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

Merrin - Sin

Merrin - Sin (song review) |self-released, single, 2016| 5/5 blues, rock

Merrin entered 2017 with a new line-up as well as a bit of a changed sound, yet they've kept all former innuendos within both music and lyrics. The melody of their brand new track 'Sin' sounds very radio-friendly - as much as that of the band's previous song, 'Mr. Dominant' (which was later supported by a steamy, high quality music video single - find it on YouTube).

'Sin' opens with a blues'n'rock guitar riff (by Karl Wootton) and a gently jingled tambourine. They are then followed by the bold, cheeky, and instantly memorable voice of Charlie Phillips. Having a golden asset like this means it will always allow the singer to contribute to a variety of genres with success. When drums (by Richard Maxwell Jr) and bass (by Logan Wood, the new member) join next, they bring up a steady line of dynamics, and therefore leave no doubts that the track is an insta-hit. Guitars are reinforced by the other new member, Angelo Pantelakis (on lead guitar).

When it comes to arrangements, it seems they were written with a classical rock'n'blues structure in mind. Verses and choruses are easy enough to remember from the first listening for a proper sing-along with the vocalist. This obviously makes 'Sin' accessible for the majority of listeners around the world and definitely makes it fun during live performances. The song's composition is also not too complicated, with said arrangements distributed throughout evenly and an occasional guitar twist to shake the relaxed rhythm up a bit. All musicians here perform their parts dynamically. Again, Charlie's dominating alto entangles with all instrumental tracks, vibrating nicely within, and thus boosting every sound.

The mood and energy here are confident, direct, open, and positive. The down to earth lyrics talk of an episode in a shady bar: a woman drinks tequila, meets a man, then they both follow an increasing desire to know each other better and deeper. Yet it seems this event leaves her feeling guilty when she sobers up: “See this half empty bottle, holds bad memories / Head face down in the dirt / Cos I’m addicted to the misery / Like a fallen angel”.

'Sin' clocks in at 3 minutes and its length along with the catchy vibe make it a great fit for lots of music opportunities in need of a strong, melodic accent. The song is currently only released and available to buy on tour for Merrin's fans, however it'll be globally available with a complete music video around June 2017. Merrin plans on playing a few performances in New Zealand (where the band originates from) this year. Make sure to check out their official website & Facebook page for the schedule.

(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, February 15th, 2017. Proofreading: Mike 'Vesper' Dziewoński)
Source: http://industrialrock.net/php-files_en/articles.php?article_id=589

Read also: Merrin 'Mr. Dominant' song review.



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Reviewed by Fabryka Industrial Rock & Metal Encyclopedia

Artist Proof – New Day

Artist Proof – New Day (song review) |self-released, single, 2015| 4/5 rock

"New Day" is a single by Artist Proof, an indie rock band from Melbourne, Australia. Artist Proof consists of song writers Chris Pattenden and Drew Schapper, supported by Dan East (guitar) and Chris Rourke (bass). They are not your typical sound only-orientated musicians however, because they enjoy collaborating with (and are inspired by) other people who express themselves through art – just like teaming up with, for example, artists who paint murals while the band is performing in the same room.

"New Day" is also kept close to art since it was inspired by the paintings of Melbourne-based artist Dagmar Cyrulla. Her art captures random moments in the lives of ordinary people of all ages, genders and races.
The song begins with a delicate yet not too highly pitched piano, sufficient to let the emotions come out by opening the listener’s heart. It is then followed by a male voice, characteristic enough to remember it after the first listening. Interestingly, the voice sounds as if the singer was much older than his actual age would suggest (obviously it is not always a rule to 'sound' according to one's age).

Once the piano paints the song theme in the beginning, the bass and drums slightly change it in the latter part of the song. Gradually, a vibrating guitar tune and the aforementioned instruments join the singer. They sketch the rhythm, along with adding more sound layers, building it up towards the chorus. Upon reaching it, the initially sentimental song turns into a full-blown rock track, though it's still based on a rather slow tempo, letting a listener focus on the poematic vocals better.

The strong melody line in the song indicates that musicians have been inspired by the 70's & 80's music, with its characteristic traits present in songs by Freddie Mercury's Queen, Pink Floyd, David Bowie - but also Peter Murphy at times - due to their theatrical, ethereal and slightly dramatical expression. The arrangements were carefully chosen and sewn into the composition.

The song is good as is, but will also make for a good background when matched with an equally emotional video, preferably aimed at the younger part of the population. Still, since retro seems all the rage now, it wouldn't hurt to show older people who catch up with their younger selves, either. Is the song inspiring? That depends on your own blood pressure. If it's high, your body feels better hearing moody, melancholic, almost transparent tunes, and it'll thank you for playing "New Day". If only heavy or very dynamic music can get your body moving, you should rather choose a different song to accompany your morning coffee.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, June 22nd, 2016. Proofreading: Mike 'Vesper' Dziewoński)
Source: http://industrialrock.net/php-files_en/articles.php?article_id=581







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Merrin - Mr. Dominant

Merrin – Mr. Dominant (song review) |self-released, 2016| 5/5 rock, pop, funk

Merrin are a band from Wellington, New Zealand. Judging by their newest single's vibe, the quartet is aiming to gain attention worldwide, presenting a potential hit - something the music industry is always on the lookout for.
The song's low, energizing groove and excellent vocals should agitate listeners already from the very beginning. The arrangements placed swiftly within a solid body holding the entire composition, clearly shared between verses and choruses, make for a really catchy and powerful song. Any chart topper needs to have some repetitions to remain memorable, but in this case there’s not a single second of boredom here.

'Mr. Dominant' begins with vocals that are followed by drums (Richard Maxwell Jr), guitar (Karl Wootton) and bass (Lisa Tagaloa). The rhythm is bouncy making the track instantly memorable, yet it ends on a perfect, popular note with all instruments bringing the rhythm to a gentle stop. Melodically, 'Mr. Dominant' fuses rock, pop, funk and metal vibes thanks to edgy guitar riffs, the overall structure, and the catchy groove. Riffs and drums are less dense, unlike when utilized in purely metal tracks, so the song may find its way to various listeners, not bound to any specific genre. Every instrument, including the voice, has accurate placement, and everything is timed flawlessly. Even if the song may sound spontaneous at first, there's quite a lot of math hiding underneath.

