Mr. Kaplan - Rage Thrills Wow

Mr. Kaplan - Rage Thrills Wow (song review) | self-released, single, 2017| 4/5

Mr. Kaplan (the artistic moniker of Jason McClary) has been trained as a classical pianist but turned to electronic (house, techno) music thanks to his early interests. After 20 years spent on studying and practicing, not only does he mix and produce his own songs but also provides services to other musicians (as "Mr. Kaplan Productions", situated in Nashville, TN). He has also released two EPs, several singles and remixes so far.

The gentle, synthetic intro does not let listeners guess what kind of sound could follow it. As it turns out a bit later, 'Rage Thrills Wow' has high dynamics and is kept in the vibe of 90's 'old school' industrial metal. Most probably, Mr. Kaplan had been inspired by the most representative attributes of songs written by such staples as Ministry, KMFDM, and Circle of Dust. His song is splattered with repetitive drum beats, tiny electronic additions, and drilling metal guitar riffs as well as sampled political (John F. Kennedy's) and radio (George Orwell's) speeches. Predatory guitar riffs obviously carry a nice physical thrill. The selection of samples is perfect to keep the composition entertaining. They create an atmosphere of impatience and tension which has been prevailing in many countries as the world rises up against tyranny and political, childish games. The composition doesn't offer release for these emotions however, since the repetitive arrangement continues until the song's end. 'Rage Thrills Wow' is supported by a music video which you can find on the Mr. Kaplan’s YouTube channel.

The audio, mixing, and production qualities draw attention at once, even if the metal-sounding song needed less-than-perfect audio purity (compared to the requirements of any electronic track, for example). Jason McClary has learned a lot from Grammy Award Mix Engineer Dave Pensado whose lessons certainly paid off, as listeners can judge by listening to Mr. Kaplan's songs and remixes (check out New Order's 'Blue Monday' remix at his official website). On the downside, the percussion part in 'Rage Thrills Wow' sounds a bit too repetitive and comes over the guitar cues almost as if it tried to push the riffs away too hard.

Regardless the final, dystopian quote borrowed from Orwell's famous 1984 novel ("If you want a picture of the future, imagine a boot stamping on a human face - forever"), you will get the point – Mr. Kaplan brings the joy of life and the rhythm to the music he makes, and thus his tunes offer quick motivation to let you rebel against the lies and manipulations streamed everywhere. Moreover, it looks like he could easily raise the dead with the "phat", deep, reverberated bass being his favourite resurrection tool.
Whether Jason continues releasing his own songs or focuses on producing/mixing other artists' music, he has a ton of potential to write obvious hits. Get in touch with him soon if your track lacks power!

(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, February 19th, 2018. Proofreading: Mike 'Vesper' Dziewoński)
Source: http://industrialrock.net/php-files_en/articles.php?article_id=601


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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

Interview with Malice Machine

Malice Machine - interview (2017) (industrial rock, industrial metal)

NINa: Your excellent Digital Scars album released this year features 13 songs - over 60 minutes of material. Have you addressed and expressed everything what was on your mind at the time of writing it, or are you already getting into new song ideas and working on the follow-up?

Ammo & Sepsis: Digital Scars was not formulaic, some of the songs were written over a couple of years so it's attitude doesn't express a consistent vibe. It was different feelings and experiences at different times. It's also taken us time to acquire the knowledge and ability to record, mix, and produce our own music. Of course there's things that we could vastly improve on but overall we're pretty happy with our first album.

Read full interview here http://industrialrock.net/php-files_en/articles.php?article_id=593



Interviewed by Fabryka Industrial Rock & Metal Encyclopedia

Malice Machine - Digital Scars

Malice Machine – Digital Scars |self-released, 2017| 5/5 industrial rock, industrial metal

1. Welcome to the Machine, 2. My Virus, 3. We Breed Insects, 4. Venom Me, 5. Digital Christ, 6. Defect, 7. Only the Void, 8. Slave Nation, 9. Infest, 10. End of Everything, 11. My Virus (Alternate Version), 12. Stripped, 13. N.W.O

Industrial rock and metal music (called 'old-school' these days) fell out of the mainstream after Y2K. Due to this, die hard fans of these genres have had a difficulty finding many releases which could satisfy their picky tastes. Luckily however, the NYC duo behind Malice Machine (Ammo - drums, drum programing, artwork; Sepsis - guitar, vocals, bass, programming, songwriting, production, mastering) got inspired by both the 1990s guitar-driven industrial sounds and modern electro/darkwave vibes. A great quality blend of these appears on their Digital Scars album released in 2017.

