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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Man.Machine.Industry - Lean Back Relax And Watch The World Burn

Man.Machine.Industry - Lean Back Relax And Watch The World Burn |GMR, 2012| 4/4

01. To A Blood Red Sky, 02. We Are The Walking Dead, 03. Vivite Et Sinite Mori (Live & Let Die), 04. War God, 05. Lean Back Relax And Watch The World Burn, 06. The Cage, 07. Let Go, 08. Eighties, 09. What You See Is What You Get, 10. The Blind Leading The Blind, 11. Aim! Hold! Fire!, 12. Time, 13. (untitled)

Man.Machine.Industry comes from Sweden, a metal paradise where many very heavy bands have received international attention. Yet, it's the same land where a black metal music fan received unemployment money for claiming an inability to work due to his addiction to music.
The first and remaining impression is an element of 'straight-forward anger' from the beginning of this album all the way to the end. Although, there are many intriguing melodies to be found as well.

A noisy and perfectly timed industrial intro opens the newest MMI album. It is then followed by 'in your face' rhythms that are based on guitars, bass, drums and angry vocals (performed by Ronnie Nyman and J. Bergman). Fans of guitar driven music will most likely love all the craziness happening in the middle of "To A Blood Red Sky". Darkening atmospheres finish the track, then lead into "We Are The Walking Dead". The song starts innocently with the sound of a music box and kids loudly enjoying their time on a playground. Powerful drums and bass join the tune of the music box which allows it to be flexibly integrated into the composition. Later you'll hear dominant, graduating riffs - a reminiscent aspect most memorable from music by Ministry that is enriched by shouted and repetitive vocals.

A rhythmic melody opens "Vivite Et Sinite Mori (Live & Let Die)" – This Latin to English translation means exactly what is inside the brackets. You'll find a lot of similarities to music from the band PAIN as well as Rammstein here. This is the most danceable song on the album due to pulsing beats, but there's also a great set of guitars that begin at 02:14.

"War God" is one of my favorite tracks on the album. The song sounds raw, heavy and spinning with chunky guitars as well as angry vocals that are truly reminiscent of music by Pantera or Testament.
"Lean Back Relax And Watch The World Burn" (see, MMI likes naming their albums with long titles) sounds more epic than other songs, but also includes some industrial sampling. This track fits into the new wave of industrial metal music due to heavy arrangements, but melodic elements are present as well. In addition, a well thought out compositional structure which is the basis of the song makes it a great match for a soundtrack compilation.

You'll relax a bit with "The Cage" since it is kept in the mood of a metal ballad with similar traits that you may know from i.e. Type O' Negative albums (although with higher vocals). There is also a progressive instrumental segment that is based on a solo guitar combined with well crafted bass lines and drums. This track may be a great way to fill an autumn afternoon because it gives the feeling as if things are irreversibly passing by.

"Let Go" starts with blues and classic rock guitars then grows into a modern metal track. High octave guitar riffs as well as radical dynamics are brought in by drums and bass guitar. These aspects may also call for some associations to The Mission or Killing Joke music. Speaking of these bands, MMI did a cover of an "Eighties" song (released by Killing Joke in 1984) which resulted in bringing even more passion than it had in its original recording thanks to stronger bass lines and heavier guitar riffs. Having this opportunity, the band also invited Corroded's vocalist Jens Westin to do vocals. His voice sounds recognizable - utterly rebellious, harsh and sharp as razor. This cover has been followed by a dynamic video that is available on YouTube.

A collaboration of drums, guitars and vocals are key features on this album. It seems like the long term members of MMI have learned a lot from their past experiences and have improved their musical skills with each new release. If you compare their debut next to their newest album, you'll hear what I'm talking about. Thomas Manell (Drums) played an important role on Lean Back Relax And Watch The World. You could easily vote him to be one of the best metal drummers of 2012. The band also has a second drummer named Bennich who helped the band reach out towards a much more dynamic, rhythmic sound in songs such as "Vivite Et Sinite Mori (Live & Let Die)" as was mentioned above along with "What You See Is What You Get".

This album offers a variety of solid heavy metal flavors that range from thrash to industrial. "What You See Is What You Get" is another heavy, but melodic track that was possibly inspired by the sound of the Swedish band PAIN, who is known for their death metal roots (Hypocrisy) and funny, ironic videos. This wouldn't be a big surprise, however a logical step would be if Peter Tägtgren collaborated with MMI on their next album or at least toured together.

The last three vocalized songs bring an eruption of pure hot lava right onto your face. First of all, there's a short and tight song entitled "The Blind Leading The Blind". It starts quite innocently with melodic verses, but it'll suck you dry with a wall of guitars as they occur in the middle of the song.
Secondly, the power of "Aim! Hold! Fire!" may be compared to "The Last Sucker" album by Ministry when held in contrast to riffs played extremely hard and heavy by Car Crash Jim and J. Bergman. You can also hear some references to the music of The Union Underground and Powerman 5000 due to heavy bass lines and J. Bergman's method of singing in some segments of the song. This is an amazing track and should be played during the most meaningful moment of a live performance. Headbanging is guaranteed.
Finally, "Time" comes in with the sound of a ticking clock that is combined with industrial effects. This concept has an overall powerful impact on the listener. The song is all about dynamics, so listening to the track feels like sitting on a rocket right before launch. A video would be a good idea for this song.

The ticking of the clock becomes the focus point of the last untitled composition on this album. In fact, it plays the role of a metronome. This is also a big moment for Lady M and her absolutely beautiful accent when she declaims poetry with a cold and sweet Swedish voice. When you hear a woman speaking like this, you can easily imagine a Snow Queen standing on a blinding white field with snow flakes in her hair or a slim cyborg girl telling you a story about the last age on a long lost Earth from a spaceship communication room.