The timbre of the vocals is very interesting, since they sound quite 'androgynous' - the voice could belong to either a woman or a young man, and it’s hard to say before you have a look at the band’s line-up. It's rebellious, confident, and distinctive - it can tap into higher notes easily but it mostly keeps a lower, almost masculine tone somewhere in the middle. Its range intrigues as well. To satisfy your curiosity, the person behind the voice - Charlie Phillips - is female. Being gifted with a voice like this, she should expect many opportunities in the music industry (and beyond, e.g. voice acting in movies or games) sooner or later. It seems that singing comes effortlessly to her - on top of that, her voice is easily recognizable.

Lyrically, 'Mr. Dominant' refers to the act of seduction of an alpha-male man, so called 'the old electric masculine' driven by own ego and thus, always wanting to be in control. How could a female be in control of such a guy, then? Using her sexiest attributes, according to the song writer.

Overall, the song is great for any kind of media placement, and will surely stir the physical energy of listeners, whether it is aired on worldwide radio or included on a personal playlist. The song's recognizable fragments may be a good match for a TV advertisement as well. Guano Apes, Nico, Living Colour, Deftones, and Rage Against the Machine - you could probably name these if you really need a sonic reference, but make sure to check out other songs by Merrin, streamed on their social profiles.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, May 12th, 2016. Proofreading: Mike 'Vesper' Dziewoński)

Source: http://industrialrock.net/php-files_en/articles.php?article_id=579

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Gianluca John Attanasio - Beyond2Doors

Gianluca John Attanasio - Beyond2Doors |House Of Clouds, 2020| 4.5/5

1. King Money, 2. Black Forest, 3. In The Club, 4. I Lost My Angel, 5. God Save Every Soldier, 6. Baby Up Baby Down, 7. Sacred Flight, 8. The Life Will Continue, 9. Living In My Blues, 10. Miss Dog, 11. In The Morning, 12. Silent Roads, 13. Time Is Over

The new album of Gianluca John Attanasio took 3 years to compose during his travels between Rome, London, New York, and Los Angeles. Not only did he write music for independent cinema, theatre, and the dance scene, but also composed, arranged, and produced music during the last 15 years. This is clearly audible to careful listeners experiencing any of the tracks present on Beyond2Doors.

Thirteen brand new tracks offer a blend of many genres - blues, psychedelic rock, rock ballad, or even hip hop. All are united by the lead singer's confident and somewhat raspy voice.

'King Money' brings a typical blues feel and expressive, well trained vocals. Both arrangements and composition keep the classic tone here and, therefore, will be loved by the sound purists. The rocking vibe provided by the bass and drums is additionally contrasted with the higher-reaching harmonica. 'In The Club' is also a track that fans of The Blues Brothers may dig from the very beginning - the odd (but fitting) addition being psychedelic organs. The chorus is extremely memorable thanks to various repetitions and the overall melody. 'Black Forest' is kept in the same vein - swinging sounds just as easy to remember. Vocals, synths, and bass are accented mostly at the beginning, while the guitar and drums take over a bit later, collaborating nicely when the chorus appears. Skillfully written arrangements allow for vocals to be either highlighted by instruments or shine on their own.

Attanasio's admiration for The Doors is obvious in two of the thirteen tracks. 'Baby Up Baby Down' shows it through the use of a synth (perhaps even the famous Moog) and improvisation-like arrangements, perfectly placed within the song. Even if the singer's voice is rougher than Jim Morrison's, it matches the guitar driven musical explorations, from blues to metal. 'Silent Roads' carries the subtle, magical vibe of the iconic 'Riders on the Storm', bringing along a hefty dose of synths. There's a lot of motion in the background and the vocals are matched with these arrangements very well.

As for the ballads on the album, 'I Lost My Angel' is a track suitable for a slow, romantic dance for two, thanks to its melancholic vibe carried by guitar, bass and drums. The other half of the song includes a slightly vibrating guitar solo and a subdued synth. 'Living In My Blues' is kept in a homogenous mood, though its tone is more swinging than that of 'I Lost My Angel', with the guitars accented more strongly at times. Vocals appear frequently and are on par with all the other instruments. It's highly recommended you listen to this one with your eyes closed.

'God Save Every Soldier', as the title suggests, is a tribute to those who have been sent to fight for peace. The song includes a really surprising melody change - with the unexpected arrangement sounding more electronic, including a minimal dose of deep techno bass and a slightly faster beat. It makes the track sound less epic, though the overall mood is peaceful.

Move over, synthesizers - it's time for the piano. 'Sacred Flight' brings piano arrangements with the accompanying lyrics delivered by Attanasio's down-tuned voice, sounding more intimately than in other songs. When it comes to the atmosphere here, hope and drama keep interlacing. The piano arrangements continue in 'Time Is Over', but the style is that of a pop/rock ballad - similar to something you would hear on a Foreigner or Elton John record. The romantic atmosphere is expressed with additional samples of rainfall and subdued thunder, mostly in spots where the vocals take a break. Furthermore, it's easy to imagine 'Time Is Over' being performed by an all-stars crowd at a fundraising concert, bringing back the spirit of the 80's and Bob Geldof's & Midge Ure's Live Aid.

While the piano took over for 'Sacred Flight', guitars get to rule across 'In The Morning'. Instrumentally, it's still kept in an acoustic mood, but it's more rock-oriented, akin to Eric Clapton's music, with the vocals recalling those of Billy Joel. 'The Life Will Continue' has a warm vibe, but the accenting bass and drums take it into rock territory, with a high-pitched guitar soloing in the background, letting the synths and Attanasio's voice be more expressive. The song's production is a bit different, perhaps due to some additional ambiance surrounding vocals and guitar, as if they were recorded live on stage, and later mixed and mastered.

