Elitefitrea - Lethe

Elitefitrea - Lethe (album review) |self-released, 2020| 5/5 electronic

1. Acheron, 2. Double Down, 3. Lethe, 4. Homage, 5. Dissolution, 6. Cerberus, 7. Too Late, 8. Pitchforks, 9. The Center

Elitefitrea is a solo project by a multi-instrumentalist Bryan Day, a man of many life experiences ranging from Marine Corps military service, through time in prison, to pacifism and creative freedom. As you may guess, Lethe is based on the concept of venturing deep into the psyche, to focus on the shadow and to deal with it though self-therapy in the form of expressive music, and all art-making allows for. It borrows a theme from Greek mythology. To quote Bryan: “Lethe is a tour through the underworld. The Lethe is a river in Hades that, when drank, causes one to forget the memories of their mortal life on Earth. This album explores society through the symbolism of Lethe, observing the abandonment of former ideals by the thinking classes, as if they had drank from the river Lethe themselves.” The musician was inspired by freedom, fairness, prison reform, mental health awareness, philosophy, and history.

Now, let’s talk music. This is an album filled with reflection and atmosphere. Every song calls for listeners’ attunement and puts them in a dreamy state of trance thanks to slightly stretched but fresh arrangements where the singer’s voice could be considered another instrument. Vocals were added after the instrumental lines were written first, so that could be the result of the production process. Sonically, the music on the album consists of electronic tracks with the overall vibe similar to the 2000’s Nine Inch Nails’ music, though Bryan mentions Radiohead, Goldfrapp, and Beck as well as jamming along to albums of Led Zeppelin and Metallica in the past too.

“Acheron” begins slowly and arduously. Its arrangements are based on the same tempo throughout the song but heaviness is balanced with higher tunes at times. Guitars, drums, synths, and vocals create a neatly spiraling mix which gradually elevates tension and suggests there’s an inner strength in everyone to overcome the darkness, and see the light at the end of the tunnel of life struggles. Other than that, the song itself is memorable and catchy. Next, we have “Double Down” with repetitions of both instrumental and vocal lines. The lyrics are not sung but rather groaned with a warm, and slightly dirty but also calm voice. The synths are broken with clicking, knocking, irregular drumming, and other sounds entertaining the ears, bringing diversity into a seemingly stalled rhythm.

“Lethe” rolls out even more slowly, like a river of tar with bubbles popping out over the dough-like surface being the only motion. Listeners will hear stretched, windy sounds and other non-invasive distractions in the background breaking the monotony. The vocals with some SFX put on top are reminiscent of monk’s chants at times.

“Hommage” is the only purely instrumental track here and is an interpretation of Claude Debussy’s piano composition “Hommage à Rameau”. The original piece was written over a hundred years ago and dedicated to Jean-Philippe Rameau, a French composer and music theorist. If you listen to Debussy’s original, you probably will agree that this modern ‘cover’, if you will, turns the composition into a soundtrack which could be utilized in an artistic short-movie.

In contrast, “Dissolution” offers bouncy dynamics and a relaxing yet motivating rhythm, catchy hooks and vocals in both stereo channels. Inspiration drawn from Trent Reznor’s music becomes quite clear here. There’s also an interesting play between the lyrics and beats. With “Cerberus” the music returns to its previous slow-mo vibe with arrhythmic and non-synchronized beats utilized for a reason, as they keep both ears engaged. The arrangements repeat at some point, but are distributed so skillfully that they still offer a lot of sonic entertainment overall. It would be great if the track was supported by a strongly digital music video with lots of glitches, delays, and other visual effects to accompany complex sound textures.

The overall mood of the album brightens and elevates thanks to “Too Late”. It’s an excellent hit song to be played on a radio and a very strong representative of Lathe, as well as Bryan’s music writing skills in general. The chorus is as memorable as the verses, resulting in a thoroughly enjoyable experience.

“Pitchforks” returns to the murky tones and more laborious tempo. It has a nightmarish, post-apocalyptic feel and brings some scenic images to the mind’s eye. The reviewer’s fantasy ventured into a wasteland under a red sky. There was a valley with remains attached to poles with chains swinging slowly as they parries one against another with characteristic clanging sounds. Lyrics are almost whispered with a few SFX applied making a good match with such a hellish atmosphere.