There has been a lot of excitement during the recording process of this album as the band reported on a weekly basis to their social profiles. Thirteen heavy songs have been released with passion on this record, which is always expected when it comes not only from the confines of the metal genres, but from any music at all. There's a trick about this album though. When you think you've already picked a favorite track, the chance is great that you will spot another song just as dynamic to enjoy during subsequent playbacks of the album. This is a very mature release where everything matches quite well – the best Man.Machine.Industry album to date.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, October 17th, 2012)
FABRYKA MUSIC MAGAZINE - Man.Machine.Industry [reviews] - http://goo.gl/R05s7


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Prophets of War - Regeneration

Prophets of War - Regeneration (song review) |self-released, Plains Of Desolation, 2011| 4/5

When you think of the origins of black metal bands you may have a few cold European countries such as Finland, Norway or Sweden come to mind. On the other hand, a big continent that is occupied by Tasmanian devils, kangaroos and koalas may be the last place you would think of. Prophets of War is an Australian metal quintet. After releasing the Road To The End of the World album in 2010, they put out another record called Plains Of Desolation a year later.

"Regeneration" is the second track from this release. The song attacks the listener with a flood of graduating riffs that are accompanied by a wall of screams. The principal influences of the group seem to range from classic black metal to doom and death metal due to fast drum beats as well as bawling vocals. The band mentions Opeth, Orphaned Land, Insomnium, Ghost Brigade and The Nefilim amongst their musical inspirations. On the flip side, there are many arrangements that are based on a blend of progressive guitar and bass riffs combined with backing vocals. These become apparent in the second part of the song and play a big role in this composition as well.

Sharp rhythms and solo guitar riffs by Paul Jeanrenaud and David Currie continuously spice up the arrangements while leaving free space for an improvised virtuosity (which is quite useful for live shows). The lead guitar segments sound clean and cold, yet steadily underlined throughout the entire track. There's a solid collaboration between the two guitar players which transpires further with drummer Nathan Harris, bassist Roger Menso (known as Candellan from his other project called Punch Drunk Monkey) as well as Michael Saunders on keyboards. Vocals are done by Paul, David and Roger.

The typical "let's gallow and commove the Universe so it will never be the same" attitude of agitation that is best known from a majority of black metal releases can be easily spotted in "Regeneration" as well. Brooding moods will be undoubtedly loved by the fans of black metal, yet some of them may even experience a purifying fire that transpires out of the music.
The ending has a very melodic guitar part that adds a cold touch to the composition. This idea also appears at the beginning of "Regeneration", which allows for a noticeable connection between the opposite sides of the track and works pretty well.

Fury in music becomes potent during live performances best. Well muscled sweaty bodies, long hair sawing the air, dark outfits, smoky eyes of women as well as overwhelmingly heavy tunes combined with a pulse of power and a river of beer make metal shows extremely fun and desirable. There's always something primal that becomes evident during such events. If you want to taste this atmosphere, be sure to not only buy albums released by Prophets of War, but see them play live too.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, October 14th, 2012)
This review on Fabryka Magazine: http://goo.gl/QkUsG

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Win The Day - Live Again

Win The Day - Live Again (song review) |self-released, Win The Day, 2012| 4/5

Here's a song with a positive pop rock or even modern gospel feel that has hit potential. "Live Again" opens this self-titled album that includes 14 other tracks by solo artist Charlie Gathe, who performs under the moniker of Win The Day.

The song brings very human-centered, optimistic and simple dynamics. The arrangements were written for guitars (Charlie owns a Rickenbacker), drums and vocals. You will also hear some neat repetitive choruses as well as a few nice guitar solos present in the verses.
"Live Again" has an epic, yet light atmosphere that may fit a short film that illustrates people fighting against the odds, an illness or struggling with other unfortunate life events and ordinary day to day issues. In fact, Win The Day made a high quality promotional video for this song which should give you a good impression of the direction their music is taking.

Charlie's voice sounds pleasant. The weight of his vocals are light, so he can sing with a high voice in upper octaves, but at the same time his voice never goes out of tune. Moreover, there is a gospel-esque choir mixed into the arrangement towards the end of the track. You may think Charlie hired a few back-up singers to record these vocals, but you would be incorrect in this assumption. Charlie multiplied his own voice on several tracks and layered them to make it sound as though there are many other voices singing in unison.

A lot of creative people are known to receive inspirations and brighter solutions to their ideas in a deep state of relaxation. This is typically when the brain is generating alpha waves while either in a state of REM sleep patterns or semi-conscious dreaming. Although some people experience this state of mind before they fall asleep, others experience it when they first wake up or must achieve it by meditation. Having said that, many sensitive people have lucid dreams, but artists usually have vivid dreams about music, graphic images and motion pictures. Artist tend to make use of their dreams in their work, so it is not a rare thing that these pieces of art someday become valuable or famous.
Charlie admits that the idea for this song came to him in a dream, but he still had a chance to make a rough draft of it when he woke up before it faded into oblivion. He performed and recorded the basic elements of the tunes acoustic elements on his iPhone and this is how we got "Live Again".

The song was recorded, mixed and produced by Charlie Gathe and mastered by John Vestman. I would only pin one suggestion to the ending of the song, which is that it didn't seem to match the dynamics utilized in the beginning of the track. Other than that, the overall composition sounds very successful for a completely DIY release.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, September 18th, 2012)
http://industrialrock.net/php-files_en/articles.php?article_id=449

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Joel Smith Project - My Shadow

Joel Smith Project – My Shadow |self-released, Adam's Awakening, 2011| 5/5

The Joel Smith Project, a one man army, has come up with a new song entitled "My Shadow" which is a bit different to his previously released tracks. This time Joel ventured deeper into genres like hard rock, alternative metal and grunge, so the final mix sounds heavier as well.
The song opens directly with vocals and guitar riffs. The tempo is slower with low octave bass underlined by drums and a rhythm guitar that collaborates with them. The arrangement of the lyrics fit into the song very well, but the chorus sounds fantastic with echoing vocals that match the overall moods.