At the opposite end of the musical spectrum presented on the album we have 'Miss Dog', offering a complete change of instrumentation, mood, and style. It contains a lot of skillful borrowings from hip hop and modern pop music, utilizing a faster, danceable tempo and somewhat graded vocals. The lyrics are quite ironic though, referring to the idea of how the hip hop scene uses sex and women as their major song-writing inspirations. 'Miss Dog' may become a steady hit on air if offered to the right broadcasters.

Clearly, Gianluca John Attanasio recorded the album with a lot of moodiness in mind, rather than expressive dynamics. There are clearly emotions at play here, but performed rather retrospectively, with reflection trumping reaction.

Lyrically, Beyond2Doors touches many topics - from an inner journey into the self, discovering emotions, learning from karmic (romantic or erotic) relationships, a dash of loneliness, but also expressing support for soldiers. Since the album is a trip into the blues rock of the 1960's, it's highly recommendable for listeners of all ages who prefer well developed, unhurried tracks coming from the heart.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, June 21st, 2020. Proofreading: Mike 'Vesper' Dziewoński)

Source: http://industrialrock.net/php-files_en/articles.php?article_id=577

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Ghost Embrace - Quantum Heart

Ghost Embrace - Quantum Heart |self-released, 2015| 5/5 metal, rock, jazz

1. Alone Again, 2. Neon, 3. Heartbeat, 4. Closing In, 5. Catch Me, 6. Remember, 7. People, 8. Still Here, 9. Quantum Theory, 10. Question of Faith, 11. Pirates, 12. School Yard

After a year in the making and getting together the best matching line-up, the latest (second) album of Colorado based Ghost Embrace has finally arrived.

The band is led by multi-talented vocalist, song writer and producer Annette Freeman. Morgan Rose who is best known as the founding member of Sevendust played drums. The bass player, Mario Pagliarulo, has toured and recorded with Serj Tankian (System of a Down) and Larry LaLonde (Primus) amongst others. There are also two skilled guitar players - Nema Sobhani and Chance Gallagher. Orchestration and piano arrangements were created by virtuoso Eric Moon who also worked with Victor Wooten, Nina Hagen, and Bjork. A line-up like this definitely helps with delivering a massive final result, so let's take a closer look at what this collaboration brings.

'Alone Again', the album opener, already suggests a possibility that Quantum Heart's essence relies on rhythmic melodies. There's the symphonic metal feel thanks to juicy orchestration, but also heavy textures brought by the guitar-bass-drums trio. Annette demonstrates a strong, brassy vocal and great interpretative skills. Her lyrics match with the arrangements and overall composition very well. A distinctive symphonic part which can be associated with movies set in The Middle Ages remains in the memory long after the song is over, but it's worth noting that the track ends on a heavier note.

In contrast, 'Neon' brings groovy, smooth jazz warmth with faster metal drumming, a pulsing bass line and lively rock soloing. Annette thrills with a predatory aggression in her voice, then it washes all away like an ocean wave leaving a beach. The instrumental parts and backup singers' voices play an important role here although the main vocals stand out - regardless of that, the songs keeps its balance perfectly.

A distinctive groove begins 'Heartbeat', along with a short lyrical verse, quickly followed by a chorus. This motif may suggest that the song is either short and repetitive or that its structural complexity may develop further. You'll discover the truth after a bit of listening. The melody is crucial here, making 'Heartbeat' a highly memorable, radio-orientated track.

'Closing In' sounds like a song to spend an evening with, thanks to its peaceful, repeating patterns. This is yet another jazz & soul based composition on this album, with medium tempo, a warm rhythm and a harmonious melodic flow. The arrangements here should let listeners relax in any environment, but perhaps are best experienced during a rainy night.

Ghost Embrace won't let you fall asleep yet, however. 'Catch Me' obviously sounds like a catchy hit thanks to its graded melodies and uplifting energy, making it another song on this album strongly recommended for radio play. It provides a tight, proportional mix between symphonic metal and pop/rock - definitely something for fans of Lacuna Coil, who may feel delighted upon discovering this particular track. Annette's voice is used here as an additional instrument, giving the composition a comprehensive and balanced sound.

Gentle, peaceful piano sounds in the intro of 'Remember' bring up a fairy tale image of delicate snowflakes falling during a winter evening. The entire instrumentation here deserves applause thanks to the compositional maturity, offering Annette's voice a desirable background. The song is pleasing to the ear, and its dynamics don't distract. An additional solo guitar makes for a classy enhancement, and is placed in the right spot. The mood is nostalgic and romantic, already indicating the song's message - a romance is over but it's alive in the lovers' memories.

'People' brings a social vibe since its title and introductory motif already suggest the best venue to play it. Imagine a Friday's night spent in a stylish music club, drifts of cigarette smoke coming from the shady corners, subdued conversations with individual bursts of low masculine or high feminine laughs - flirt and relaxation in the air. A pianist soloing on a small, intimately looking stage, eventually joined by the full band, fronted by the singer and supported by backup singers who gently swing to the rhythm of the song. People come out to dance once they are encouraged by the dynamics of the unfolding rock'n'roll tune. The drummer and bassist have steady parts to perform here, while the guitarist adds a quick solo on the side.

Contrary to its predecessor on the album, 'Still Here' opens with metal heaviness along with a progressive melodic line. Bass and drums are emphasized and rise up to the level of the vocals. The lively tone of the guitar may enchant you, together with the overall tight dynamic range. 'Still Here' could also be considered for use in advertising or media (for vehicles, travelling, music-related gadgets etc.) thanks to its strong, positive vibe and a memorable melody.

'Quantum Theory' is the only entirely instrumental composition on the album. Delicate electronica meets almost ambient-esque arrangements here, with traces of a rhythm that could make a ballerina dance. The song was written by Chance Gallagher who also played on a single guitar.

The founder of Ghost Embrace's must have an awesome musical empathy, since it let's her adjust own songs to the general vibe of certain genres along with types of instruments used. 'Question of Faith' is entirely based on an acoustic guitar along with the ethereal sounds of a keyboard, both often heard in Christian music, even though the song doesn't necessarily refer to religion but rather faith overall. Vocals are equally matching through their tender yet distant tone.

