Celestial Fury - We All Float Down Here Pt. 1

Celestial Fury - We All Float Down Here Pt. 1 (song review) |self-released, single, 2013| 5/5

Djent is a relatively new music genre, derived from metal. The music scene needs a variety of genres not just to categorize bands and market songs but also to form new subcultures. These new subcultures will often speak for an entire generation, its interests and dislikes. The Djent style may grow to the size of Grunge (which to me was the last meaningful and well tagged landmark of a Rock subculture) or may be left only in hands of those passionate about it. However, it's undoubtedly one of the most intense styles of music locked within usually instrumental, experimental arrangements, characterized by polyphonic rhythm and performed with low tuned 6, 7 or even 8-string guitars.

"We All Float Down Here Pt. 1" is a song drawing on Djent roots. The idea is based on two musical themes. One covers a Post-Rock intro, arranged for gentle sounding guitars. There are traditional folk music influences weaved into acoustic guitar sections. Alasdair Cooper, who wrote, performed and produced the track has been living in the Scottish Highlands.
The other line creates the core rhythm, brought by a low tuned 8-string guitar and drums. It is further enriched with a few solos as well. Both cleverly interlace the composition throughout it’s 5 minutes duration.

A collision of soothing Post-Rock with distorted sounds, Djent may seem to stay in sharp contrast but in fact the one underlines values of the other. Such an amount of digitally processed, syncopated riffs may sound overwhelming but they become riveting when broken with lighter (but by no means melodic!) parts. Moreover, it may be not difficult for some to make Djent, but it's hard to say if there's any limit where an experimental composition should end. Such is the case with "We All Float Down Here Pt. 1" a new section based on polyphonic tunes could be easily added to the track as long as it's kept far from being tedious.

However both Djent and its close neighbour, Progressive Metal need skilled guitar players to make it significant. Alasdair, 20 year old guitar player from Glasgow, UK sounds like the one, judging by the way the composition evolves it’s many peaks and bridges. The guitar roars, spins and cries in his hands. Having spent over 8 years playing the instrument, this self-taught musician should definitely stick with this career path. His favorite bands include Opeth and Meshuggah but also Periphery, Uneven Structure and Vildhjarta. If you enjoy these, you should also listen to Alasdair Cooper.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, May 13th, 2013. Proofreading: SanDeE)

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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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Malcolm Tollan - What Will I Do Without You

Malcolm Tollan - What Will I Do Without You (song review) |Texas Rose Records, The Malcolm Tollan Project, Vol. 4, 2011| 4/5

It's not a secret that music has its biggest impact during the teenage years or at least into early your 20's. Then your taste turns to more specific tunes or genres which could still change years later, yet you continue to return to the songs you loved as a youngster. Even though they may sound old-school these days. These specific songs touched a hidden part of you back then and now let you reconnect with your younger, emotional ego. Regardless whether the songs bring good or bad memories, they're always about the intense issues you faced in your past.

If you grew up in the 70’s and still miss the Hippie culture, you can jump back into that time again by listening to "What Will I Do Without You" without needing to dust off any old LPs. It’s a beautiful ballad kept in a vibe of rock and blues music. Every part of this composition appears soothing to the ears. From the slow tempo and classic arrangements through Hendrix & Santana-esque plaintive guitar riffs, to soft drum beats and warm bass lines. In addition, singer David Black vocals stay in a perfect match with memorable and repetitive arrangements.

The ending phrases of the song with leading guitar tunes and keyboards in the background even sound a bit Progressive. It seems to be a popular and effective method to end such a composition. Making the final part of a track can be a challenge for a songwriter or composer. However the American-born Malcolm Tollan can be called an expert after 50 years as a songwriter, first inspired by The Beatles who triggered his interest in a music career. You'll find this influence in his other work too.