There is a guitar solo that is just as convincing as in previous songs Joel has released, although he arranges his guitar solos not to be overtly long or too intrusive. Lots of guitar players tend to show off with their technical skills, tattooing a song with an overload of riffs, but Joel purposely doesn't go too far. In fact, it's hard to believe that one man could perform each instrument on an entire song, including writing the arrangements and jumping into the roles of at least 3 other musicians.
His songwriting skills let him build successful compositions, however he's been a guitar player since he turned 18. Whatever tune he develops, it seems to sound witty. Joel did a really great job with "My Shadow" because he caught, analyzed and repeated traditional characteristics from the 90's alternative music scene, although he applied these attributes to his own style of playing.

This solid composition released on the Adam's Awakening album holds interesting peaks and repetitions. "My Shadow" is an enjoyable song that a listener can make the most of and could be a good candidate for radio airplay purposes as well. Each aspect of the arrangement has been placed in the right spot, so you'll find this track ear-friendly, even if you don't dig guitar driven music that much. However, if you're a fan of Paw, Soundgarden, Stone Temple Pilots, Alice in Chains or Bush, then "My Shadow" is undoubtedly for you.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, September 17th, 2012)
http://industrialrock.net/php-files_en/articles.php?article_id=448

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Uglyhead - The Garden (special edition)

Uglyhead - The Garden (special edition)
Automation Records, 2012
Rating: 4/4
Genres: experimental, noise rock, goth, ambient, dark ambient

01. The Path [05:54]
02. Through The Gates [08:47]
03. Between The Leaves [07:09]
04. Empty City [04:40]
05. Lichen [06:49]
06. Nerium
07. Drosera [10:51]
08. Kudzu [06:27]
09. Burgeon [08:09]
10. Blight [11:28]

Bonus Disc:
01. Amalgam [06:58]
02. Wilting [05:03]
03. The Merge [02:59]
04. Engorgement [06:07]
05. Pulchritudinous [03:19]
06. Surfeit [07:42]

Having over 10 years of musical experience, Uglyhead released their newest album The Garden in very special way. The album comes in a customized locking wooden case laden with an aesthetic mix of dry leaves and a cat skull. The Garden is undoubtedly a conceptual album. The song titles, illustrative plant macro pictures as well as environmental samples mix into the tracks perfectly and speak for this conceptual idea. However, we're not talking about a typical backyard, but rather an abandoned secret garden where dew, fog and wild plants intertwine with mysterious harmony. The garden is also a battleground for wild animals where the strongest or the smartest survive, leaving the bones of their victims deep in the bushes.

The journey begins with a track called "The Path" which leads the listener into the garden. A droning, ambient
intro with a bird whistling gives the first mystic impression. The volume rises until it peaks into a regular rhythm. "The Path" emulates iconic gothic melancholy feelings similar to those by Fields of The Nephilim in the 1990's.

Next, we're approaching the garden gate. It's not clear if we're sneaking through a hidden back entrance or slipping through the front one. "Through The Gates" begins with fuzzy drone sounds, an effect used to visualize something either shining or pulsating, like a classic science-fiction force field blocking entry into a meaningful place. The synth melodies, gothic bass lines as well as drums build a structure that is spiced up with Jake's voice. These initially easy-listening arrangements take a turn into a noisy rock experience that becomes surrounded by far more brooding moods thanks to the guitars and irregular drum beats. The tempo slows down at a certain point and falls into a heaviness that is reminiscent of stylings and textures similar to the music of Godflesh.

Suddenly, it appears as though we've been knocked down, laying in a dizzy frame of mind on wet grass. As we crawl, "Between The Leaves" becomes an even more clamorous undergoing. Industrial samples joined by low tuned bass tracks repeat until distorted vocals come in. At first, this song leaves the listener with a rather murky feeling that turns into melancholy until a dense atmosphere attenuates the mood at a certain point.

Abandon all hope though, we're now entering "Empty City". Instrumentations of distorted harmonies open this composition along with the sound of creek water flowing somewhere in the background. Brooding drums accompanied by synths create yet another gothic vibe enriched with short, although not pushy industrial samples. The mood changes in the middle of the track. All of the noise descends into a clean mix and only a simple structure based on a monotone bass line combined with electronica lead into a silent ending.

"Lichen" is a plant you may see almost everywhere around the world, however it is one of the ugliest species. They are usually hidden in dark, moist places as they are quite common in cemeteries as well as ruins. The song avails subtle progressive moods thanks to a Hammond-esque synth track, but it still stays in a low end tuning that is as noisy as the rest of music we've heard to this point. The track is occasionally broken with environmental sounds such as the chirping of the birds or the buzzing of bees. The moods vary throughout the song, though the ending sounds aggressive due to screaming and distorted vocals.
"Nerium" is expressed by a yawping fusion of vocals, drums, guitars and bass, but no static rhythm is implemented. The song  leaves no time for reflection. On the other hand, "Drosera" (which is a continuation of "Nerium") brings with it compositional aspects usually associated with more electronic and experimental tunes. The ending of the song sounds very psychedelic, so it may make your head spin.

We're still in the world of plants. "Kudzu" is native to China and Japan and belongs to a list of 50 fundamental herbs. The song starts suspiciously simple, but turns into a very complex composition with a variety of arrangements and moods. You can hear synths and bass as well as a violin which gives the song an organic feel.

Listening to the beginning of "Burgeon" feels like watching a film of buds opening in slow motion. This in fact may be the perfect way to visualize the song. Later, more gothic and darkwave vibes are expressed utilizing bass, vocals, synth and effects. When "Blight" begins, you can almost hear the sound of bacteria eating leaf tissue while it turns the entire plant from a sparkling beauty into a brown worthless nothing. This is possibly a song about death since ending and sorrow are usually linked to these modal counterpoints. A slow rhythm, pleasant guitar riffs and melancholic moods may make your heart feel broken as if you miss this album even though the music is still playing. This is the longest track on The Garden (over 11 minutes), so you can enjoy it as much as possible. 8-bit music effects provide a proper finish to "Blight", which kind of digitizes the idyllic picture painted before the listener.