“The Center” ends Lethe. It is based on a piano and a gently pulsing rhythm for the most part. The vocals feel fragile yet somewhat tired, but the tone gets elevated at times. They are aligned to the soothing mood very well. The dynamics are non-invasive, but listeners may catch themselves nodding the head to the rhythm quite often. The last and the first track are attuned very well together, therefore nothing feels mismatched while listening to the album on rotation.

Finally, it should be said that the songs are supported by interesting lyrics written without haste. Some are rhythmic, others just aligned to the flow of music. They are mostly dark and may resonate especially well with those going through a transition, when inner demons have been dealt with.

(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, April 1st, 2020. Proofreading: Mike ‘Vesper’ Dziewoński)
Source: http://fabryka.darknation.eu/php-files_en/articles.php?article_id=609

Buy this album: https://www.elitefitrea.com/

Free Download of “Acheron”: https://hypeddit.com/track/1gx8v4

Visit: http://www.facebook.com/elitefitrea | http://instagram.com/elitefitrea | http://twitter.com/elitefitrea

Listen: https://open.spotify.com/artist/3SG9ZXF8zM3sHYBMvqF69b | https://www.youtube.com/c/elitefitrea

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Reviewed by Fabryka Industrial Rock & Metal Encyclopedia

Spookshow Inc. - Visions of the Blinded World pt. I & II

Spookshow Inc. - Visions of the Blinded World pt. I & II |self-released, 2018| 5/5 Electronic/rock/metal

Part 1: 1. New World Crash, 2. Scary Dream, 3. Falling Down pt. 2, 4. Game of Delusions, 5. Requiem For a Vision, 6. Seven Trumpets, 7. Dead Shot Baby feat. Subliminal Mentality, 8. Lizard Eyes, 9. My Secret Plan feat. Matangi Shakti, 10. Cyberage, 11. Map Of The World, 12. Other Side Of Time

Part 2: 13. Virtual Insanity, 14. Devil's Triangle, 15. Mindgame feat. XRC, 16. Little Pill feat. Subliminal Mentality, 17. Blackbird from Karachi feat. D. Tschirner, 18. Prison Planet, 19. Falling Down pt. 1, 20. Cold Frantic Boy, 21. Match of the Century / A. Crowley vs. A. Einstein, 22. Underworld feat. Kissing in Graveyards, 23. Midnight Tango, 24. Follow Me, 25. Battle for Babylon feat. R. Carey

Spookshow Inc.'s newest album tracklist impressively counts up to a total of 25 industrial and electronic songs, with some familiar titles included. The mighty set created by Lucky Spook (the band's founder, based in Norway) includes "Falling Down pt. 2" which was developed further into a brand new track (a pre-sequel if you will). In addition, the new front cover definitely draws attention since it's a thought-provoking, surreal art piece in sepia.

"Virtual Insanity" offers a lot of craziness. It merges the density of guitar riffs supported by fast-paced beats with aggressively expressed lyrics. The dynamics slow down at some point to avoid an overload of sounds, but then the wild sonic ride returns.
Similarly, "Mindgame" offers exotic tunes in the beginning, but then an intriguing industrial rock vibe comes in. The tempo is slow but highly pitched soloing guitars contrast with low beats and make the whole into a delicious listening experience.

"Little Pill" talks about a fantasized psychedelic experience caused by taking a drug delivered by a dealer. The initial dialogue to the story was recorded in collaboration with Subliminal Mentality, an American musician. It's delivered through a comedy or even a cartoon concept – a guy receives a pill, feels something is not right but takes it anyway, then is off tripping into a dreamland. The track soon evolves into an angry, metal, and serious composition which gives an impression of being inspired by early albums of Marilyn Manson.

Despite its soothing intro, "Blackbird from Karachi" evolves into a lively, dynamic track, driven by its repetitive guitar riff. Two vocals placed in fitting places help the whole composition flow very smoothly. The beat is later replaced by bells, chants, and esoteric moods. These are then followed by a completely opposite, dynamic vibe. It turns out in the end that the composition is cleverly split into four major arrangements without any in-between breaks. According to Lucky Spook, the track is inspired and dedicated to Shantaram, the book written by Gregory David Roberts.
"Devil's Triangle" is kept in a similar atmosphere, but rooted in a purely rock-metal vibe, and enriched with matching vocals. The composition is well designed to hold all accompanied arrangements tightly within.