When you see a title such as 'Pirates' you may suspect the song is going to sound dark, intense or at least very dynamic. Instead, you get a lot of sweetness and a positive impression. Judging by the melody, it is a good follow up to 'Question of Faith' but when compared, 'Pirates' sounds more epic thanks to its running tempo and arrangements spread within the composition. The instruments build the song's steady core, but then vocals and guitar riffs reach higher tones, dispersing the melody beyond the beat delineated by the rhythm section.

According to Annette, 'School Yard' was the most difficult song to finish due to her busy schedule - vocals were put together with music on the plane to Vancouver. Nevertheless, the song sounds solid and energetic. It also has a dominating yet easy-going feel thanks to jazz fusion elements such as repetitive background choirs which support boldly performed vocals, a bit of guitar soloing, then lots of cymbals and piano play, too. Moreover, Annette's joyful laugh finishing the song may suggest that making 'School Yard' was actually fun.

There's evident stability and maturity found in the music of Ghost Embrace. Each of these twelve relatively short songs brings a different yet coherent vibe, mostly thanks to Annette Freeman's voice. Their sound is strong, distinctive, recognizable, and can bring both nostalgic and rapacious tones with equal agility. If you are familiar with the band's self-titled debut however, also recorded with a different line-up, you'll have some idea what to expect - Ghost Embrace loves jazzy groove but doesn't shy away from rock and metal heaviness. It doesn't mean that the band have already established their 'sound', considering the various guest musicians on each of the albums. Therefore, it will be interesting to track the direction of the band's future endeavors.

On the engineering side, Quantum Heart was mixed by Randy Staub (Warehouse Studio, Vancouver) who worked with all-star bands like U2, Motley Crew, or Alice in Chains. Mastering was provided by Ted Jensen (Sterling Sound, New York), whose name also rings a bell when you look up albums by The Alan Parsons Project, Billy Joel, Foreigner, and RATT, amongst others.

Clearly, lots of hard work and financial investment have been put into the making of this album, so send your positive feedback the band's way once you get it, to make sure you gratify these professional musicians' effort. A must-have 2015 release.

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

Source: http://industrialrock.net/php-files_en/articles.php?article_id=486

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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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While U Were Out - It's Always You

While U Were Out - It's Always You (song review) |self-released, 2014| 4/5

While U Were Out (also known as TWPHMusic) is a composing and recording British duo founded in 2013 and consisting of Trevor Wiles (keyboards) and Paul Hadler (vocals & guitar). Both musicians however, have already been writing music collectively for over 10 years.

While U Were Out’s debut single titled 'It's Always You' was released in mid-2014. It’s a pop-rock song with hit potential. It begins with a grungy-dirty rhythm guitar riff that is soon joined by another riff, tuned up higher to build a contrast. Drums and bass come next. The vocals are rather high, clear, initially quite gentle, getting emotional in choruses.

Most listeners prefer music they've already heard before in terms of melodies or arrangements. Thus, they are more eager to learn about and buy songs recorded in a style similar to the ones they already know. The composition and arrangements here were written with a classical approach. This kind of songwriting has resulted in an easy listening song. 'It's Always You' turned out reasonably short - it makes for an excellent radio, movie trailer or TV ad track. The rhythm however, is the same for verses and choruses. With a bit of additional diversity, slightly more intriguing arrangements could have been created. The atmosphere is light and friendly, possibly directed towards the teenage listeners, though it’s not definitely a teen-chart-product type of song.
The production is very good and underlines the importance of vocals and guitars at first, while drums and bass are placed in the background. This way, the song sounds more emotional rather than heavy, yet it keeps being rhythmic.

While U Were Out write music for other bands as well, not limiting themselves to pop or rock alone. It is worth mentioning that Pink Floyd's Nick Mason played drums on their track called 'Loves Forever'.
If you're looking for non-intrusive music that talks about relationships between people, this single is certainly for you.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, November 9th, 2014. Proofreading: Mike 'Vesper' Dziewoński)


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Spookshow inc. - random songs review

Spookshow inc. - random songs review |self-released, Visions of The Blinded World (pt. 1), 2013| 5/5 electronic industrial rock

Scary Dream, Falling Down pt. 2, Cyberage

Born and raised in Lithuania but making music in UK and Norway, Lucky Spook (guitar, programming, songwriting and production) released the Visions of The Blinded World (pt. 1) album in late 2013, even though the majority of the material on the album was written 10 years ago. His inspirations come from a diverse host of bands such as Pink Floyd, Paradise Lost, Rob Zombie, KMFDM, Skinny Puppy and Nine Inch Nails mixed with modern beats made famous by Prodigy or Chemical Brothers. He can still recall that Pink Floyd and KISS were on the list of dangerous and unwanted Western culture products, as he found out at school in his Soviet homeland back then. Motivated to rebel and equipped with a guitar, he began playing with fire soon after.
The album is available as a digital download and a limited edition CD with the same 10 songs available through both channels. This review covers only three of them.

"Scary Dream" is one of the opening tracks and refers to a phenomena of dreaming, its symbolism and hidden meanings. In the lyrics, the author speaks of an oniric encounter with animals such as snakes, unicorns, and dogs. These stand for either the author's or the society's primitive instincts related to magic, which he needs to face himself.
As for the music, it is a rhythmic track. Because the lyrics are relatively short, the leitmotif is rooted rather in the repetitive instrumental parts than vocals. The leading guitar riff is altered, looped and mixed with tunes typical of Prodigy or Sonic Mayhem songs. Arrangements are wisely thought out and include a fair share of dynamics but also silent spots. "Scary Dream" sounds suitable for an action video game.