This disc set comes with an instrumental bonus album that contains 6 ambient and experimental, although non-distracting tracks. Transcendental moods will surround you as soon as you play the first track "Amalgam" and finish with "Surfeit" which represents dark ambient style of music the best. I personally enjoyed this one the most for its pulsating and thrilling outer-space feel. All of these songs seem to speak about an element of process (of destruction, creation, lasting and meaningful change) or they may refer to alchemy (nigredo, albedo, rubedo meaning blackness, whiteness and redness). Both of these interpretations are very much linked to philosophy and the enlightened understanding of the nature of things on a metaphysical level. These tracks can easy illustrate a lot of independent one-reel movies. However, they may fit black & white or sepia-toned productions a lot better.

The Garden was released in two versions. 1 CD version is available in most on-line stores, but a customized limited edition CD with all kinds of not very casual goodies can be purchased only through Uglyhead's official store. It's a medium sized wooden chest (like a treasure chest, dug out from an underground secret location) with a small lock and a branded, burnt band stamp on the top. A set of 2 CDs are locked in a metal case and buried in a pile of dried leaves of fern, moss and flowers, but you will also find real animal bones (cat's skull, jaw). The set is packed into custom shipping boxes. Now, we're talking about real art.

Uglyhead was founded by Jake Alejo (vocals, synths, guitar) who is currently residing in San Francisco. There were many other musicians who participated in the band during live shows, tours and recording. The Garden is supported by Jenson Charnell (guitar), Patrick Christopher Huerta (drums), Nick Katich (bass, guitar), Jeremiah Smith (noise, sampling) and Taylor Izak (violin).

Uglyhead's bright future lies in visualizing top level ambitious art-related movies, theater or outdoor performances (think of The Burning Man event) and conceptual multimedia works (i.e. specific ambient backgrounds for media related to museums, movie and video game websites). Alejo is highly skilled in seeing artistry in pictures, illustrating them and philosophizing about them with the use of sounds. If your imagination is creative enough to see such pictures and your ears prefer gloomy, yet experimental moods over an easy-listening mash-up to understand the darkness better, you'll be extremely pleased when you buy The Garden.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, September 4th, 2012)
This review on Fabryka Magazine http://goo.gl/QB9P6

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Indighost - Torn

Indighost - Torn (song review) (self-released, single, 2012) 5/5

Indighost was formed at the Guitar Institute in West London, UK in 2006. They independently released The Yang Collection EP in 2009 with 5 songs on the tracklist, however the line-up of the band has changed over the course of the past few years. "Torn" is a more recently recorded track that is a strong candidate to be featured on their next album.

The song brings with it an emotional feel. According to Indighost, "Torn" was inspired by the romantic tension between the main characters on the television series Doctor Who. The video for this track is also comprised from a montage of several scenes from the series. One thing worth mentioning is that "Torn" emulates the Doctor's impending doom, hence the running feel of the rhythm that sounds as if it is catching up with Doctor Who as he tries to escape it. Rummy Keshet makes good use of his 5-string bass while drum tracks by Martin Griffith intertwine with various intriguing percussive elements.

Melodic lines are strong in this track and are present not only in the choruses, but in the verses as well. Matt Simon (vocals) is a classically trained musician who received his degree from the British music college mentioned above. He admits that he is inspired by the works of Sting as well as Megadeth, Dream Theater and Def Leppard. He also enjoys combining these inspirations with occasional funk music and jazz influences. While the entire song expresses key features of both the metal and rock genres, Matt's vocals touch upon the boundaries of progressive rock too. He utilizes his baritone voice with light constraint, which is quite typical for modern progressive bands.

The two guitar players (Matt Simon and James Hewitt) cooperate in harmony by using chords, scales and modes in a truly fantastic manner. An epic unison of each instrument takes place in the central point of the song which is then followed by smooth virtuoso guitar solos that seem to possibly be inspired by the styles of Steve Vai or Joe Satriani. These riffs continue spicing up the song all the way towards the end.

"Torn" is a great, ear-friendly song that is suitable for a commercial jingle, motion picture soundtrack or radio airplay. This is a solid composition that is enriched with vivid, almost visual arrangements that make the song memorable. It should also be noted that these musicians make and sell custom guitars that are decorated and painted by hand. Check out their official website for all accessible instrument models.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, August 28th, 2012)

This review on Fabryka Magazine http://industrialrock.net/php-files_en/articles.php?article_id=446

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Yesterday's Saints - Gates Of Valhalla

Yesterday's Saints - Gates Of Valhalla (song review) |self-released, Yesterday's Saints EP, 2011| 5/5

If you're hungry for intense thrash metal music, here's an indie band with all the features necessary to become your next favorite rockstars. Yesterday's Saints gain their influences from a long list of amazing, yet highly ranked bands that include classics such as Iron Maiden, Judas Priest, Manowar, Metallica, Anthrax, Slayer and Testament as well as music by Vital Remains, Obituary, Pantera, Chiamara, Iced Earth, Arch Enemy and Lamb of God. This degree of heavy influences will undoubtedly draw the interest of many heavy metal listeners. But wait, there's more... the band has also been recently promoted through the live circuit, opening shows in support of Sepultura, Death Angel, Korpiklaani and Moonsorrow.

Yesterday's Saints are originally from Washington DC. Established in 2008, they released a two-track demo one year later. A heavy metal CD collection with tracks compiled by Jamey Jasta (Hatebreed, Kingdom of Sorrow) helped the band reach out towards a broader number of heavy music listeners throughout 2010. Their self-titled EP is their latest release which contains five songs on the tracklist.

"Gates Of Valhalla" is the first track on this EP and indeed, it's an in-your-face opening to the album! There are no mystical intro's or outro's. The song starts and ends with rhythmic riffs and concrete drum beats. This intense, raging and precise composition will make you headbang right away.

Professional vocals are at times shouted then growled within a range of over three octaves. The song contains lyrics that are masterfully mixed with spinning and chunky guitar riffs that stitch the song structures together like an overlock. Non-pushy percussive elements of the drums never predominate the other instruments, which may be a golden ratio for an intelligent form of metal music.

Finally, great bass lines stand strong to solidify the drums and accentuate the overall orchestration.