The main feeling brought up by this track is loneliness, therefore "What Will I Do Without You" sounds like a perfect fit for a movie soundtrack as well. It could accompany romantic love scenes, a lone highway drive or any classic cinema moments. Moreover, the same theme holds a sentiment towards by-gone events. This way, the song could illustrate one's past happy days played out in slow motion and supported by original, scratched and torn photographs.

"What Will I Do Without You" is an interesting listening experience whether you wish to travel into the past or if you prefer to discover further plains.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, March 18th, 2013. Proofreading: SanDeE)

This review on Fabryka Magazine http://industrialrock.net/php-files_en/articles.php?article_id=478

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Paper Dolls - Quietly Killed

Paper Dolls - Quietly Killed (song review) |self-released, DILF Parade, 2012| 3/5

American duo Matthew 'Sosam' Banks and Ramon 'Saysong' Madera founded Paper Dolls in 2012. Despite the young age of the band, the musicians have recorded two albums so far - DILF Parade which is still available for a free download, and the recently released, Here's To Getting On With It: Part One. Beyond that the band publishes new songs weekly, appearing to either be following the new Indie DIY business method or simply enjoying their own creativity.

"Quietly Killed" was released on DILF Parade. The song is built upon repetitive and simplified arrangements and falls into a Punk genre definition. However, there's some duality in Paper Dolls’ music. The seemingly airy, chaotic and hallucinatory mood of the song results from solid calculation. While a dirty guitar continuously fills the entire track (with a few solos), the bass and drums work well together keeping the listener focused on a tense but jumping rhythm. The musicians are tight and perform very well together on this composition.

Most of Paper Dolls’ songs including "Quietly Killed" could be compared to early 80s music, presented by such bands as Sex Pistols, Joy Division, The Pixies, Sonic Youth and The Smiths. There are also echoes of Talking Heads when it comes to the vocals, performed in an "I'm high, I'm nervous and I'm lost" frame of mind, delivered by a fragile man.

On the downside, quality still matters. Apparently, a mastering concept chosen was to make "Quietly Killed" sound gritty. Sadly, only its quality feels lowered. As a result, the song fractures when played on a generic, domestic audio playback device. EQ settings may need adjustment to avoid buzzing and other harmonic distortion. Undoubtedly the cost of professional mastering may seem too expensive for the average musician, but good quality mastering can let a song keep its 'garage-like' quality without making it sound poor. Since Paper Dolls may have a chance to become a New Artist Discovery, hopefully they can find a way to cover such an expense through fundraising possibilities.

This band hasn't played any shows yet but it seems the musicians are looking to match opportunities. Be sure to visit their Reverbnation and Jango pages for fresh updates.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, April 5th, 2013. Proofreading: SanDeE)

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=475

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Phil G Band - Reality

Phil G Band - Reality (song review) |self-released, Eureka, 2013| 4/5

Phil Gibbons (guitar, vocals) and Marco Degiorgi (lead guitar) who founded the Phil G Band have been playing music for many years. However, both band members don't seem to be too desperate to become rock stars or in the least, don't rely on making big money from the music industry. They work in Saudi Arabia where they both compose and perform live for their own pleasure.
Since the British/Italian duo share similar music interests, a simple collaboration resulted in the recording of a whole album entitled, Eureka. For the purpose of recording it, Phil and Marco were accompanied by session drummer, Tom Hooper who at one time played with Grace Jones and Christian Garrick, also with a bass player known as, "The Gov". Matt Butler who is better known for his work with Paul McCartney, Phil Collins and Mick Jagger produced the album at Rockfields Studio.

Having well known names attached to a release is undoubtedly helpful in spreading the word about the band. Yet their music speaks well for itself too. This is a traditional sounding blues song; the vocals are soothing and match the composition and the song’s positive mood. The musicians seem to be sharing the same level of discipline, giving them strength in their performance. Neither leads ahead of the other up or shows off individual skills. The balance between vocal and instrumental parts seems to be equal.
"Reality" covers a topic of a happy relationship: "Feel your lips next to mine, Want you with me all the time, Is this real real". The lyrics are short, repetitive and therefore memorable.