'Welcome to the Machine' is the first of three cover songs here, originally released by Pink Floyd. As the album intro, it perfectly suits the purpose since it's the shortest yet the most seductive track. Its slowly pulsating tempo allows listeners to calm down, before they enter the heart of the Machine. Factory-like beats and emotional guitars bring a variety of emotions such as love, longing and sadness – all expressed towards the device.

Most industrial musicians frequently pick up topics for their songs related to contamination, radiation, global epidemics, and a zombie-like apocalypse - probably inspired by the slew of 1980 & 90's horror s/f movies with these themes. Two versions of 'My Virus' appear on the album, but they don't differ much. The song is characterized by catchy choruses and melodious arrangements with the addition of edgy guitar riffs. It also sounds like Ammo & Sepsis were inspired here by KMFDM and Sasha Konietzko's voice. To put it bluntly, 'My Virus' is the first potential breakaway hit on the tracklist.

'We Breed Insects' is a truly mighty industrial metal piece, moving listeners deeply. The slow tempo amps up the heaviness of the sound here. The song's atmosphere brings to mind the image of a hidden predator tracking its prey from a hideout, then jumping out to hunt it down. The vocals are distorted, even screamed at times, and they often open up space for instrumental parts to shine. Amazing guitar riffs in the second part of the track are followed by and contrasted with an intriguing synth arrangement which gives the sensation of relief or success (in reference to the predator suggested above).

'Venom Me' is the second hit song on Digital Scars and will surely please industrial metal fans, specifically those in love with bands such as Ministry, Bile, or N17 amongst others. The song's mood feels very aggressive, and the rhythm is fast. The arrangements sit tightly within the composition, while the sound of guitars is angry, with riffs entwined with more accented bass lines. Finally, Sepsis' vocals are almost growled, matching the instruments really well.

There's something sexual going on at the beginning of 'Digital Christ', as you may judge by female moans ending in a climax. The vibrant, goa-trance-like drum beats programmed by Ammo dictate the rhythm and support Sepsis' vile vocals. The underlined beats, danceable dynamics, easily memorable lyrics, cold synths, and edgy guitar riffs make the track another instant hit.

The dark and droning intro for 'Defect' is followed by predatory guitar riffs which additionally spin up the already tense dynamics. Invasive drums are entangled with harsh, slightly distorted vocals. A single, high pitched guitar line over rhythm guitars found at the end of the track creates an attractive contrast. Careful listeners may associate this song's specific vibe with early works of Marilyn Manson and Nine Inch Nails.

'Only The Void' is another industrial metal track with strong electro & goa-trance influences that utilizes both heavier guitar riffs and synths. The song's chorus is memorable, but the vocals fade away a bit behind the synth & drums. 'Slave Nation' is a potential hit as well, and certainly a must-have if you like spinning around inside a spiral of sounds. The track is full of looped heavy guitar riffs, darkwave synths, and industrial noises, all wrapped up into melodic arrangements and a danceable rhythm.

'Infest' in its entirety can help purging personal demons very well. As many NIN fans may recognize, the opening drum part is a straight-forward tribute to the band that brought industrial rock into the mainstream in the 90s. The song deals an aggressive, aroused vibe from the very beginning, which is then supported with a lovely wall of sounds in the third part of the composition, and followed by a neat tempo slow-down. The arrangements are spiced up with guitar riffs that the majority of industrial metal fans should admire at once.

On a different note, 'End of Everything' may be a real teaser/pleaser for lovers of electro-industrial and darkwave. Bouncy beats encourage listeners to dance without hesitation, but if you dislike dancing, this track is great for an intense fitness workout too. Skillfully written arrangements are equally distributed within the entire composition, leaving enough space for both lyrics and instrumental parts.

The original synth-driven song 'Stripped' was written by Depeche Mode. Once it became a global hit, many other bands challenged themselves to make cover versions. Malice Machine turned the track into an angry industrial rock piece through metal riffs, strongly accented drums, and twisted vocals, but obviously keeping the original song's notable attributes.