All of these elements are utilized in synchronicity to create a foundation for the song where the compositional aspect is complete and the arrangements don't miss a thing. These songwriting techniques are repetitive, thus you can spot some heavy metal melodies within, but they don't become at all boring. Additionally, these arrangements have been preventatively enriched with various matching and powerful segments which turn the listener's attention to the brute force of the music in an instant.

“Gates of Valhalla” was performed by Matt Rice (vocals), Albert Born (drums), Witt Black (guitar) and Phil D’Arcangelis (bass) who was replaced by Nick Gosseaux in 2012. The band has been currently working on a full length release intent on bringing more of a dark melodic feel that is based on death, thrash and power metal sub-genres.

Since words are limited and they can't perfectly express every single tune, you just need to listen to the music of Yesterday's Saints on your own. The best time would be during one of their live shows.

These guys may be sharing stages with many of the best known metal acts very soon, so get ready.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, August 21st, 2012)

This review on Fabryka Magazine http://industrialrock.net/php-files_en/articles.php?article_id=445

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WUNTS & THE MMMPS - Are You A Girl Or A Boy? & PS!

WUNTS & THE MMMPS - Are You A Girl Or A Boy? & PS! (song review) (self-released, single, 2011) 4/5

This band originates from the United Kingdom - the land of major labels, where new born trends as well as the biggest music revolutions in history have undoubtedly made a world-wide impact. This has held true for artist from Great Britain for decades, although the United States had stolen the spotlight through grunge and nu metal during the 1990's and early turn of the century. Still, the U.K. music scene seems to be an affectionately small sized community that is thriving with well known musicians. These artist often cross paths, play in several bands, perform different styles of music, interchange line-ups, produce albums for their peers and integrate guest appearances for live shows as well.

The name WUNTS & THE MMMPS stands for Jimmy Wunts and his collaborators: three musicians named Mark Fletcher - drums, Mark Ramsden - saxophone and Mark Evans – bass, as well as Paul Harvey on guitar and Steve French on piano. Jimmy Wunts also plays in a band called French & Regal under the moniker of Gray Regal. Paul Harvey is known for performing with Then Jericho, who knew fame in the 1980's. Paul was also featured on Gary Numan's Outland album while supporting New Model Army during the mixing and engineering process for three of their songs in the 1990s.

The track "Are You A Girl Or A Boy? & PS!" emulates the feel of 1960's blues influenced rock 'n' roll through a wall of non-pushy and well crafted drums that are combined with a Leslie organ. Mark Ramsden is a virtuoso on the saxophone as he overlays the rhythmic counterpoint with strong jazz influences. The saxophone provides an identifiable, yet distracting melody that stands out to consume the listener. Moreover, the saxophone has historically been a predominant element in music of this nature, which most of us have heard utilized on many albums and movie soundtracks. It seems that the motion picture industry has an adoration for the saxophone since it brings vigorous, contrasting and experimental moods with it into the music.
The guitar offers a few solos that are underlined in the ending of the track which give the song a 1970's rock genre touch that encompass the spirit of famous guitar players from that era.

A comedic feel that is deeply rooted in the track "Are You A Girl Or A Boy? & PS!" is expressed though lyrics that are rhythmically spoken with a male voice saying: "I'm feeling pretty horny, wouldn't it be corny to find her cheek is thorny not smooooth." In addition, the band claims this to be a true story.

This song may be a perfect match for avant-garde motion pictures, but this is an overall evaluation that is not only due to the saxophone parts. If WUNTS & THE MMMPS is looking for exposure, I recommend they target the film industry first. Although the song may sound old-school to some younger listeners, it may be greatly appreciated by lovers of jazz as well as 1960's/1970's blues influenced rock 'n' roll. This music is timeless, as can be heard through some of 'the best of' music charts spanning the past several decades.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, August 16th, 2012)
This review on Fabryka Magazine http://industrialrock.net/php-files_en/articles.php?article_id=444


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Rosenedge - Brickwall

Rosenedge - Brickwall (song review) (self-released, Ashes, 2012) 4/5

Rosenedge is a band that Hails from Ashland, Ohio. They released their latest album entitled Ashes just a year after releasing their debut called Unknown. Vaughn Pokrzywa composed and performed the music on both albums, however a full line-up crystallized for the band at the time Ashes was near completion.
A mysterious and vibrating intro opens the track "Brickwall" which is the first song on the album. The opening prelude is followed by guitars, bass and drums which are utilized to structure the song arrangements with sounds that are repetitive and in tune with traditional rock and metal approaches. A moderate tempo makes this composition heavy, apart from the stylistic riffs.

Drummers play a very important role in rock and metal musical orchestration. The quality and frequency of the beat push the listener to decide if they find a song to be pleasant, invigorating or irritating since the pulse of the drumming influences one's heartbeat. "Brickwall" is based on simple, however non-intrusive beats that are laid out by Vaughn Pokrzywa. His playing is great since it allows the listener to focus on the guitar riffs as well as bass lines. Chunky riffs give the song a powerful rhythmic spin rather than soloing off into an oblivion of self-exposure.

Moreover, the synths are used very carefully. They don't predominate the other instruments, but rather help to build upon the atmosphere and contribute to the melodies laid behind this solid composition. Thus, listening to Vaughn's vocals are painless when heard over such a strong background of harmony. The vocalist doesn't scream or growl, but rather loudly utilizes intonation within the lyrical progression with a voice that sounds a bit harsh, although in melodic line with the music. The choruses are softer than the verses and very memorable thanks to repetitive and original songwriting techniques.