When it comes to the musicians' influences, Phil cites The Beatles, Pink Floyd, Manic Street Preachers and Marvin Gaye, while Marco points out some no-less-famous 70s/80s artists including Joni Mitchell, John Mellencamp, Bob Dylan and Bruce Springsteen. "Reality" creates an atmosphere familiar to the music composed by these artists as well. If you like a traditional approach to music, you should definitely check the song out as well as the other compositions from Eureka.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, April 5th, 2013. Proofreading: SanDeE)

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=474

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Progressivenz - To The Wolf

Progressivenz - To The Wolf (song review) |self-released, single, 2011| 3/5

Rhys Williams is a songwriter and composer hailing from Christchurch, New Zealand who performs under the guise, Progressivenz. Since the city suffered an earthquake in 2010, his music has been related to this tragic event. However not exclusively, Rhys writes songs in support of people who struggle with personal drama.
He operates within a few different styles of music, so don't be surprised when a song fitting the Blues vibe is followed by a track with a touch of Electronica.

"To The Wolf" could fall under the category of Experimental Sound Design, but includes heavy guitar riffs. It's not arranged in a classic song structure. Instead you'll hear a 7 minute long composition, filled with multiple themes.

The track begins with gentle synths and modified vocals giving it an Electro/Pop motif, then followed by various sound effects. Rhys creates a mood of fear, with the feeling of a chase. There's a story coming out of it. You'll hear screaming kids, a howling wolf and a scared woman’s heavy breathing. These topics repeat until a heartbeat effect appears.
Later, the 'wolf's’ theme is replaced with a new part of the composition. Initially the keyboards dictate the rhythm, but after a while they’re joined by Heavy Metal guitar riffs, bass and drums. These give the track a new and aggressive energy with tight dynamics. A synthesizer that steals a listener’s attention for a moment accompanies the riffs, then the opening Electronica phrase and vocals return to end the composition along with the voices of howling wolves.

There are a few interesting ideas presented within "To The Wolf" but the entire composition hasn't been arranged terribly well. Rather than presenting a truly exhilarating song, it sounds more like a tutorial on how to utilize various sound effects and accompaniments. While guitars stay as the focal point of the track, the unstructured composition is missing a spine. It's too drawn out and too loose, despite repetitive motifs. Therefore it may leave a listener confused, as their attention hasn’t been drawn enough. A solid rhythm rolling throughout the entire composition could glue these seemingly separated parts.

A final note, it should be underlined that Rhys sounds like a skillful guitar player. Real Metal will never die nor lose fans, and yet Metal doesn't need any conceptual changes either. It'd be great if Rhys focused entirely on making heavy guitar driven tracks but avoided mismatching a few styles of music within a song.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, April 5th, 2013. Proofreading: SanDeE)

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=473

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Joel Smith Project - Kahless

Joel Smith Project - Kahless |single, self-released, 2013| 5/5

It's often enough to have good guitar arrangements and perform them skillfully in order to make a song sound interesting. Still, the entire composition needs a few more instruments involved, to cooperate with the guitars and get the most from the track. It’s clear that Joel Smith doesn't need an entire band to achieve this goal. This Californian musician writes, arranges and performs his music alone, and yet all the songs he’s released sound so right.

"Kahless" is the most recent production from Joel Smith Project, released in 2013. The song begins with innocent sounding acoustic guitar. However when the drum beat enters, you could suspect that layers of something heavier may be coming next. As a matter of fact, predatory riffs replace the acoustic part easily and so the song’s atmosphere changes instantly.

The core structure is based on a repetitive drum beat and the rhythm guitar sounds solid. On the contrary, the arrangement stays bright and so the heavier parts underline the most dynamic moments. "Kahless" is a subtle vibration that feels pleasant to the ears. Moreover, nimble and well arranged guitar and drums drive an even better groove. You may spot numerous influences from 90’s grunge and 70’s rock genres, with Hendrix-esque solos and guitar effects which also include a classic Wah-Pedal.
The track sounds hooky but not intrusive. The composition is multi-layered, yet enriched with many matching add-ons. They gently touch the structure and change the song’s mood to make it sound positive and intriguing. As a result, your mind will constantly ponder but yet won't be distracted.
Finally, an acoustic section ending the composition creates a nice connection to the beginning of the song.