The album ends with the last cover song - Ministry's 'N.W.O.'. Malice Machine's version doesn't alter the track too much, probably to keep its famous, genuine vibe alive. Honestly, we should be thankful for such very few sound manipulations here - every industrial music fan who sees the 'N.W.O.' title will actually hear in their head a replaying memory of the iconic looped chorus: 'a new world order'. It would probably be risky to 'desecrate' it ;)

Some people worship gods, but these two musicians faithfully praise the Machine. Thirteen compositions which make for a 1 hour long album are filled with a variety of angry, dehumanized, industrialized, and 'math-mechanical' arrangements. Therefore, Digital Scars may help younger listeners discover primary industrial rock/metal characteristics, but also easily identify with some emotions brought by the classic sounds present on this release. Older fans, tired of spinning the same industrial albums over and over again, may find a few new sonic gems here. In any case, make sure you buy this release, since it is definitely worth the price of admission. Only with your help can the duo break through the corroded walls of a forgotten and largely unsupported scene and continue expressing their passion for 'the Machine' by releasing another set of songs sometime soon.

(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, February 21st, 2017. Proofreading: Mike 'Vesper' Dziewoński)
Source: http://industrialrock.net/php-files_en/articles.php?article_id=590

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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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Dogmachine - Futuristic Urban Cult

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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





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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

In Virgo - In Virgo

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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





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22HERTZ - Detonate

22HERTZ - Detonate |self-released, 2013| 5/5

1. Give Me A Sign, 2. Access Denied, 3. Into This, 4. Is This Real, 5. The Signal In The Noise, 6. Getting Through, 7. Darker Shades Of Black, 8. Everything, 9. Detonate

If you found the last few Nine Inch Nails albums disappointing or think that waiting for the newest release of Gravity Kills takes too long, Detonate by 22Hertz is what will steal your attention whether you dig industrial rock music or not.

22Hertz is a solo project of Ralf Muller, who founded the band in Toronto, Canada in 2011. The debut album released two years later brings a cloud of distorted guitar riffs, gentle piano add-ons, slightly distorted but melodic vocals, brooding yet not depressive moods and tension - all wrapped into a high quality production.

The opening song 'Give Me A Sign' sounds memorable thanks to its hooky choruses and quite simple arrangements, broken up with intriguing sampling and a variety of guitar riffs buzzing in the background. There's surely much more going on here than words could describe, but you'll discover all the gems once you listen to the song.

'Access Denied' is based on a set of noisy guitars, low tuned bass, little exposed drums and almost 90s synths making a good background layer for nihilistic, 'lazy' kind of vocals. The song arrangements may sound basic, but there’s a variety of matching NIN-like samples on top of them, to break through its simplicity.

Now, we're rolling to my favourite track called 'Into This', with its haunting, yet provocative atmosphere. It always sounds better when the song is not overloaded with vocals and the instrumental part is well developed, as it keeps the song safe from falling into the pop genre. Tension, memorable repetitions and a trance-like rhythm are what may make you like the song. There are also gradated rock guitar riffs, pulsing synth effects and great vocals matching the balanced arrangements very well. The riffs, vocals and tempting whispers come in all the right spots. Still, some of the arrangements appear only once, making the song stimulating.

'Is This Real' may be related to what we've heard on both Gravity Kills and Nine Inch Nails albums so far. The song brings edgy and quick guitar riffs along with gentle piano chords. The latter produce brighter accents over heavier themes, while the overall tempo remains moderate. Furthermore, seductive whispers, later replaced with shouts, keep coming back with a catchy (if sinister) line: 'If I can't have you, nobody can'.

The next track is fully instrumental. A cinematic dark atmosphere arranged with synths, a sound of ocean waves and other extended tunes make up for an oneiric mood. The part near the end opens up for two repetitive, collaborating and merging signals, enriched with isolated piano chords. It's a brilliant track that should leave listeners in a state of reverie. 'The Signal in the Noise' should be definitely utilized in an ambitious short movie.

'Getting Through' brings themes which old-school NIN fans should find most attractive. The connection to Pretty Hate Machine is quite recognizable, with the track’s simple arrangements built upon a low tuned synth, distorted vocals, slightly syncopated drums mixed with varying beats and alternating whispers and shouts for vocals. Regardless of the obvious musical heritage, the sampling sounds fresh thanks to a pulsating bass line that bubbles so deep you can imagine its sphericity.