"Brickwall" has definite hit potential thanks to simple and heavy arrangements, but it should be promoted along with a matching video to achieve the best results. In addition, Rosenedge should not only play live as often as possible and send their music to DJ's, but they should also research and seek out compilation opportunities that are usually associated with periodical magazines or released in association with specific events.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, August 22nd, 2012)
This review on Fabryka Magazine http://industrialrock.net/php-files_en/articles.php?article_id=443


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Punch Drunk Monkey - Number 1 Killer

Punch Drunk Monkey - Number 1 Killer (song review) |self-released, Room 101, 2011| 4/5

Punch Drunk Monkey is a musical duo based in Brisbane, Australia. The band was established in 2001 by founding artist Candellan and Erszabetta. The song "Number 1 Killer" is the opening track to their new album Room 101 that was released in 2011.
An atmospheric intro based on an electronica stylized prelude may at first suggest it to be an ambient song, but make no mistake, this track soon evolves with a viral rhythm which continues throughout the end of this track. The mood of "Number 1 Killer" can be considered dark in some spots, however the entire track is rather easy listening and danceable due to its pulsating, syncopated vibes. A careful listener may catch the distorted guitar riffs that interlace the beats and make this composition sound a bit feisty as well. Stretched, modulated and repetitive synth parts diversify the solid, yet uncomplicated structures quite interestingly.

When it comes to the vocal tracks, the male segments are slightly digitized and repetitive. However, the song structures seem to fill in extremely well when combined with the radio-esque female reports. Also, this is a good technique to utilize so that the vocal tracks do not stand out in an overemphasized manner beyond the instrumental arrangements, but appear to be mixed somewhere in-between the predominant track levels, making this song less organic in contrast to i.e. traditional rock songs.

Candellan and Erszabetta admit that their artistic inspirations come from musical genres popularized in the 80's and 90's. Their influences include artists such as Nine Inch Nails, Rob Zombie, Depeche Mode, Fields of the Nephilim and Inkubus Sukkubus. In this track, a listener may find connections and similarities primarily to the music of Depeche Mode or Orgy, although Punch Drunk Monkey creates their own sound and individual identity.

"Number 1 Killer" becomes immediately memorable from the first listening due to its marching rhythm as well as contrasting, modulated synth effects. This track has possible hit potential for listeners and the dance floor if marketed through proper channels and targeted demographics.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, August 13th, 2012)
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Rusty Salvo - Rush Through Me

Rusty Salvo - Rush Through Me (song review) |self-released, single, 2012| 4/5

Rusty Salvo is a new American solo project. Founder Quinten Schmit played in a band 15 years ago in Seattle, but has spent almost 10 years on hiatus since that time. Quinten has now returned in 2012 with a brand new single called "Rush Through Me".

The song is catchy, memorable and short with hit potential. It may also be a great addition to targeted radio playlist as well. The track is characterized by a simple beat and traditional song structure where the arrangements are enriched with various effects. A programmed drumbeat provides the percussive spine of the composition since there is no live drummer currently in the band. If you listen to the song arrangements closely, you will hear some similarities to music by artists such as KMFDM, The Chemical Brothers as well as Peaches. You may also notice that this track carries many musical styles within - from soft digital hardcore through techno to pop and rock.

Guitar riffs appear within a few moments of the intro with pause for a breakbeat of audio effects similar to those commonly used in techno and rave. Since both techniques come from two different genres, they contrast with each other like two opposite moods. Such an unexpected link may turn out pretty confusing for music genre purist. On the other hand, this connection of musical structuring may sound very original for many listeners who dig more diversified sounds.

Quinten's vocals are very good and bring out his individual character. He uses little distortion and effects in this song. This makes his voice sound protagonistic and rebellious, similar to the styles of Atari Teenage Riot as well as Prodigy. Thus, already having this slightly British vibe, it may be a good idea to gain the interest of the UK music market first before reaching out to American listeners.

Rusty Salvo seems to be keen on electronic solutions - samplers, sequencers, effects and other devices. Quinten has high production skills that come with many years of experience. This should allow him for more musical experimentation. He also says he hopes to get his songs placed into commercials, video games or other performance media which actually may work out for him very well. I have no doubts that "Rush Through Me" will sound as good with proper visuals as it sounds alone with an active imagination.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, August 9th, 2012)
This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=440

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Thanks for this. You are very thorough. I really appreciate the critique, especially the part about pursing the UK market first. This looks great to me. I say we run with it.Quinten Schmit | 13.08.2012 |

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Dead Animal Assembly Plant - All My Heroes Are Dead

Dead Animal Assembly Plant - All My Heroes Are Dead (2012)

Genre: industrial, experimental
Rating: 3/4

01. Then There Was Silence [04:12]
02. Brumal [05:30]
03. In Furnace [01:41]
04. All My Heroes Are Dead [05:12]
05. Monster [05:00]
06. Fumes [04:15]
07. Tragedy For One [04:53]
08. Rust Jesus [04:31]
09. A Capella Medication [04:50]
10. Deeper [04:08]
11. Surrogate (bonus track) [05:32]

"In 1915 tragedy struck the small town he called home when all the livestock took some unexplained fatal disease. The ever resourceful Schröder turned to the only available meat. The townsfolk."

Portland, Oregon seems to be fertile ground for industrial, goth and electronic music to manifest. Several well known industrial bands originate throughout the pacific northwest of the United States and Canada. Dead Animal Assembly Plant (DAAP) is a collaboration of musicians from Bound In Oblivion (Johnathan Case, Zach Wager), NVEiN (Eric Bergen), Particle Son (Vex March) and Travis Geny.

Dead Animal Assembly Plant is inspired by a fictional horror story set up in the XIX century about a once successful German butcher who had gone bankrupt by the name of Wilhelm Schröder.

The musicians who comprise DAAP wear the ominous clothes of a butcher with bloody meat-esque painted faces and prosthetic torso coverings which make their live shows quite a disturbing experience. In fact, this kind of music demands visual aesthetics such as costumes or additional short films to enhance the live performance at their shows.

Two years after releasing their debut Niblets 'N' Giblets / Strip Off Your Skin EP, DAAP comes back with music and stories that the fans of ohGr or Skinny Puppy should dig right away. There's no doubt the band has earned their place to be labeled as 'industrial', where the link has been made not only by the use of synths, samplers and cold mechanical auras, but also by instruments such as the musical saw (idiophone). Moreover, Zach's vocals may recall a listener to the implicative articulation of the demonic Pinhead from Hellraiser. This horror movie character has been as attractive and inspiring for the electro/industrial music scene as radioactive contamination.