"Falling Down pt. 2" is a slightly darker track, where guitar riffs are mixed with electronica and sampling. The screamed vocals have a touch of added processing, as much as you would spot in an average coldwave track. In addition, they are mixed with a variety of well-matched sounds, which place them in a lively surrounding. It's a highly memorable track thanks to the rhythm, repetitions, female whispers, and the high-pitched guitar leitmotif. If you like White Zombie or Rob Zombie's solo work, this may be your favorite song of the three.
The track is short just like its dark lyrics are. They seem to relate to OBE (out of body experiences) that take place when a dreamer or someone meditating feel their spirit leave their physical body and traverse through space. In this case, the dreamer seems to be a fan of an access-all-areas with evil intent.

Finally, "Cyberage" speaks of a person born in an age of no peace, only fear and hatred leading to war and isolation. But there's the Internet, a cybernetic child that almost everybody adopted and got addicted to through video games, dating, trolling, gathering information or stealing copyrighted materials. Moreover, the fear of privacy abuse keeps haunting about, even though a lot of people leave open traces of their own on-line activities.
Sonically, the song resembles Prodigy with its single high-pitched guitar riff, but also KMFDM or Sister Machine Gun thanks to the minimally exposed, whispered or processed vocals. There's a nice groovy line based on beats placed between the lower and higher end of the spectrum. Both the beginning and the end of the track sound very intriguing and pleasantly attractive. The track could be a great way of getting the listeners interested in hearing more from Spookshow inc.

These are songs of high quality in terms of mastering and production - an additional advantage aside of their dynamic musical themes. It's also worth mentioning that Lucky Spook along with his friend Soltex and additionally hired musicians supported The Legendary Pink Dots live in 2005.
Hopefully, you'll check out the remaining 7 songs on Visions of The Blinded World (pt. 1) and will look forward to the release date news for the 2nd part of this album.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, May 26th, 2014. Proofreading: Mike 'Vesper' Dziewoński)

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=538

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Victoria Love - Yours For The Taking

Victoria Love - Yours For The Taking (song review) |Elle Indie Records, Ataraxis, 2014| 5/5 rock electronic

Victoria Love is undoubtedly 100% certified Texan, not only thanks to the singer/song writer Monique Jamail's rebellious looks, but most importantly her half raspy, half sad voice.

"Yours For The Taking" is characterized by a mix of both organic-symphonic and industrial sounds. The former represented by the cello, viola or oud, while the latter introduces programming and samplers. The song begins with a cello but then an industrial set creates a surprising, yet matching contrast to the opening arrangement. The two continue crossing each other throughout the entire song with a viola, bass and guitars joining them next. The bass is quite dominating - not only giving the song a rhythm but also a dark tone. The composition is well thought out and written, leaving a balanced space for both instrumental and lyrical parts.

As mentioned, Monique's raspy voice is very memorable thanks to its interesting timbre. The vocals sound sweet yet aggressive at times. It's seems like she could sing you a whole story a capella, and you'd still be affected by the impact of underlying emotion.
The open, easily understandable lyrics complete the music extremely well: "I spent most of my life afraid of myself / My thoughts, my actions, my temper, my hell / Behind my door hides every emotion I’ve ever felt / I never really talk yet have so many stories to tell".

Apart from Monique Jamail (acoustic guitar, vocals), "Yours For The Taking" features guest musicians such as Ivan de Prume (drums; ex-White Zombie), Marc 'Frap' Frappier (bass; ex-Circus of Power, ex-Skrew), Roberto Paolo Riggio (Atash; violins, oud), James 'Roz' Rosnack (drums, programming, electric guitar, synths) and Jen Mulhern on cello.

In addition, the song is supported by a high quality video single. It tells the story of a sensual relationship between two adult women and the revenge taken after the discovery of a third party joining a seemingly committed union. All the transforming feelings and behaviors relating betrayal are portrayed in vivid imagery - tears, questioning, depression, sorrow, anger, blame and despair. Apparently, there's some karma to be worked out and lessons to be learnt for one's spiritual development. The bitter find leads Victoria deeper into inner self analysis, and consequently the discovery of issues such as holding things back and unbalancing the proportions of giving and receiving. Nevertheless, the video reveals a quick fix for the unexpected problem, which results in a murder driven by wounded feelings, just like in a psychological thriller or drama. Monique, who plays the role of the betrayed woman seems to be a good actress, with very expressive eyes.

Finally, it should be noted that a different version of "Yours For The Taking" was released on Monique’s Just Breathe EP in 2011. The new master version reviewed here and present on Ataraxis, features Ivan de Prume on drums. Also, according to Victoria Love, the drums are produced better this time. The third, acoustic version was published by Victoria Love's own Elle Indie Records label. This track is also featured in the movie White Rabbit and a few compilations. The pre-sale of Ataraxis will begin in the Fall of 2014 and the album will be out this winter.

Victoria Love actively discovers and supports women in music by releasing compilations and organising a music festival. Make sure you'll visit her official website and support this artist by buying her music as well.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, April 24th, 2014. Proofreading: Mike 'Vesper' Dziewoński)

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=534

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Stiletto Ghetto - Don't Call Me

Stiletto Ghetto - Don't Call Me (song review) |self-released, Celebrity Society, 2014| funk rock 5/5

Stiletto Ghetto was founded by Louis Raphael (drummer, producer and co-writer) in San Francisco in 2010. Louis is accompanied by a variety of skilled musicians who perform music written by him in studio and on stage. The collective definitely spices songs up through their own expression and character.

Groovy, repetitious bass lines dominate here and interact with the drums very well. Since the rhythm and dynamics are the most important traits of funk music, that’s spot on. There's a soloing rock guitar mixed with excellent arrangements written for saxophone, jazz piano and trombone. Technically speaking though, the guitar riffs are on a layer below bass and drums, giving priority to the main funky theme. Most importantly however, the bass is accompanied by a powerful female voice.

As mentioned before, Louis collaborates with other musicians. "Don't Call Me" features guest vocalist Racquel Roberts. Her highly memorable voice perfectly matches both jazz and funk. It sticks to your ears instantly, together with a performance of the rhythm section, sometimes resembling Anastacia's or Aretha Franklin's voices in tone and range.

