allows for a wider range of emotions to be catapulted through. Electronic music feels restrictive, as if it couldn't express that what a human energy field holds within – feelings, traumas, frustration, confusion, love, etc. It certainly allows energy to flow but simultaneously holds it within a 'circuit'; what needs to be released, bounces back to the source in a loop. In a way, a person who tries to get rid of negative emotions gets back to what was supposed to be released.

The tracks on the album are restricted in their form, probably due to a lack of meaningful contrasts between high and low tunes, unlike the arrangements found in, for example, psy-trance music. Nevertheless, the audio quality, mathematical precision, and overall dynamics should be enjoyed by fans of EBM and electro genres and the album is definitely a recommended listen for those groups.

(Reviewer: Katarzyna 'Draconina' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, December 8th, 2018. Proofreading: Mike 'Vesper' Dziewoński)
Source: http://industrialrock.net/php-files_en/articles.php?article_id=605



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Reviewed by Fabryka Industrial Rock & Metal Encyclopedia

Dizzolve - The Hookwirm EP

Dizzolve - The Hookwirm EP |Machine Man Rec., 2017| 4/5

1. Porno Dump, 2. Hookwirm, 3. Trident, 4. sPill Ur bLood, 5. WEAPONZ (Take What's Mine)

Dizzolve merges a few non-contrasting genres such as harsh electro, EBM and cold wave. Since its date of inception (6/6/2006, in Philadelphia), Dizzolve’s musicians have released 8 albums, also successfully overcoming a hiatus during the 2012 Mayan 'end of the world' event. Their newest EP will be available to purchase since mid-December 2017 - let's take a closer look at it.

There are five brand new tracks clocking around 4 minutes each on average. The duo (Josh – vocals, AleK - guitar) prefer minimalistic compositions based on repetitive arrangements, supported by angry, hating, and slightly digitally distorted vocals. The beat is all-present but is also mixed with vocals and divided by synths, offering nice breaks from the notorious 'move your body' rhythm. All this is delivered within the first (and shortest) track entitled 'Porno Dump'.
Later, the guitar plays a more important role in the title track. The noisy guitar additions make the underlying amalgam of vocals and synths sound like 90's industrial rock. The arrangements are based on a 1-2-3 rhythm, imprinting themselves upon your memory. There's a bit of guitar soloing too but it's purposely distorted to match the overall industrial vibe of the song.

'Trident' is a word tribute to the band 3Teeth, since the Dizzolve guys are fans of their music. It may make some of the original industrial fans feel old, considering that 3Teeth have been influenced by the 90's cold wave and industrial genres. Thus, we're facing the 3rd generation of musicians who dig the mechanical yet beat-driven vibe with fresh interest. Technically, 'Trident' brings evenly distributed parts of guitars, beats and synths/samplers. Again, the hateful vocals dominate on top of the cues but the overall expression feels as if the core fire of vengeance hadn't been released fully, waiting to be sprayed onto the listeners further down the line.

'Weaponz (Take What's Mine)' initially brings a less tense atmosphere supported by 8-bit tunes, very popular these days and hailing back from the Atari/Commodore gaming scene of the 80s. However, the song continues the beat-driven theme later. The danceable rhythm makes the chorus memorable, but the old school, robot-esque effects as already known from the 70's electronic music can put off some ‘old school’ listeners.

The lyrics are obviously judgmental, though it's difficult to understand their meaning without having the right context. According to the songwriter Josh, the lyrics were written while dealing with feelings of betrayal and vengeance but also retrieving his own power after being emotionally abused. It makes sense as it's been a common theme in many genres though industrial music somewhat incorporated it the strongest – musicians cool down both their soul's and their ego's suffering with mechanistic tunes in an attempt to either express, or on the contrary, dehumanize the pain of disappointment.

Time for a few final thoughts. First of all, do use a pair of good headphones for the best sonic experience since there are so many individual sounds on the EP to attract your ears, that regular speakers may not reproduce them too well due to environmental noise (unless you already have an audiophile setup in place).
Secondly, 'sPill Ur bLood' is a hit song on this EP and could be easily used for broader promotion or submitted for use in a video game. The track truly moves energy in the body, as much as it brings a desired thrill in the skull. This happens through contrasting, low sounding synths and a multitude of other higher sounds, matched with the vocal parts and the danceable beat very well.
Thirdly, if you've been a fan of electro/industrial music, you'll find the EP pleasing to digest. However, purists who are used to listening to more mainstream genres like pop or rock may find the songs here too harsh and variable.
Finally, the EP encourages to check out other parts of Dizzolve's discography to find out if they've developed much since 2006, either thanks to the technological boom, or their own songwriting ideas.

(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, November 27th, 2017. Proofreading: Mike 'Vesper' Dziewoński)





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Source: http://industrialrock.net/php-files_en/articles.php?article_id=595

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Reviewed by Fabryka Industrial Rock & Metal Encyclopedia

Insomniaddict - Farewell (electro mix)

Insomniaddict - Farewell (electro mix) (song review) |self-released, single, 2012| 5/5

"Farewell" is a track for those who crave bouncy, oontzy electronica songs with hit potential to heat up the dancefloors, make girls in leather and PVC drown into a passionate kiss and cause heavy booted rivetheads to swing to a phat beat! However, not only should electronic music addicts dig this song, but also fans of pure metal. Huh? Indeed, Chris Poland (ex-Megadeth, Circle Jerks) had a guest appearance performing on guitar to give "Farewell" a fiery rock spin in the middle segments of the track during the choruses of the song.

Insomniaddict is the solo project of Ian Garner, a certified sound engineer (L.A. Recording School) who has been in different bands since he was 15. He has also been inspired by different, although consistently dynamic genres such as electronica, EBM, metal, grunge and punk. Bands of his interest include Megadeth, but also Depeche Mode, so this may be the reason why the overall sound of "Farewell" is so catchy. Ian fused some of the techniques from these influences into the arrangement of the track, which speaks of a person who got tired of making improper decisions and dealing with his own demons.

A jumping beat opens "Farewell" along with almost robotic vocals. The verses were sung by Ian while the choruses were performed by Danny Craig of the band Killing California. Danny's voice sounds edgy, however some harsh effects were utilized to additionally filter the vocals which then bring a more or less dehumanized characteristic of resonance that is quite fitting for industrial style music.

Silky, sparkling synths join next in the mix until raving and raging choruses tear the main theme into pieces. This is the moment of the song best recommended for putting away any sharp objects as you may start to headbang, skip around and slamdance. Guitar tracks by Chris Poland come in at the perfect spot to pierce the listener with high-energy, shimmering riffs which sound as though they are crying, elevating and twirling like a sinister ballet dancer in the limelight of applause. This is followed by a light piano motif as well as a subtle rhythm until the driving beat returns soon after. Once again the power of samplers dominate the track to finish it with a single, yet not exaggerated accord.

Overall, the song "Farewell" as written, arranged and produced by Ian Garner and co-produced/mixed by Keny Palmer sounds very dynamic with amazing energy while emulating calls for taking action. This track sounds predatory while remaining harmonious due to its addictive vibe that may make you feel insatiable after the first time you listen to it before you return for more. Having said that, the song is sure to make your body twist with expressive contortions of diabolical style.
"Farewell" is currently available to download as a single. It should also be mentioned that a different version of the song will be included on an upcoming full length album from Insomniaddict that still remains untitled.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, December 22nd, 2012)
This review on Fabryka Magazine http://industrialrock.net/php-files_en/articles.php?article_id=459

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http://itunes.apple.com/us/album/farewell-feat.-danny-craig/id583332376
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Reviewed by Fabryka Music Magazine