The song title is referring to a character from Star Trek but portrayed as a mythical god. The voice speaking in the lyrics is telling Kahless that he should not grasp onto religious monopoly. There is and must always be a place for other belief systems. The person is also requesting that Kahless prove why his ideology should be considered the best in the Universe.

A touch of fantasy is added by using this fictional character as a reference point and is found very adequate. In many countries dominant religions have been pushed on the population without considering whether they wanted to be a part of these beliefs and all it’s consequences. Yet there are citizens who refuse to join the show. In fact they created a system and trust their own morals, suiting them better than any imposed religious systems, which frequently stir up bloody wars.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, March 18th, 2013. Proofreading: SanDeE)
http://industrialrock.net/php-files_en/articles.php?article_id=471



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Alex Von Z - Life's Addiction

Alex Von Z - Life's Addiction (song review) |self-released, Life's Addiction EP, 2012| 4/5

American musician, Alex Von Z belongs to this group of creative Indies who know well, how to draw and prolong fans’ interest. He seems to utilize the new music business model. The year of 2012 looked especially fruitful judging by his discography - Implicate Order EP was released in October and Life's Addiction EP two months later. The newest release includes 3 brand new songs and "Life's Addiction" opens the tracklist.

"Life's Addiction" begins with a drumbeat, dictating the rhythm and preparing the way for some classic hard rock sounding guitar riffs. Bass joins next, cooperating very well. Yet it’s the guitars that are the most vital instruments in this song. You can hear a bit of soloing as well as extended high-note bridges and fills. The core arrangement of this track is repetitive and easy to listen to, but the layers create a composition with 'hit' potential. That being said, it may be a good idea if Alex looked up a suitable TV ad placement or some radio airplay opportunities for the track. His vocals keep up with punk or alt-rock styles and fill the arrangements tightly.
My only complaint applies to a dead drumbeat that sticks out too much in parts of the song. Although, it may not be such a bad thing since other bands I’ve heard have utilized this technique as well.

When it comes to lyrics, "Life's Addiction" speaks of people's compulsive desires and addictions which can be either innocent or life threatening. Alex lists such obsessions as workaholism, video-gaming, Internet and virtual reality, television, sex, stimulants. Also, addictions to pain, gambling, dieting and plastic surgery that mirrors a modern yet unnecessary rush for an ideal beauty. Not only can these dependencies drown an individual but maniacal behaviors can also ruin friendships and families. How to overcome these issues? Let's say wisdom, awakening and will-power could be helpful, just as much as therapy though art and sound... That’s if the music doesn't push an addict into yet another, music-related obsession.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, February 25th, 2013. Proofreading: SanDeE)


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Carved In Ashes - Lupus Homini

Carved In Ashes - Lupus Homini (song review) |self-released, The Drowned Silhuette, 2012| 4/5

Carved In Ashes is a Finnish band from Helsinki formed in 2009. Their musical style can be described as progressive rock or art-rock. So far they've released two EPs - Neversary (2010) and Drowned Silhouette (2012).

The phrase, homo homini lupus comes from the Latin, meaning 'the worst enemy of a human can be another human'. The above is proven when considering political, economic and religious wars observed across the ages, but is also noticeable yet no less harmful on a daily basis. These issues commonly come out of jealousy, greed and competition amongst both individuals and groups of people.

The song title, "Lupus Homini" is a neologism build upon a reference to the above phrase. The track was released on Drowned Silhouette EP and lasts over 8 minutes, an average Progressive track length. The composition not only carries moods originating from Progressive music but also from Gothic and Metal. The reason may be that Carved In Ashes has been influenced by the work of bands such as Katatonia, Riverside, Tool and Anathema. You may also spot references to Porcupine Tree and Steven Wilson's music - harmonious yet unpredictable arrangements, enchanting atmospheres but also intensity which grows around the time of bridges and endings.