The lyrics were written by Louis Raphael and Safiya Bird-Whitten. The song tells a story of a lack of mutual respect and loyalty; friends or rather so called 'friends' who are not available when one needs their help the most, but who always call on you to expect support, advice or help with their own problems when they get in trouble.

"Don't Call Me" is a selection from the 8 songs recorded for the Celebrity Society album released this year. It follows Tendernob Hillbillies EP (2011), put out by guitar icon Steve Vai's own Digital Nations label. This helped Louis license and place two of the tracks in two independent movies.

Does the song have hit potential? Definitely yes. Moreover, it perfectly fits into all sorts of jazz & funk radio playlists. Make sure you'll check out the entire album, too.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, March 31st, 2014. Proofreading: Mike 'Vesper' Dziewoński)
This review on Fabryka Music Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=531


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Ferni - Blame

Ferni - Blame (song review) |Gradation Music, Afterburn EP, 2013| 5/5

"Blame" is a rock ballad written, performed, and recorded by Ferni Lopez - a singer and multi-instrumentalist from Houston, Texas. He’s a veteran of writing and playing music inspired by alternative, folk rock, and blues genres, as well as the founder of Brother Sol and Of Love And Justice bands. The song comes from his solo EP Afterburn, released in December 2013.

Rock ballads usually stick to the theme of "it could have been better" and lyrically refer to topics such as unsuccessful relationships, loss, loneliness, misunderstandings, unresolved problems, unrealistic desires etc., supported by melodious, nostalgic tunes. "Blame" firmly fits into that framework.

The track opening will immediately pull your attention into the mood thanks to deep, pensive bass tones with additional cymbals. A slow beat of a hand-held drum and a melancholic guitar come into play shortly afterwards. Highly expressive vocals are specifically what a song with a lullaby-like tempo definitely needs to make the contrasting sounds harmonious and well-matched. Indeed, Ferni’s slightly raspy voice fits in perfectly here. He can definitely sing and adjust his voice to across several ranges very well. The chorus sounds memorable and is exactly what a highly listenable radio or movie song requires.
The final part includes a careful and gentle, high-pitched guitar solo that melts into the whole track without stealing the focus, thanks to the harmoniously layered bass and drums tracks.

The arrangements and the composition have been put together skillfully. Needless to say, it’s quite surprising that one man can perform a song fit for an entire four-piece band, but Ferni's the living proof for this. His music bears inspiration from artists such as Bruce Springsteen, Pearl Jam, R.E.M., The Who, Mumford & Sons, Tom Petty & the Heartbreakers or Led Zeppelin. Therefore, if you like a nostalgic, guitar-driven vibe, you should enjoy "Blame".

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, March 31st, 2014. Proofreading: Mike 'Vesper' Dziewoński)
This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=530

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BROBST - Life Of Gypsies

BROBST - Life Of Gypsies (song review) |self-released, 2014| 4/5

This highly melodic track carries a lot of hit potential, since it’s instantly memorable. This is possible thanks to a balanced apportionment between inspiration drawn from both Depeche Mode as well as dark wave and electronic rock styles.

Probably, most of the people will first hear and then react to the rhythm. The dynamics in "Life Of Gypsies" are just accurate. The rhythm doesn't resemble a raging cannon, which would certainly kill the melody. Instead, subtle arrangements repeat and rock rhythm guitars along with a solo guitar spice them up with an edgy flavor. Guitars are played softly, without showing off and they embed well within the overall vibe. The string instruments also help the listener’s mind to drift a bit into a different direction than that created by the beat.

All electronic additions are of high quality and were placed in well chosen spots. Previously mentioned similarities to Depeche Mode's yearning tunes ring especially true. In addition, the melodies of verses and choruses support each other perfectly. As a result, the overall composition sounds harmonious.

BROBST may consider working a bit on his voice, however. The song seems to be written for confident, emotional vocals and it'd be really great to hear a slightly more vigorous performance. Some of the chorus parts require a prolonged, highly pitched voice, and here BROBST unquestionably delivers. In other moments, like during the opening verse where he sings with a lower voice, its melodic line comes across as a bit too wary and unstable. Other than that, the whispering does fit in these arrangements and the overall mood very well.

Finally, it should me mentioned that BROBST was the winner of the People's Choice Award (Atlantis Music Conference, Atlanta, Georgia) in 2007. Thanks to his success, he performed on stage the same night as Queens of the Stone Age.

"Life Of Gypsies" will be included on the tracklist of BROBST's full album, which is set to appear in July 2014. The release follows the Angel Dust EP (2013) which can be purchased in various on-line music stores.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, March 26th, 2014. Proofreading: Mike 'Vesper' Dziewoński

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=529

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The 88's - Addiction

The 88's - Addiction (song review) |self-released, The 88's, 2013| 4/5

When somebody recommends you a new song and says 'it's metal', what do you usually expect? Most probably, dense heavy arrangements and dynamic, straightforward guitar riffs that support powerful vocals. The song by The 88's has most of these and more, since it's not such a typical metal track.

"Addiction" begins with a heavy and rhythmic mix written for the drums, guitar and vocals. The overall sound may fall under the category of 'sounds-a-bit-like-Metallica’. However, this passionate track has also a surprising acoustic side, based on soft melodic arrangements. This contrast instantly gave me an idea for an animated short, in which a line of fast driving tanks (illustrated by the heavy part of the track) splits in two. They part ways because a subtle female silhouette wearing a thin wavy white dress (symbolizing the softer arrangements) appears in their way.
There are also a professionally played guitar solo influenced by classic rock, as well as guitar parts drawing inspiration from Latin music. Both are very skillfully layered. Hand drums at the end bring an organic, slightly ritualistic feel.

The vocals sound rebellious, rough and stand out over the instrumental parts, as you would expect from hard rock and metal. As an interesting aside you should note that the song is bilingual. The heavy part sounds like an American metal track and is sung in English. The lyrics for all subtle arrangements are performed in French.
Finally, the song lasts a bit over 7 minutes. It's quite long considering radio airplay preferences, as well standards for potential hit songs. Still, the composition is solid throughout and includes everything to sound complete.