The opening track entitled "Then There Was Silence" gives a pre-taste of what sort of atmospheres will surround the listener over the course of the following 50 minutes. Noisy electronic and somewhat echoing vocals supported by clear, phat, yet terrorizing beats may very well drill into one's skull.

On the other hand, "Brumal" sounds more organic thanks to the distorted guitars as well as repetitive and syncopated vocals. The third track on the album called "In Furnace" includes many more experimental tunes as well as effects and quite sado-masochistic moods. The song lasts no longer than two minutes, but it could have sounded even more disturbing if it were to continue further.

If you've ever listened to the music of Bound in Oblivion, you will find this connection in "All My Heroes Are Dead" as well. Shattering and repetitive rhythms are enriched by synths reminiscent of Pretty Hate Machine, NIN era song techniques that give the overall track quite a danceable spin.

"Monster" may either be called the best or the most confusing song on this album since it sounds as if there are three compositions in one. The arrangements are based on the rhythm, however they are spiced up with a dense layer of vocals as well as a variety of environmentally placed tunes.

The song "Fumes" may truly bring up mind-alarming pictures. This track would be a perfect fit to movies such as Saw, Silent Hill, The Human Centipede or Hostel, where the negative character in the minds of the killers were soaked with the sickest, most sadistic, yet extremely surreal ideas. Moreover, it's the perfect composition in which to use the musical saw I mentioned above, due to complex arrangements that puzzle the listener from the very beginning.

"Tragedy For One" sounds arrhythmic at first, then turns into a rhythmic drive still filled with crazy sounding samples and suggestive, Nivek Ogre-esque vocals. Normally it would be a danceable track, but due to a variation of sporadic noises and labyrinthian structures - it is not. Similarly, "Rust Jesus" recalls of early Skinny Puppy music with its scary vocals combined with electronic and rhythmical tunes. Surely, you will feel the power of 90's era industrial, however well modernized here.

The following track called "A Capella Medication" stands out as far too electro with its frequent oontz beats. It's a basic song that includes an electro/rave party setlist, but it becomes less valuable when held in comparison to songs such as "Monster" and "Rust Jesus". On the other hand, "Deeper" turns out to be non-standard. This is a song rich in experimental arrangements and distracting samples that make it feel cold and mechanical with the vocals additionally whispered in like a madman's poetry.

The last song on the tracklist entitled "Surrogate" sounds emotional. These noisy sounds will attack your ears with a variety of effects because there's a lot of things going on at the same time. They match the entire composition, although they stay far from harmony and balance even though the rhythm appears in following segments of the song. "Surrogate" is only available on the free version of this album (to download at DAAP official website at the moment), but not on the CD.

The music on All My Heroes Are Dead needs specifically crafted minds to dig it. These compositions are based on sonic contrasts as well as arrhythmic and disharmonious arrangements so they can turn out raw and difficult. The song titles definitely represent messaging, but the album should be listened to a few times to understand the entire picture properly. Musical inspirations seem to flow from experimental works by Foetus and Nivek Ogre, but also modern industrial, beat-driven arrangements. DAAP mentions Nine Inch Nails, Raymond Watts (Pig) and Tom Waits amongst their influences, but the new self-released album brings dark energy with strong references to to the sound of Skinny Puppy, Hilt and classic Front Line Assembly.

The bands stage image combined with their theatrical performances and high quality music production will draw the attention of a specific demographic of targeted listeners. DAAP was also recently invited to take part in an interview for a documentary about the horror subculture in 2012. This should explain their ideas and the overall interests drawn towards the band pretty well.

To sum up, if you're into experimental industrial music with a horror feel to it, you'll love this release. However, if you prefer solid verse-chorus-verse structured songs, this release will make your mind totally exhausted. All My Heroes Are Dead is not what the industry would consider to be categorized as having the usual hit potential, but the scary audio-visual and art-related experiences this band defines are sure to find their mark.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, July 31th, 2012)

http://www.deadanimalassemblyplant.com
http://www.facebook.com/DeadAnimalAssemblyPlant
http://www.myspace.com/deadanimalassemblyplant
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http://www.twitter.com/officialDAAP
http://www.discogs.com/artist/Dead+Animal+Assembly+Plant

Download for free from the band or buy a CD: see: official website.

This review on Fabryka Magazine http://industrialrock.net/php-files_en/articles.php?article_id=438

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We at D.A.A.P are thoroughly pleased with the professional and completely objective album review done by Fabryka Industrial Rock Magazine. The meticulously detailed review truly peeled apart the thematic layers of the album to reveal the meaty core. We can't wait to have future albums reviewed and would recommend it to musicians of all ilk.
Z.Wager | 10.08.2012 |

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BELT - Cause & Infect

BELT - Cause & Infect (song review) |self-released, Cause & Infect, 2011| 4/5 industrial

Industrial rock music has faded in and out since the late 80s. However, every decade has brought several famous names, first to the mainstream, then to the ever green underground. The 90s has seen dominant names like Nine Inch Nails, KMFDM, Marilyn Manson, Filter or Stabbing Westward supported by labels and MTV who have not only influenced listeners, but other musicians as well.

An American multi-instrumentalist performing under the BELT moniker is one musician who decided to make industrial music on his own terms. "Cause & Infect" has a song structure that is simple along with moods that are classically brooding. The verses are based on a repetitive beat and this technique may make the composition memorable. At the same time, theatrically articulated and screaming vocals bring to mind the picture of half-Joker/half-demon singer. BELT's voice matches all sorts of dark music very well, so it fits this song properly. There are samples and synths in use that help to create a specific atmosphere. When the choruses come in, the bass and guitar fuse together and tear the beat to shreds. Matching guitar riffs as well as bass lines make these segments of the song sound very aggressive.

When you listen to "Cause & Infect" you will be able to tell whom inspired BELT the most... Marilyn Manson, who scared and offended as many people as he mirrored in the world through the "Antichrist Superstar" track. This song was supported by a unique video that must have had an artistic impact on BELT's "Cause & Infect". It can also be proven by watching this video single (YouTube) where the vocalist with the painted zombie-like face wears a pope robe and acts like a psychotic preacher. Musically, BELT as well as Manson operate within the method of a strong beat where the vocals can be heard without any additional background present.