This intriguing composition doesn't lack contrast however. Groovy bass lines performed by Jaakko Kuusisto along with non-intrusive, well thought drum beats by Lauri Kuussalo stand as the song’s core structure and plays the main role in this composition. Yet they are at times replaced with airy lead riffs and rhythmic background chords brought by guitarist duo, Kimmo Kokki and Tomi Issakainen. This method allows for achieving a dynamic range in which tempo, melody and moods vary but don't interfere with the song structure. It should be also mentioned that keyboard player, Jani Lehtinen put a lot of magic into "Lupus Homini". High-pitched notes sound as freezing as if played on icicles (which were utilized in many 70's jazz tracks) but there are also cold wavy passages within the arrangements.

"Lupus Homini" sounds almost like an instrumental track since the vocal parts have been reduced to a necessary minimum. Juanma Draven both speaks the lyrics and sings them. When he operates at higher notes, his voice recalls Rush's Geddy Lee at times. On the other hand he can also scream, although this adds a dramatic tension to the track rather than making a powerful metal growl.

The song is atmospheric and melodic enough to make you like it after the first listening. At the same time, it was not written with the typical verse and chorus structure. It's an ambitious composition with plenty of layers, perfect for listeners who prefer complexity over monotony.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, February 24th, 2013. Proofreading: SanDeE)
http://industrialrock.net/php-files_en/articles.php?article_id=469

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Theia Collides - Last Song

Theia Collides - Last Song (song review) |self-released, single, 2012| 4/5

Theia Collides is an American progressive rock band from Pittsburgh, Pennsylvania. As their bio says, their goal is to "create a lasting impact on the listener with every song, using conviction, high energy and improvisation". The track, "Last Song" shows this a true statement.

To begin with, Theia is the name of a hypothetical body the size of Mars, said to have hit the Earth approximately 4.5 billion years ago (about 30–50 million years after the Solar System began to form). The debris left over created the Moon. Science Fiction and Fantasy references are well known to progressive rock music. However, the best known characteristic is the tempo and time signature changes that feature frequently throughout compositions. This free-form method can be heard in "Last Song" although it's not an experimental track by any means. More so, it brings a classic rock vibe and melodies as well. The composition is multi-layered and the arrangement is rich in variety, but there's still space to breathe fresh air.

It should be noted that the rhythmic section that builds the core song structure cooperates very well. The leading bass line, performed by very skilled musician, Ben Chiarini sounds dense yet it remains mild and organic. This pulsing groove is accented in every part of the song. Drums by Eric Wiegand are balanced and weighed well ensuring they aren’t ahead of the other instruments in the mix. Their soft tone also adds a pacifying atmosphere to the track.

During the verses, Scott V’s guitar sounds delicate while accompanying the bass, drums and vocals. However, the riffs intensity grows within the chorus. You'll hear classic sounding solos as well.

The vocals are the only weak point in this song. They lack conviction. The vocalist and keyboardist, George Stevens sounds under confident with singing technique, especially when shifting between octaves. He does well singing in a tenor range, keeping it bright and interesting. Progressive rock singers quite regularly embrace this style. Unfortunately, he gets a bit out of tune during verses, which were written for a lower and stronger voice in a baritone range. It means that George may need a further vocal training to overcome possible vocal range difficulties.

In conclusion, "Last Song" sounds soothing but carries a rock spirit as well. If you're looking for a non-intrusive track that leaves the room with your imagination, then you should definitely listen to this. There's also a chance of seeing Theia Collides live, as they appear to perform quite frequently.