It should be noted that band has an international line-up. The members make music in China, Portugal, France and the US. Joe Mahone brings the hard rock/metal drive through excellent drumming, Pheel Duarte feeds the songs with dynamic vocals, while Luis Coelho enriches The 88's music with Latin guitar influences. The trio has been playing together since 2009 - first jamming, then starting a band and releasing an EP in 2011.
The band announced they'd be presenting songs from the most recent, 2nd EP during their incoming tour through Europe, Asia and Australia in 2014. Therefore, you'll have an opportunity to see them live. If you can't however, there are still a few videos from their shows on official The 88's YouTube channel.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, January 22nd, 2014. Proofreading: Mike 'Vesper' Dziewoński)

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=520

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November Veil - 3.7.9.3 EP

November Veil - 3.7.9.3 EP |self-released, 2013| 4/5

1. Inside Eyelids, 2. Withered, 3. Dying Again, 4. Hell Within Your Heart, 5. A Sinner's Wish (bonus track)

First of all, this is a free, newly released EP, so you can already download it from the sources recommended by the band. Once you start listening, you'll probably notice its concept. Music on 3.7.9.3 is based on dualities. There are strong guitar-driven melodies mixed with distorted and syncopated sounds, alternating smooth and angry vocals, and even slightly symphonic parts.

"Inside Eyelids" is a rocking opener. It includes a bit of sampling, though it's rather casual. The band doesn't have a keyboard player so their sound is quite rough. Therefore, some songs were additionally enriched with electronic effects. On the other hand, sparkling guitar riffs collaborate well with both bass and vocals. The composition sounds solid from start to finish thanks to tightly packed, yet not overwhelming arrangements.

Azz' voice is rock and metal-friendly, so it works with November Veil’s music very well. He can scream but also sing in a slightly higher voice which creates a softer atmosphere within a track. His skills are more audible in "Withered". The song dynamics are dense, but the high-pitched guitar riffs as known from Korn’s music were smartly smuggled in. The bass stays a bit in the background while the drums, vocals and guitars steal the listener's attention. There's also a very short symphonic part, just like in "Inside Eyelids".

Initially, "Dying Again" sounds softer, almost like a Metallica ballad. It gains power later, however. Peter’s bass is more accented here and makes for a nice duo along with Jerome's guitar riffs.

Undoubtedly, the band’s songwriting is their forte. Take "Hell Within Your Heart" for instance, which has serious hit potential. It's a beautiful and powerful track thanks to a mixture of catchy hard rock and modern alt-rock arrangements. The dynamics roll on smoothly, like a well-oiled machine. The middle of the track is enriched with a classically swirling guitar solo, eventually followed by a metal shout and heavier riffs.

The bonus track, "A Sinner's Wish", swerves slightly into the djent territory with its guitar and bass arrangements. The band can definitely surprise by using strong distortion effects on this EP. Fast forward "A Sinner's Wish" to the 1:58 mark and feel the impact.

There's only one thing that I think could have been done a bit better on this EP. Kamil plays the drums very well, but their sound turned out flat, too mechanical. The final result is that they obscure the instrumental parts written for guitar and bass in songs such as "Inside Eyelids", "Withered" and "Hell Within Your Heart".

November Veil, founded in London, UK in 2010 will easily meet the expectations of younger listeners, mainly because the members are quite young as well. They naturally keep up with contemporary and new music, its business models and trends. Their main influences seem to be Tool, Avenged Sevenfold, Killswitch Engage, Breaking Benjamin and Korn.
When you download and listen to this EP, make sure you let the band know what you think. It's extremely important, because they want to know if their efforts paid off. Once they learn it from you, they can move on with new ideas towards their next release.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, September 9th, 2013. Proofreading: Mike 'Vesper' Dziewoński)
This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=500
 
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Bruno Pittelli - Emotion

Bruno Pittelli - Emotion (song review) |self-released, Stay Here EP, 2013| 4/5

For centuries, it's been known that music is directly linked to emotions. People look for certain songs based on a specific rhythm or atmosphere, but also express their own feelings through making music. What’s more, successful therapeutic healing through arts is a fact. Some people feel better when darker or heavier compositions occupy their minds, others prefer to stick to softer tones.
According to the 20 year-old composer of “Emotion”, making music provides a medium for communicating his own emotions, especially when they are stimulated by a sudden onrush of energy.

The aptly named track brings a positive, soothing vibe and non-intrusive guitar soloing. This rather short instrumental composition starts with a rock drum beat, promptly followed by an uplifting and proud arrangement - think of a 'victory' musical theme.
Next, synths bring on a slightly classical, gentle tune along with graded guitar riffs. The song structure changes and tempo increases with a dynamic rock cannonade beginning right afterwards. Now the soloing guitar and heavier drums take the lead while the bass adjusts accordingly. Passionate and repeating light riffs flow smoothly. If you like a neo-classical approach to guitar solos, you will totally enjoy Bruno's guitar play.
The synth part returns, joined by soothing riffs, stable drum beats and well-matched bass lines. The fade out effect that ends the track (and is quite a good idea for this type of composition) could have been extended a bit, though. Nevertheless, representatives of the movie industry should appreciate this song if it was submitted for licensing. The short piece could also be incorporated into a more complex neo-classical composition.

Pittelli generally plays several electric guitars. For “Emotion”, he used his signature Red'n'Blue Flames guitar by Italian manufacturer Molinelli. The instrument provided a very melodic, sentimental sound, suitable for extended solos, as well as rock ballads.

This guitarist had entered several European music contests and won a few awards so far. Make sure you'll visit his website to follow the latest news. You can also watch him play in a few music videos available on YouTube.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, December 27th, 2013. Proofreading: Mike 'Vesper' Dziewoński).

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=507

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Lord Marius - Modern Warfare

Lord Marius - Modern Warfare (song review)|self-released, 2013| 5/5

Lord Marius, a professional guitarist and composer, played with a variety of famous Greek folk and rock artists in 2005. He began composing his own music based on classical and rock arrangements 4 years later. He's been extensively publishing new songs through social networks to let people discover his musical talent since 2012.