As mentioned in the beginning, "Falling Down pt. 1" is a sister track to "Falling Down pt. II" which was featured on the first part of the album, and again takes a listener on the mystical journey of out of body (OBE, near death) experience. It's a very trippy track with steady, bouncing dynamics - at once intriguing with its variety of electronic sounds and whispered vocals in vein of The Young Gods' music, then suddenly aggressive, guitar driven with screamed vocals. A must-have song from this release!

Pay attention to "Match of the Century Aleister Crowley vs. Albert Einstein" which begins with the tiny sound of a music box and creepy, whispering vocals. How awesome would it be to see the two famous characters play chess together? Every piece could represent an argument of a different nature – science against esotericism. Who wins? Could the two men find a common, agreeable ground for their thoughts? Musically, there's a repetitive guitar riff involved with many background sounds and interlaced with vocals. These continue throughout the entire song with breaks for a catchy chorus.

When it comes to "Underworld feat. Kissing in Graveyards", its mostly electronic yet guitar-driven vibe is accented with a broad selection of vocals. Kissing in Graveyards' lead singer Rylan Chaos brings her Lilith-like artistic personality here while Soltex (the other moniker of Lucky Spook) represents provocative masculine energy. When Rylan's voice is the bait, then Soltex's is the whip. The result is a musical dialogue not too far from an argument between two 'possessed' souls, rather than two talented musicians.

"Midnight Tango" utilizes a very famous arrangement borrowed from "Riders of the Storm" by The Doors. Similarly to the source track, "Midnight Tango" also allows the mind to tune in and relax, to flow together with arrangements and the mood. Spookshow Inc. however added drum'n'bass beats which couldn't have been used by musicians in the 60s and which make the song sound fresh.

In terms of composition, "Follow me" sounds quite complex and consists of a few differently sounding parts yet they easily make for a perfect whole. Exotic music opens the track, followed by chunky, repetitive guitar riffs and whispered vocals. The Middle Eastern sounds return to be replaced with a black-metallish cannonade of sounds and dominating vocals. The atmosphere gets more tense and anxious towards the end of the track.

Probably the biggest jewel on the album,"Battle For Babylon", is a cinematic song supported by an epic atmosphere. Middle Eastern tunes are mixed with metal soloing here. The composition is well thought and gradually builds up. The rhythm is slow and verses become memorable after just a moment of listening. It is a fully orchestrated track accompanied by many different yet matching sounds which show up in the background and make the composition even more interesting. The vocals are definitely fitting the rest of the track (and they are performed by R. Carey aka Fiery Jack, a singer from New Zealand).

The album clearly shows lots of hard work and deeply developed ideas that went into making it. The release comes with amazing audio quality, showcasing mastering and production skills as well. It's obvious that Lucky Spook listens to a lot of music, and is able to catch the best of the best musical ideas without copying them directly, to later enhance them with his own arrangements. If you buy this album, you'll get a complete package of music, high audio quality, and profound sonic ideas to recommend to your like-minded mates.

(Reviewer: Katarzyna 'Draconina' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, December 3rd, 2018. Proofreading: Mike 'Vesper' Dziewoński)
Source: http://industrialrock.net/php-files_en/articles.php?article_id=538




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Reviewed by Fabryka Industrial Rock & Metal Encyclopedia

Krebs – The Last Place on Earth

Krebs – The Last Place on Earth (EP review) |Machine Man Records, 2017| 5/5 Darkwave / electronic

1. The Hollow, 2. When Hands Go Still, 3. Umbra, 4. Moonlit Window

Krebs is an electronic music project of Michael Haggerty (lyrics, vocals, programming, keyboards, guitars and bass) founded in Philadelphia in 2012. He released two EPs in 2017 – The Last Place on Earth is followed by Blood and Stone.

A mysterious, ambient mood opens the EP with 'The Hollow', which is the longest track on this release. The chorus’ rhythm appears soon after the quick intro, but then slows down serving as the core for following verse arrangements. The track has an open composition which allows for many various elements to be placed throughout. Here, melancholic dark wave meets the brighter side of the electronic genre, while the vocals remain calm and balanced.

'When Hands Go Still' sounds very goth through operating on a low level of dynamics and a characteristic vibrated guitar riff appearing next to percussive parts. Compared to other tracks on the EP, the soft vocals receive an additional voice effect here. The mood isn't too dark, as a variety of silenced, lighter, and colder synth sounds appear between the cues.