'Darker Shades of Black' sounds haunting with its instrumental intro recalling what Trent Reznor and Adrian Belew did on The Fragile album. The composition is thought out very well. While the tempo remains solid, contrasts occur. They come out from dominating, possessive themes arranged for bass as well as samplers and brighter motifs (thanks to stretched guitar riffs). Both easily grab a listener's attention.

'Everything' begins with a simple, rhythmic drum beat enriched with vocals. References to Nine Inch Nails music are quite clear here, thanks to distorted guitars and repetitive arrangements. Moreover, short moments of silence are mixed with a bit of a piano, enforcing a dark atmosphere.

'Detonate', the last track is divided between moderately melodic verses and aggressive, purely industrial rock choruses. The song may have been inspired by Gravity Kills music, since it involves similarly sounding guitar riffs as well as sampling. Ralf knows how to create and develop tension in music very well. There's an instrumental bridge after a pure guitar fueled drive which puts a new theme into the composition, yet perfectly fits all other arrangements.

To sum up, most of these songs have quite the potential to be genre hits. Not only does Detonate offer high quality production but also catchy and dark themes, edgy guitar riffage and industrial distortions. The vocals, drums and sampling are accented in the majority of compositions, while instruments such as guitars, piano and bass have been used to enrich the arrangements. The album is very memorable and perfectly represents industrial rock.
If you like trying out new things, you can buy Detonate for a few bitcoins - the revolutionary new virtual currency (more standard currencies are accepted as well). A note to the buyers: the CD version contains a bonus track entitled 'White Dove', not present in the digital download.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, October 3rd, 2013. Proofreading: Mike 'Vesper' Dziewoński)

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=502

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Zeistencroix - Stranger

Zeistencroix - Stranger (song review) |self-released, Stranger, 2013| 5/5

When you have a band with an original name, chances are you'll be noticed. Some may break their tongues trying to pronounce Zeistencroix (seemingly referring to German, Dutch or French). However, it's great to be visible in the world of the Internet ruled by search engines where algorithms decide about a brand's 'to be or not to be'.

Zeistencroix is an American band founded by singer and guitar player Orlando Draven along with a guitarist Jack Akopan in Los Angeles, CA in 2011. Basically speaking, the duo combine their skills into a mixture of tunes full of catchy electronica and soft guitar riffs.
Without a shadow of doubt, "Stranger" has major potential for an everlasting hit. If you're looking for an awesome single for your radio, podcast or TV channel, don't look any further. "Stranger" is a winner thanks to smooth arrangements, memorable and danceable melodies, a Depeche Mode-like romantic softness and an electro-darkwave feel. It's mostly an electronic song, but there's also a swift guitar riff taking the melody even higher and touching both the ears and souls of the listeners. The riff - a truly uplifting tear-jerker - appears in the most desired spot of the composition.

The song's length is ideal for radio-play. Less than 4 minutes of enchanting rhythms makes you want to play it over and over again. Of course, anything repeated too often will become less interesting. Until then, you'll probably spin the song a few more times as well as share the news about the band with your friends.

On the technical level, the song mixing, mastering and overall production are very well done. What's usually very important in any composition - the volume of the vocals - sounds just perfect; the drum beats don't sound too pushy and background synths don't steal the melody, either. All arrangements are brilliantly put in the right places and every instrument as well as each hook can be clearly heard.

Aside from powerful music, "Stranger" delivers a message of desire. The lyrics speak about a casual romance, a night spent with a stranger in an apartment. The narrator's sex is not specified, though. There's such a genre as 'sex music', and you can easily fit "Stranger" into that group thanks to lines such as: "Come now let's burn the flame, feel the desire, lose yourself, release the fire of your skin, unleash your lust consume the sin" which are skillfully aligned with the track's sensual atmosphere. In addition, lyrical rhymes match the song's rhythm very well.