Some listeners pay attention to technical arrangements, while others enjoy the overall moods better. "Modern Warfare", one of Lord Marius’ newest tracks provides a specific type of emotional tension that’s skillfully developed within the composition. You could visualize a dark place with a torn-down wall and a strong warm light coming from the hole. The light would eventually touch, open and uplift your spirit, then turn into a fast-moving spiral, drag you inside and let you feel its inner pulse.

Technically speaking, the composition opens with a cold, vibrating, and then 'wavy' guitar riff. It is then supported by drum beats and joined by a truly rocking mix written for bass and guitar. These two part ways later on to focus on individual lines while giving priority to the guitar.
The vocals work very well. They fill the instrumental arrangements quite tightly and are properly balanced - neither too much in front of the instruments, nor drowned out by the guitars.

After the first 2 minutes, you should be convinced about this song’s genre classification. You may sense some Megadeth, but also 70s hard rock influences. However, there's quite a provoking surprise hidden here. Lord Marius gently utilizes vocals typical for rap music and adjusts the leading arrangements accordingly. If you're a purist, you may think the new element may have killed the initial mood of the song, but you should not rush to conclusions. Indeed, it does make "Modern Warfare" sound less classic than expected. Yet, this part is brilliantly balanced with the original theme and your favourite riffs eventually return with even more power.

The song gives you a taste of Lord Marius' technical and compositional skills. If you like it, you will also cheer the news about his debut album Shout that he's been working on. According to Lord Marius, the songs on the tracklist refer to social and psychological oppression, as well as his personal experience and speculation related to global issues. Such awareness is always crucial - you can find Lord Marius' updates on that matter on his Facebook or YouTube pages. The musician is also looking for a record company in order to release this album.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, October 10th, 2013. Proofreading: Mike 'Vesper' Dziewoński)

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=503

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13 Shadows - Descend

13 Shadows - Descend (song review) |self-released, 13 Shadows, 2012| 5/5

13 Shadows is a musical project ran by singer/songwriter, pianist, guitarist and producer Denise Donahue. The New Yorker wrote, arranged and co-produced all the songs on her self-titled debut album released in 2012. Apparently, it is available in 2 versions - with 9 or 10 songs on the tracklist (with "Tangle of Thorns" as a bonus on the longer version) but it depends if you look up Bandcamp or iTunes/Amazon stores. For this review, let’s focus on "Descend".

In the beginning, an excellent mix of a sentimental piano and an organic (wind) instrument will lead you into the song’s atmosphere. The dreamy mood brings an unspoilt mysticism so if you're on the lookout for a background tune for practical purposes, this one may go along well with fantasy themes to illustrate movies, animations, interactive websites as well as audio-books. The song also has an epic feel thanks to its slow tempo and spots of rising tension. Therefore, listening to "Descend" is as pleasurable as watching a calm ocean tide lick the sand off a shore.

The composition is quite flexible, mostly adjusted to the vocals which play a role as major as the piano in the song. Denise’s angelic, crystal clear and peaceful voice immediately attracts the listener’s attention and is definitely her secret weapon. If you like female vocalists who don't growl like Shamaya of Otep but rather bring a more traditional female element into music then you'll definitely love Denise's performance in this track.

The track was labelled as 'gothic' due to its sublime, almost Victorian style. However, some of the effects used for the vocal parts are usually utilized in contemporary pop music, so defining the genre of the song may not be that easy. Regardless of that, it becomes memorable after the very first listening. The repeating phrases "On and on and on I've left these feelings unresolved, On and on and on I kept believing, But I can't repair this broken vow" easily hook into the listener's mind and give "Descend" a big chance at becoming a popular hit.

The song production is of very high quality. It emphasizes the most valuable aspects of the mood, vocals, electronic backgrounds (such as the cold, whistling sound of wind sampled at the end of the track) and piano arrangements.

Undoubtedly, 13 Shadows belong to those DIY bands that should get both the interest and the support of major labels. Denise has done a great job on her own with her music, so increased exposure could improve the album sales while her songs are still fresh.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, July 25th, 2013. Proofreading: Mike 'Vesper' Dziewoński)

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=493

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Dead Day Revolution - Children of the Night

Dead Day Revolution - Children of the Night (song review) |self-released, On Our Own, 2013| 5/5

Los Angeles based trio, Dead Day Revolution was founded by Mike Sandoz (vocals/guitars) and Skeeter Joplin (drums) in 2009. Bass player, Cristian Sturba joined the band soon after. This viral and actively social collective of musicians has been working on a debut album for the last two years. Here is it’s foretaste.

"Children of the Night" is a title well known in both literature and music. The original song, by Dead Day Revolution sounds truly passionate. It is performed with a rebellious drive, quite typical in Punk-Rock music. How else would this style of musicians express their opinions if not making it loud and noisy? Yet the vibe remains positive.

The track starts with noisy guitars that basically take the lead. The riffs are then joined by solid, memorable vocals. Mike purposely vibrates his voice like John Lydon (Sex Pistols) to create an impression of impatience in this already high-energy song. Impatience is a key characteristic of getting ready for an action. Whoever has an idea and is driven towards making changes will feel impatient, wanting to make them happen. Thus, these musicians make a call to action instead of expressing their views through passive criticism.
It should be also mentioned that both drummer and bass player perfectly cooperate throughout the entire song, very well mixed and produced by Larry Goetz.

This track is short enough for a radio exposure (3:24) but extensive in its detail as well. The composition utilizes a method of balancing moods through slowing down the rhythm in the other half. Without it, the song might have sounded overwhelming to a listener's ears due to its fast tempo.

"Children of the Night" has hit potential as well, since it is repetitive but by no means boring. If you're looking for music similar to what's been offered by Green Day, Billy Idol, PIL or Smashing Pumpkins, you should give a listen to Dead Day Revolution too. Their music will not only fit your personal playlist, but college radio stations as well.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, May 6th, 2013. Proofreading: SanDeE)
On Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=480

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Reviewed by Fabryka Music Magazine