On the other hand, 'Umbra' is a fully instrumental song which influences listener's imagination through its scenic, ocean-like waves of peaceful ambient arrangements and inner beauty. It could easily make for a soundtrack candidate for a movie with both futuristic and historical motifs (just like Highlander), thanks to utilizing newer electronica and traditional instruments side by side.

'Moonlit Window' (the last song) returns to the dark wave themes previously brought by 'When Hands Go Still'. Arrangements become one with carefully placed vocals and are distributed skillfully, letting the composition enchant the listeners with its instrumental lines and Michael's voice. There's something creepy going on in the background too, accompanied by sounds of an electric bolt and wind chimes at the song's end.

The Last Place on Earth EP offers darker moods than songs released on Blood and Stone. It's almost as if Michael wrote them to suit listeners during all four seasons of the year – the former fits the fall/winter time, while the latter is great for spring and summer. Get both EPs and reach out to the musician to let him know how much you liked the songs!

(Reviewer: Katarzyna 'Draconina' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, October 31st, 2018. Proofreading: Mike 'Vesper' Dziewoński)

Source: http://industrialrock.net/php-files_en/articles.php?article_id=604&rowstart=1

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Reviewed by Fabryka Industrial Rock & Metal Encyclopedia

Krebs - Blood and Stone

Krebs – Blood and Stone (EP review) |Machine Man Records, 2017| 5/5 Electronic

1. Blood and Stone, 2. Vulnerable Outline, 3. Razor Tree

Blood and Stone is the 2nd EP of Krebs, released in 2017. The band is the brainchild of Michael Haggerty (lyrics, vocals, programming, keyboards, guitars, and bass).

Blood and Stone EP offers 3 high quality electronic songs. Even though moods as well as subgenres (such as dark electro, electronic rock) vary between each song, the EP's concept is consistent.
The opening song pleasantly develops until the very last note. The composition is based on a steady tempo with beats supporting various but always delicately organized arrangements. These are shared between memorable verses and the chorus which can be sung along with the vocalist. Michael's voice is soft here, and feels a bit lonely and distant.

Guitar riffs accented in the following 'Vulnerable Outline' firmly place it in electronic rock. The solid rhythm is occasionally shattered by noises and repetitive vocals. The track is memorable and short enough to become a potential hit, especially if accompanied by a suitable video. Fans of Marilyn Manson or Skinny Puppy should dig the song from the very first listening. 

'Razor Tree', on the contrary, brings an uplifting, almost sunny mood. It's a perfect track that not only sounds good as it is but could also play its part really well as a component of an advertising campaign.

It should be noted that excellent the audio quality, mastering, and production enhance the listening experience of this release quite a lot. Grab it as soon as you can, whether you're deep into alternative electronic music or a listener of many tastes.

(Reviewer: Katarzyna 'Draconina' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, October 31st, 2018. Proofreading: Mike 'Vesper' Dziewoński)

Source: http://industrialrock.net/php-files_en/articles.php?article_id=604

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Reviewed by Fabryka Industrial Rock & Metal Encyclopedia

GoMa - GoMa

GoMa - GoMa (album review) |Machine Man Records, 2018| 4/5 industrial, electronic

1. D.D.D., 2. Fool Song (Take Me with You), 3. Disappoint, 4. Hora Gris, 5. The Monitor, 6. The Poison, 7. Trippin Trippin, 8. Untitled

This is a one man band founded by Juan Madrigal in South Dakota. Inspired by modern electronic music, he wrote, performed, and recorded the eponymous debut album for his GoMa project.

The opening track ('D.D.D.') has a danceable vibe, though the singer's voice sounds somewhat tired and overwhelmed, similarly to what can usually be found in goth music. The simplicity of arrangements and catchy melodies make the song memorable. Then, 'Fool Song (Take Me with You)' brings a whole new, more lively rhythm and stamina within. Since its smart composition, lots of body moving electronica, and intensity make the track a song hit, it could easily be submitted for matching publication opportunities such as Various Artists compilations, to allow GoMa reach a broader audience.