So, are you interested? You need to know more? The latest news is that Zeistencroix have been working on an album called Stranger during the last few weeks. You can track their updates about its progress on both the band's Facebook profile and their official website.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, September 8th, 2013. Proofreading: Mike 'Vesper' Dziewoński)
This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=499

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File Transfer Protocol - The Gargoyle Studio Sessions

File Transfer Protocol - The Gargoyle Studio Sessions (2010-2012) 4/4

01. World of One, 02. Rain, 03. Shadows, 04. Attrition, 05. Ivory Towers, 06. The Singularity, 07. This Machine, 08. 99%, 09. Regime, 10. Subversion

The true industrial rock scene has seemed to be dead for some time now, but this is not a secret for die hard fans. Provided that the United States has been the genre's homeland where it found success in the 1990's, European bands have come up with a few new industrial musical sub-genres over the course of the past 5 years that are personified as i.e. electro rock defined by more melodic arrangements. I cannot say however that these modifications have increased the chances for a revival of the original scene. Nonetheless, there are still new bands being created by musicians who's period of teenage revolt occurred in the last decade of the 20th century. Some of these artist have never set themselves free of this revolutionary attitude, yet they have been ignited by idiotic ideas that are introduced by factions of our governments. Following this theorem, we'll look into Texas, the police state of America where Sean Rieger, the founder of File Transfer Protocol makes his music.

It should be noticed first that FTP's sound has undoubtedly been inspired by the accomplishments of Nine Inch Nails, Gravity Kills and Stabbing Westward at some point. New artists who seem to be fascinated with cold, industrial & guitar driven music have been encouraged by the success of Trent Reznor. Many of these artist find themselves as the founders of one-man projects that they utilize to express their frustrations through music with either aggressive or melancholic attributes.

Sean Rieger appears to be well balanced somewhere in-between. His songs bring positive vibes, yet they do not touch upon the common elements of pop music. His lyrics raise awareness about topics that should be important to every down to earth American, however Sean doesn't stir anger by relying on the use of brutal arrangements either. The idea behind his music seems to be rooted in the promulgation of warnings supported by sheer facts. He wants to redirect the listener's attention to issues which may happen to become a real danger in the near future and which are being prepared by legislators whom the citizens have elected.

After three years passing since the release of the debut album Bipolar, a new compilation album has just been released entitled The Gargoyle Studio Sessions. The album title harks back to Sean's personal fascination with magical gargoyles which he collects as figurines and displays in his recording studio, although he treats them as protective totems. This release features a set of 11 songs recorded and released as singles between 2010 and 2012.

"World Of One" is the opening track for this compilation. Pulsing beats as well as various effects that are created with the utilization of samplers build an intriguing atmosphere which is followed by slightly echoing vocals. The tempo speeds up as the intro is joined by drums and guitars. There are ethereal piano sounds as well in the end of the track which standardize the composition, giving it a classical feel.

"Rain" is an instrumental arrangement that features distorted guitars, most probably inspired by Nine Inch Nails' album The Fragile. Once again, the piano appears to create a very interesting contrast when held in comparison to the sound of modern electronic music. The atmosphere feels kind of sad, but this may have been done to illustrate the psychological process of dealing with some problems.

"Shadows" is the best song on this album as far as I'm concerned. The first element of the song structure brings arrangements that are inspired by 'big bubble' effects and phat beats that are commonly utilized in electronic dance music. Although these aspects can also be heard in rock-sounding songs by bands such as Nine Inch Nails or Gravity Kills. Most often, Sean creates tension within the verses of his songs which becomes a sensation that increases and is finally released throughout the choruses; a method that has also been used in “Shadows”. The overall sound of this track is far beyond uncanny, which may cause the listener to feel shivers up their spine. This effect is due to an interesting mix of guitars and samples. A contrast of lazy, sensual tempos and non-distressing tensions have built a plot for a song that has turned out magnetic.

Gothic sounds reverberating from a bass guitar along with industrial samples and declaimed lyrics are the opening sequence for the following track called "Attrition". The listener may find a few connections to the music of Gravity Kills, but also to another industrial rock icon - Stabbing Westward. Effectively distorted guitar riffs are reminiscent of tunes on The Fragile as I mentioned above. Due to a slow rhythm, piano and lengthy vocals present in the choruses, the atmosphere of the track sounds a bit epic. Nevertheless, it has been wisely crosscut with beats and rasping guitars, but also hushed up effects.