As for the less positive impressions, the intro of the song is quite long. Secondly, an automated and basic cymbal beat appears throughout the entire song with hardly any variation. The beat seems to be missing the greater vibrancy and depth that could really make the track much more powerful. This usually happens in black metal music too, where great riffs miss a bit a percussive excitement that could really make them stand out. Last, the mastering doesn't underline or emphasize any of the instruments or vocals during any moment. The combined tracks sound as if they were equalized at the same level.

It should be noted however that BELT did everything from A to Z on this track. He arranged, composed, recorded, mixed, mastered, produced then drafted a screenplay as well as performed in his video. As an indie artist he may be currently crafting his skill level on everything, but he's definitely driven by passion and this is something that you can't buy or learn without fighting for. Moreover, industrial musicians usually claim to release frustration and anger though their music or visuals. These negative, yet powerful emotions feel reliable to fans who seem to both savor as well as identify with the tunes that reflect their own opinions or problems. As does "Cause & Infect" by BELT.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, August 3rd, 2012)

http://www.beltsmusiccircus.com
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http://www.myspace.com/564632891
 

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Video single: http://youtu.be/dnDyjGpyczw

 

 

Testimonials:
Your the first professional to give me a review and I love it. Yes everything is correct. Reading it fills me with hope and is a real confidence booster. (...) You've been a big help (...) Thank you for what you said about my video, because I straight up did the filming and the editing by myself and it was the first time I had done anything like that.
Belt | 07.08.2012 |
This review on Fabryka Magazine:  http://industrialrock.net/php-files_en/articles.php?article_id=414

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Electric Moon - Thunderclap

Electric Moon - Thunderclap (song review) |self-released, Oleander EP, 2012| 5/5 progrock classic rock

This four piece band was established in Tuscaloosa, Alabama in late 2010 by experienced musicians who have not only played music for a majority of their lifetime, but who are well trained in graphic design and have an understanding of history and world affairs relevant to the decade of war in Iraq. Their debut EP brings four sonically diversified songs with "Thunderclap" ending the tracklist.

“Thunderclap” is an instrumental song - a fusion of many genres ranging from traditional rock, through progressive rock to nostalgic jazz, blues and classical music where accents are laid on the guitars, drums and piano the most. While the first two instruments along with the bass represent the rock connection, the piano makes a traditional approach into this composition.
Various artist such as Queen or Deep Purple are evident influences on this track which is over 6 minutes long. The song is rich in moods, however there's always one solid, rhythmic vibe brought upon by the percussion and individual soloing that stands out to draw the ear. The arrangements seem to be orchestrated since they tactfully repeat.

This is a song which could perfectly illustrate a short movie. “Thunderclap” includes a variety
of contrasting elements which solidify it's impact on the listener. Brian Ritchie on bass along with drums by Michael Ryce build solid, non-detachable structures for all parts of this composition. Notable guitar riffs by Jake Gordin recall the styles of Hendrix as they scream and cry in high octaves. Lastly, Stuart Parker utilizes piano pirouettes like a ballet dancer on top of them all.
When it comes to the arrangements, silence plays an important part in this composition as well since it has been an extremely meaningful element for music through the centuries. Classical music is a prime example of how silence can craft moods and underline specific moments a listener should focus on.

These four musicians definitely know how to score professional music and should feel proud of their skills. "Thunderclap" is a song recommended to fans of classic and progressive rock who additionally look beyond these genres.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, July 23th, 2012)

https://www.facebook.com/electricmoonmusic
http://www.last.fm/music/Electric+Moon
http://twitter.com/ElectricMoon
https://mog.com/albums/mn63801193/electric-moon/oleander
http://www.youtube.com/user/ElectricMoonLive

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On Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=437

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I think it's very flattering, and we're very happy to have it. Thanks again for your time and effort. I look forward to working with you again soon.
Jake Gordin | 30.07.2012 |

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GODCOMPLEX - Life's Deception

GODCOMPLEX - Life's Deception (song review) |self-released, 2012| 4/4

"Life's Deception" is a brand new song that is to be released on the Hymns for the Faithless album which is scheduled for August 2012.

This highly dynamic track has been written, recorded and performed by only two musicians, which you may find surprising in terms of the overall powerful vibes of their music. Moreover, John Spangler (lead guitar, bass, production) and Rod Pagel (lyrics, vocals, rhythm guitar, drum programming) who comprise the line-up of the band, also played together in a thrash metal/punk band called Maniacal Genocide that was founded in 1987. They now collaborate on-line due to the fact that they live in different states. All the music was composed by John and the vocals were written by Rod.

The song starts directly with guitar, bass and drums in unison, followed by very synchronized and cleverly matching vocals. Chunky guitar riffs do not overlay the entire composition, but add an edgy rhythm in the background. The bass lines and drum beats will make you think faster. Rod's voice holds a characteristic tune, yet sounds understandable. This aspect is very important since the voice is realistically an instrument in the context of a musical composition. At the same time, Rod sounds angry and rebellious which almost automatically draws the attention of rock and metal listeners.

"Life's Deception" contains pure sparkling vitality that is reminiscent to the music of bands such as The Union Underground, Powerman 5000 and Monster Magnet. Last but not least, it sounds like a man's song, so it must be a testosterone driven thing which glues these bands together with self-confidence, motion and power.Spinning, syncopated dynamics, simple yet wise arrangements as well as a straight-forward vibe should make this track famous. Godcomplex should keep submitting "Life's Deception" for all sorts of opportunities such as compilations, movie placement, college radio playlists and especially, perform it live during rock & metal festivals. They may also consider incorporating at least two or more musicians for live shows for this reason as well.

"Life's Deception" is a guitar driven and catchy song that has instant hit potential, while repetitive lyrics make it very memorable.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, June 29th, 2012)

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Reviewed by Fabryka Magazine