'Disappoint' focuses on both vocal arrangements and sound structures. Some parts include 8-bit music, techno, experimental, and similar electronic add-ons - all wrapped up with a dynamic rhythm.
'Hora Gris' is a perfect track for an action movie (involving car racing or military jets, choppers, Air Wolf like themes or video games of that kind). Rhythm and beats along with electronic backgrounds bring back the best known sound of 90's Skinny Puppy, with vocal arrangements nicely placed between the instrumental lines. 'The Monitor' may give listeners ideas about a futuristic self-conscious A.I. being locked within displays just like Shodan in the System Shock video game. Again, techno beats, vocals, and intelligently utilized electronic music create another highly memorable track on the album.

There's a duality found in 'The Poison'. Its verses offer mechanical and darker, mysterious tunes. On the other hand, the chorus is clearly inspired by NIN's's 'The Perfect Drug'. 'Clicking' sounds and 'breathing' machines build up a certain atmosphere in verses, which speaks for Juan's creative programming skills. 'Trippin Trippin', just like 'Hora Gris' carries a lively journey-like vibe but the overall composition lacks consistency despite its catchy arrangements, then ends up weirdly - one could even say 'psychedelically'. The last song called 'Untitled' offers a swirl of gradually developing arrangements. Highly danceable and marching rhythm forces the body to actively merge with the music. The track has a massive potential to be re-worked and expanded further because the 4 minutes of music it contains truly isn't enough as of now.

Make sure to check out this and other Machine Man Records releases, as Chris Bollinger (the label owner) is a prolific industrial music talent headhunter.

(Reviewer: Katarzyna 'Draconina' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, September 13th, 2018. Mike 'Vesper' Dziewoński)
Source: http://industrialrock.net/php-files_en/articles.php?article_id=603




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Reviewed by Fabryka Industrial Rock & Metal Encyclopedia

AutomatoN - Sub Coma

AutomatoN - Sub Coma (album review) |Machine Man Records, 2017| 5/5

1. Sub Coma, 2. Automata, 3. Deus Machine, 4. Corperate Oxide, 5. Get Out, 6. Bionic Rain, 7. Run, 8. State of Creation, 9. Thought Process, 10. Light Bending, 11. Demise, 12. As the Ship Burns, 13. Silence

This is a concept album to tell the story of a violent space battle between humans and Synths which started in August, 2717 and lasted four days. Sub Coma is the first of the trilogy (together with Human Purge and III: A New Life).
The album begins on a heavy note with the title track. Arrangements roll out slowly. Listener are introduced to the story behind the album's concept which speaks of an isolated spaceship where Synths took over and were not controlled by the human crew anymore. The human astronauts feel threatened and hopeless, so they record memos while awaiting death. Their reports and observations are cleverly mixed with low tuned guitars, often played in unison. Occasional lyrics are sung with a contrasting, higher voice.
Next, dynamic electro lines open 'Automata', followed by grounding, vibrating guitar riffs. Moods vary between conflicted - frustrated and sad, expressing the readiness to rebel, then submission. Progressive metal meets djent here - a common theme throughout the whole of the album.

'Deus Ex Machine' won't show mercy for your ears. Here, the fight between humans and Synths gets real. Guitar riffs simulate rapidly shot bullets and squirting blood. The vocals are angry and growled, supported by higher backing vocals. The bass plays in unison with guitars, with complex drum lines providing a perfect fit.
The following track, 'Corporate Oxide' continues the hateful release. Drum beats and riffs accelerate immensely here. The verses include growled vocals and complex structures, but the choruses seem to have been written in compliance with Fear Factory's most famous sound (high vocals sung in quasi-childish manner), supported by a heavy metal background. The short ending part is completely different, kept in an electro vibe.

If you love 90s industrial metal in the vein of N17, Bile or Ministry, the next track is dedicated to you. 'Get Out' steals the show for all the good reasons. It is based on a simple composition but driven by powerful, repetitive arrangements (for guitars, bass, drums, and vocals), which resonate within the listener's body, giving it a desired chill. 'Get Out' brings an atmosphere of doom, threat, and domination - indestructible demonic energy spills out in every direction here.
In contrast to that, and perhaps to let you catch a breath, the follow-up entitled 'Bionic Rain' sounds quite positive, despite of the angry vocals utilized in verses. The song uses a classic rock and metal composition and could easily be a radio hit. After that, 'Run' again falls into the tune of Fear Factory and Mnemic - expressed by solid, repetitive, heavier tunes and distorted vocals mixed with lighter electronic music at times.