"Ivory Towers" plainly forces the listener to react either by stamping the floor, headbanging or other activity which lets them adjust to the rhythm and dynamics of the song. This specific method by FTP of building tension in the verses as I mentioned before, stands out in this track and makes emotions explode through the following choruses. Overall, the composition recalls of a junction between songs such as "Gave Up" and "Wish" by Trent Reznor, which are both marked by turmoil and nervous anxiety.

"The Singularity" is the next song on the tracklist. It is expressed by a murky, concerned introduction that is based on synths and cold, layered, protracted guitar riffs. This composition blooms in time, which enables it to gain speed along with a colorful portrayal of emotions. Sean perfectly matched the rhythm of the lyrics into the arrangement. There are also subtle effects present in the verses which are laid over the vocals. On top of it all, memorable choruses turn out as catchy as those which are present in the song "Ivory Towers".

A melancholic and gloomy intro foreshadows a song entitled "This Machine". It is surrounded by samples and intelligently layered guitars, drums as well as bass which create an interesting background for deeper, brooding vocals which come next.

On the other hand, both "99%" and "Regime" originate from two events which occurred in the United States, but gained momentum and spread across several other countries in 2011.
The first song is related to The Occupy Movement which featured angry Americans dissatisfied with levels of poverty. Many of whom are seeing their rights abused every few weeks by legislators whose actions are exposed through the national news cycle. They oppose the policies and long accepted practices of banks, Wall Street and the super wealthy during this time of extended economic crisis. The mood of the song is closest to "Ivory Towers", which is characterized by a rapid tempo that may illustrate anxiety and insecurity as well as methods of escape or attack. Background sounds have been orchestrated into layers enriched by screams, guitar riffs and vocal communications that are stylized to sound like the TV news.

The idea behind the track "Regime" has come out of a recent attempt at censorship towards Internet content as well as advancing surveillance upon civil society. This is based on legislation masked by innocent looking four-letter acronyms such as ACTA, SOPA or PIPA. In fact, ACTA has been signed by representatives of the United States along with a few other countries without any public consultation, but a few countries in the European Union have given up on this idea due to the fervid public protests of Internet users. The pulsing beats in “Regime” are for instance reminiscent of early Stabbing Westward songs. This aspect combined with edgy guitar riffs and well matched vocals make yet another memorable track that has been written to encourage the mentality of the people to wake up.

"Subversion" finishes The Gargoyle Studio Sessions album. It's the newest track and is a bit different from the other songs due to heavy, funky bass lines a'la Red Hot Chili Peppers which begin this composition. As for the atmosphere, "Subversion" brings an aggressive feel with it mainly due to a rhythmic bass line along with buzzing samples, effects and screaming vocals. There is no graduating advance of tension either. Instead, listening to the entire "Subversion" track feels like sitting on a bomb while playing with a TV remote-control style detonator in hand which works as good as a game of Russian roulette.

There are a few ways to call for a revolution - from throwing Molotov cocktails to making punk music. This can also be accomplished with the use of more subtle methods such as presented by File Transfer Protocol through this album. I'm not sure if Sean has successfully gotten rid of his tension, however a listener will be undoubtedly left watchful and alert after listening to The Gargoyle Studio Sessions. Both the music and lyrics assign a mature form of rebellion which is used by this artist to protest against the abuse of a citizens' freedom by their respective governmental institutions more and more often. The Gargoyle Studio Sessions will open the eyes, ears and minds of listeners in regards to a few issues which are not only important to Americans, but also citizens around the world who blindly follow 'Made in the USA' trends which sometimes have a bad impact on their individual rights and liberty (see: ACTA controversial legislation).

Musical know-how, writing skills, intelligent arrangements for multiple instruments, well thought out compositional characteristics, valuable inspirational elements, smooth performance techniques as well as high quality mastering and overall album production make this compilation stand high among many other industrial rock releases.
To top it all off, The Gargoyle Studio Sessions are the tireless work of one man. Ten years ago an album like this would have been released by a major label and never have been offered as a free download. In this current market independent artists control their own business and a digital copy of this release can be easily downloaded for free directly from FTP's official website. Of course this doesn't mean that a listener should not try to offer support to this musician financially if possible. It is important to keep Sean motivated to come up with yet another great album while he remains inspired and there are definitely many other items you can purchase from his online store!