Fast, dynamic tempo and djent-like arrangements are the driving forces behind 'State of Creation'. The contrast between high and low tunes sounds very pleasing and makes the brain easily switch between such amplitudes. Drumming is the most underlined instrumentation in this track but at times surrenders enough space to let guitars lead the way till the end of the song. Next, 'Thought Process' mixes electronica with low tuned guitars. The vocals here are expressive in their anger, then replaced with memorable innocence. All this is spiced up by soul-tearing solo riffs.

'Light Bending' bring melodies of sheer beauty for all ears. The wall of sound increases and decreases, enhanced with both kinds of vocals, as heard before. It's characterized by sudden changes in tempo, where arrangements are cut rapidly then replaced - and by memorable choruses. All the song writing techniques should keep your ears full and interested enough to follow on.
Afterwards, 'Demise' lets you experience catharsis through powerful and complex arrangements. The composition is built upon contrasts, where hellish doom meets divine beauty. In the beginning, a sensitive ear may find the electronic background not very much in sync with guitars and drums, yet there is no trace of an unacceptable discord here. During the choruses, the whole song shines victoriously like the rays of a new dawn. In the ending part of the track, the arrangements and general mood touch one’s heart so deeply that the more sensitive among you may shed a tear or two. The verses drag you forcefully back into the darker side of music. It totally makes sense to press 'stop' after hearing 'Demise' to let your heart cope with emotions a bit better, until you're able to continue listening to the last two tracks of the album.

The battle for the ship is over 'As the Ship Burns'. Whether humans have won or not, it's time for evacuation before mass destruction erases all of its current crew. The song's atmosphere brings tension, yet the music can become quite peaceful at times. It's the longest track on this release and is definitely memorable thanks to the ending choruses. The whole fight will never be forgotten.
The final scene: the sky is filled with smoke. The only survivor looks on as the burning parts of the exploded spaceship fade in the outer space. Emotions of sadness, realization of loss mixed with relief are expressed through electronic sounds, piano tones, and a dead-tired automaton's report. Love energy and beauty radiate from 'Silence' strongly, thus sensitive, imaginative listeners may burst into tears again.

AutomatoN's Sub Coma album is a purifier of a record. There are melodies, smart passages between arrangements, the vibe of both doomsday and victory, and a heart-opening catharsis experience. The band has been founded by Nate Exx Gradowski. Judging by the complexity of arrangements, compositions, and the overall amazing performance, nobody could have guessed it's the work of a single person. Nate's not a newbie, however - he's been a member of Isolated Antagonist since 2014.
Fans of Fear Factory, Mnemic, Dagoba, Sybreed or Strapping Young Lad, as well as hard sci-fi stories will be greatly pleased with this release and should definitely hunt down the remaining two parts of the trilogy.
If you're however into different genres, you should give Sub Coma a try simply because it may drastically influence your musical interests and broaden your horizons.

(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, January 14th, 2018. Proofreading: Mike 'Vesper' Dziewoński)
Source: http://industrialrock.net/php-files_en/articles.php?article_id=598

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Reviewed by Fabryka Industrial Rock & Metal Encyclopedia

Interview with David Arkenstone 2016

Interview with David Arkenstone* (2016):


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).

Interview by Fabryka Music Magazine

David Arkenstone - Beneath A Darkening Sky

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)

Source: http://industrialrock.net/php-files_en/articles.php?article_id=582

Read also: Interview with David Arkenstone (2016)

 





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Ghost in the Machine - Broken from Binary

Ghost in the Machine - Broken from Binary |self-released, 2015| 5/5 industrial rock, metal, pop, electronic

1. To Be Zero, 2. Crazy, 3. Estranged, 4. Lost, 5. What It Is, 6. Perfection, 7. Today is the Day, 8. Memories, 9. Hammers, 10. Samurai, 11. American Hero, 12. Feedback, 13. Drive, 14. Pressure (Billy Joel cover), 15. Time to Go Gently

The people behind Broken from Binary are a duo based in Florida, using the Ghost in the Machine moniker since 1996. We know them only by their stage names: Face (bass, programming, vocals) and C4 (vocals, guitar, programming).
The newest GITM's album brings over an hour of music that should definitely be checked out by fans of catchy cutting-edge industrial rock, metal and pop - but avid video gamers, too. Purists however, need to open their minds to enjoy the surprising concept better. The arrangements don't often repeat within a composition, but veer off into unexpected directions, as if based on bridges mostly rather than a traditional rock song structure. Therefore, expect your ears and brainwaves to be challenged frequently with this release. Here comes music dripping with seriousness, intelligence, groove, and sense of humor - all mixed together.

The album opener, 'To Be Zero', brings a lot of industrial rock references (think Gravity Kills and Die Krupps thanks to groovy bass lines and slightly mean yet seductive vocals as found in PIG's music), but that’s not all. The chorus includes a complete mood change - a nostalgic pop line you'd probably never expect to hear in a track based mostly on guitars & sampling. Once the chorus passes over, the heavy drumming gets back into the limelight.

'Crazy' and 'Drive' are comparable, since not only are they the two most coherent songs on the album overall, but also very rhythmic, even danceable. The arrangements in 'Crazy' are very well written, operating within a tight space for every instrument and vocals. The mood and tempo change at times to avoid repetitive monotony. 'Drive’' brings the industrial metal feel in vein of Rob Zombie's hit songs. The bass, guitars, and drums deliver pleasant heaviness and collaborate very well. Vocals and synths bring melodious lines in the chorus. Both tracks are potential hits, great for headbanging and stomping, and thus industrial/goth radio & dancefloor-friendly.
'Hammers' makes for a good match with the two aforementioned songs, but it adds sugared pop melodies and less tense arrangements.

'Estranged' and 'Samurai' let listeners take a break from high energy tracks thanks to a much slower tempo. The guitars are still heavy in 'Estranged' but the track seems to be mostly written to underline the lyrical content of the song. It sounds truly memorable with its anthem-esque vibe.

'Samurai' brings a nostalgic yet romantic feel. The lyrics tell a short dramatic story of an iconic Japanese warrior and his beloved woman who was killed due to a stealth attack while he was winning a war. Vocals sound extremely radio-friendly but the overall arrangements are not deprived of heavier moments. When you hear the ending verse: 'Now I pray for her' - James Hetfield's characteristic accent may come to mind.
The last track, 'Time to Go Gently', also brings a more delicate, almost a lullaby-like vibe - at least at start. Since GITM excels at musical surprises, the arrangements begin getting heavier in the second, then even more intense in the third part of the song - thanks to the increased tempo, the loud drum beat, and the imposition of angry, hateful vocals.

'Lost' brings a distinctive melodic line and mixes heavy and soft tunes. The arrangements fit perfectly into the overall composition, carrying a danceable, electro-music feel at times. Despite such repetitions, there are plenty of interesting irregularities to keep the track fresh for your ears.

'Today Is The Day' shows a skillful mix of alt-metal and electro sounds, through the nicely down-tuned guitar riffs with melodic choruses. The composition is somewhat complex and offers plenty of space for many different arrangements that don't interfere with the original leitmotif.

When 'What It Is' starts off with its synth lines, experienced listeners may second-guess what’s coming next - the song is going to explode with rhythm any second now. Surely enough, it does bring a lively groove and a lot of elements straight from pop. There's a big dose of fun as well, with additional gap fillers such as rock riffs or even a flute. It sounds like a great track for an anime, for listeners of all ages, ranging from little children to grey-haired elders.

In a similar fashion, 'Perfection' includes a plentiful dose of techno & EBM dynamics. Fans of KMFDM will feel at home thanks to a well known vocal effect and the method of aligning vocals with the beat. There's a great balance between verses and choruses - each appear at the right moment. This purely electronic song is another potential hit on the album.

'American Hero' also qualifies for that, thanks to its pop-disco rhythm and sound effects. It is a '2-in-1' composition though, built upon two matching parts which are then separated with a bit of silence halfway through the track. It may turn out to be popular in the movie or gaming industries thanks to its beat driven, memorable choruses.

GITM's original music is perhaps best represented by 'Memories'. It's a guitar driven track which is built upon a fast but not monotonous rhythm, melodious arrangements, and a dominating drum beat. On top of that, it clearly proves that not only can these musicians write twisted yet mature compositions but also apply a specific instrumentation through their craft. Vocals, bass and drums are such as mostly heard in metal music. The rhythm guitars match rock, whereas background synths are usually heard in pop and electro.