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, November 18th, 2012)

Download this album (from FTP's upload to Google Drive through Fabryka Magazine, no registration is required).


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Mike Drazka - Songs from the Asylum

Mike Drazka - Songs from the Asylum |self-released, 2012| 4/4

01. The Awakening , 02. Angels Of War, 03. The Nightmare, 04. Black River, 05. Sucker Punch, 06. Crown Of Thorns, 07. Path of Destruction

Mike Drazka is an American songwriter and self taught multi-instrumentalist who has already placed his music into various forms of visual media such as TV, radio and internet multimedia sources including Oxygen Network, News12 Networks, MSG Networks and The Motion Picture Association of America with the award winning documentary Flight 587. His Songs from the Asylum album brings seven instrumental tracks that could be easily utilized in action video games as well as movies.

The album begins with "The Awakening" which brings orchestrated rock sounds spiced up with electronica. It would be perfect if Mike hired a metal genre female singer to add vocals to it. The compositional aspects of the song are built on verses and choruses with cumulative moments and spots where a listener's brain can relax as well. Arrangements which have been written for guitars, bass, drums and keyboards have resulted in a cool rock track that has a chance for hit potential despite missing vocals.

"Angels of War" is a heavy track due to its looped guitar riffs and sampling. Atmospheric parts in the background based on angel-esque voices and violins are interlaced with the main theme.
On the other hand, "The Nightmare" has an intro that consist of brooding metal bass lines and drums which are joined by noisy guitars and cut with a synthesizer sometimes too. This would be also a perfect song to have male rock vocals added that could intensify the track and add a remarkable aspect. Overall, the dark and heavy moods sound as if they smuggled a nightmare into an asylum.

Creative noise opens the fourth song on the tracklist called "Black River", which I personally find one of the best compositions on this album along with "Crown of Thorns" and "Sucker Punch".
"Black River" sounds powerful due to chunky guitars joined by keyboards while the drum beat builds the structure of the song. An unforgettable and ear-friendly guitar motif that appears in segments of the song may also steal your heart. Moreover, the guitar tracks act as a surrogate to vocal parts which makes a listener take no notice that the song is missing a vocalist. The composition flows quite stable and the arrangements match one another well. "Black River" is as full of dynamics as it is memorable, this is thanks to Mike's great songwriting and sound design skills.

Mike Drazka wrote and played each instrument on every song except for two. You can hear very heavy metal, yet distorted riffs played by American guitarist Frank Guertin as well as the drum beats by Russ Miller in "Sucker Punch" and "Crown of Thorns".
The first of the two, “Sucker Punch”, is a track where heavy metal collides with electronica. Hardcore riffs lead the song over backgrounds which feature drums, bass and rhythm guitars, but electronic effects and sampling appear in some spots too. This track would be a great fit to an action movie trailer since it can underline specific scenes and moods very well.
"Crown of Thorns" turns out quite short (less than 3 minutes), though it is fully dominated by deep tribal drum beats. The initial mixture of Mike's concept of synths and silence gave me a flashback of Harold Faltermeyer's compositions. The intro may be a bit too long, but the track continuously evolves. However, if the purpose of the song was to be background music for a presentation or a video game with a few images slid into the beginning, the length of the intro would make a perfect sense.

"Path of Destruction" finishes the Songs from the Asylum album. It seems to utilize the same ideas as are found in "Crown of Thorns" (the length of intro) in the beginning, but the overall vibe is more electronic and noisy than in the previous songs. There are some guitar riffs involved, although it seems like they were processed through a digital sequencer.

Well designed music doubles the joy of playing video games as well as watching movies. Images and motion do speak directly, yet they become harsh without matching music. Some game designers and movie directors have awesome works in progress, but they are missing music that can emphasize their work to a maximum dynamic effect. Mike has an excellent set of songs which would match any type of 'action' motion picture or video game due to their climactic guitar driven instrumental themes. It would be great if Mike had a chance to collaborate with such professionals as mentioned above to utilize his music in their productions and allow for visually stunning multimedia. Hopefully some professionals who are in the gaming and film industries may find Mike Drazka thanks to this review and begin a creative and successful collaboration together.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, June 11th, 2012)

http://www.mikedrazkamusic.com | http://www.facebook.com/drazka

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Reviewed by Google+ Music Reviews