With so many songs on the tracklist it’s obvious that any smart band in a similar situation would challenge themselves to come up with a stand-out composition. Thus, the standard and the modern meet in 'Feedback'. At first, a classic hard rock reference (think Led Zeppelin or Pink Floyd) may come to mind - GITM may have even used a Hammond organ in this one. Then, all of a sudden, a digitally beefed-up drum beat and modern rock/alt-metal vocals arrive. Fans of Nine Inch Nails won't go wrong with this track either, when they hear the unexpectedly fitting lines: 'Nothing, nothing, nothing will get me to testify / No way, no way, no way that you'll get me to lie'. This, along with characteristic guitar riffs and bass lines make for an unmistakable tribute to Trent Reznor's 90s music. The instrumental versatility, slow but still rocking tempo, and overall professional production make 'Feedback' an extremely memorable track.

Finally, a cover song. GITM have chosen 'Pressure' by Billy Joel, however their version is rather a close cousin of Joel's original despite the addition of a digitally improved beat, a bit of sampling and heavier guitars. It would be awesome to watch a smart video single accompanying this cover, that pointed out contemporary social pressures resulting in fear and frantic overreaction.

Broken from Binary is a well-thought out, masterfully executed, and highly entertaining cross-genre mash-up. Face and C4, blend several and typical sound effects or arrangements borrowed from trivial urban pop, chunky industrial dynamics, or vintage hard rock like true alchemists. The duo don't let themselves go astray in spite of utilizing a wide variety of different musical options, because their compositions are based on steady motifs. This technique remains the band's 'specialty of the house', whether it is an attempt to challenge their own song-writing skills, to please multi-subculture listeners, or to have ready-made arrangements for various commercial uses (ads, jingles, TV shows, video games, etc.) In fact, GITM have already successfully submitted music for a variety of major TV networks, brands and independent films.
The album's excellent audio production and mastering indicate that these musicians not only write and sell their music successfully, but can also provide other professional, studio-related services.

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

Source: http://industrialrock.net/php-files_en/articles.php?article_id=568

Interview with GITM - read here




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DMK - Going Under

DMK - Going Under (song review) |self-released, Going Under, 2015| 5/5

Connecting various types of art takes the most expressive turn when musicians get access to the right tools to picture their compositions, along with storytelling through lyrics, in the form of a music video. Darice M. Kannon however, aside of her musical interests and holding two degrees (in business and paralegal), also enjoys writing stories. She formed DMK and ventured deeper, to not only add visuals to her music but first and foremost, to illustrate her novel entitled Condemned (due to be published in 2016) with a matching soundtrack of her own making. This lead to releasing the "Going Under" single in early 2015 together with a supporting video.

DMK's musical inspirations range from electronic to guitar driven (e.g. Trent Reznor, Papa Roach, Bastille, Breaking Benjamin, Coldplay, Lacuna Coil) and such is her music. "Going Under" is split between two contrasting yet surprisingly matching styles. The song's core is built upon a variety of electronic beats found in techno, hip hop, and drum'n'bass, with their slow paced but obviously catchy dynamics. The vocals, on the other hand, come in a classical, operatic style.
Based in Los Angeles, Darice has been a professional vocalist and live performer across the country in cover and original groups between 1989 to 2005 - and her experience definitely shows. Her voice immediately grabs your attention - it's mature, crystal clear, with a thrilling timbre. She has great control of her vocal abilities - she can sail the waves of both high and low tones with cool professionalism.

This unusual mix of modern and symphonic attributes gives the song a theatrical feel and puts it a bit ahead of its time, perhaps. "Going Under" may either get your attention right away or grow on you with time, but it’s surely hard to dismiss or skip. Musical purists might be confused at first, but after a few listens, they will find it extremely memorable. In addition, the sound quality is very pleasing here. It often becomes a challenge for indie musicians to come up with high quality audio, so James Pequignot (involved with mastering) did a great service for DMK.

Darice definitely brings forth a novel sound here which should get her noticed in the sea of new bands. In fact, illustrating poetry, novels, and other works of creative writing with soundtracks may become a new music business model very soon. Not only would it be gratifying for musicians, but also engaging across three demographics - the listeners, the readers, and those who combine these inspiring activities, enriching their own artistic experience.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, November 3rd, 2015. Proofreading: Mike 'Vesper' Dziewoński)

Source: http://industrialrock.net/php-files_en/articles.php?article_id=565

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Reviewed 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