"Last Song" will be one of the 5 songs on a currently untitled EP, to be released in 2013. Apparently, however, it may not be the 'last' song on the tracklist.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, February 8th, 2013)

This review on Fabryka Music Magazine http://industrialrock.net/php-files_en/articles.php?article_id=467

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Evestus - No God EP

Evestus - No God EP |self-released, album, 2012| 4/5

01. Dirty, 02. Voices, 03. The Fall, 04. No God, 05. Sleep Forever

Evestus is an Estonian band founded in 2004 by Ott Evestus. Initially a solo project, Evestus has turned into a four-piece band featuring Latvian drummer girl Tanya, guitarist Jan and HK playing bass and keyboards. No God is the fifth studio release from Evestus and includes five brand new songs.

The opening track titled "Dirty" begins with a synth usually heard in Electro music styles. Slightly distorted bass, drums and lead guitars follow. Additional layers of noise make Evestus sound more Industrial. The vocals, when performed in the same heavy-duty manner, match the arrangements well. The lyrics are dark and sound very imaginative: "To see the smiles on your dirty little mouths while you're crawling all over me - an army of bugs" and thus, they bring up an idea of an artistic video as well.

"Voices" could be bracketed in the Electro-Rock genre as a result of the synth, which accents throughout the entire composition. The band smuggled guitars into the track as well, giving it an edgy tone. These however, are covered with a dense and jumping layer of electronic beats. The song has been illustrated with a high quality video production, which includes various different camera perspectives cut together in a fast paced and interesting montage. To give you a little glimpse - the plot begins with a group of young yuppies, along with some desirable goth/EBM women partying together. A mysterious man sprays gas into their room in order to break in and steal a suitcase. Be sure to visit the Evestus YouTube channel to discover more about this video.

The third song on the album, "The Fall" brings in a Breakbeat-Electronica sound in the vein of The Prodigy, The Crystal Method and Propellerheads. If you listen closely, you will hear symphonic sounds that conjure up violins. On the other hand, there's Big-Beat spiced up with a lot noisy FX that may make this song pleasant for less rock-orientated listeners. There are many instrumental movements in "The Fall" but Ott left room for the vocals, which come in shouted and distorted. It seems also that a soundtrack compilation CD would be a good idea for a better exposure of this track.

"No God" is reminiscent of Marilyn Manson’s music and is presented with psychedelic synth, grooving bass, dirty guitar riffs and haunting vocals. Yet, the song’s mood is mixed. Initially there's melancholy, created by the sound of the piano that opens the song, but you'll also experience many dynamics performed on bass and punk-esque drums. Anger strikes within the choruses as the vocalist contests the existence of a deity, arguing that no god has protected the human race against tragedies: "There is no god. For every miracle you witness my friend there's a disaster and there will never be an end to our fears and our dreams and the hope that they feed so you believe someone else will pick you up from your knees" and "I'm lost but my madness will lead me to the answers I need to know, not to believe in".

The final song on the album could be a perfect soundtrack for a big budget movie, however Evestus have already illustrated this track with a meaningful video in a black & white production style. "Sleep Forever" begins with a subtle piano joined by cold background samples, synth and broken drum beats. This quite innocent mood continues for almost 3 minutes until it dramatically changes. Nostalgic atmosphere turns into a fast ride with rhythmic drumbeats, pitched up synth and yelled vocals.

On a side note, the lyrics of "Sleep Forever" may refer to Escapism, a behavior resulting from avoiding problems and the reality of living a struggled day-to-day existence. An individual who becomes frustrated with too many overwhelming issues, locks himself in an alternative world built upon either activity or the opposite, passivity. In this case, the lyrics dwell on escaping into sleep - either into an everlasting dream world or more presumably, a suicide: "I don't want to wake up ever, I just want to sleep forever, let me leave this cold and clever world - don't want to be here".

Any day can be a good day to launch a new music release. Nonetheless, Evestus did it on 12/21/2012 - the fearful date on the Mayan Calendar supposed to mark 'the end of the world', and frequently brought up by the media last year. Happily, not only have we survived but we’ve also received an interesting new EP.

No God is available from most of major digital distributors and also as a digi-pack CD, limited to only 300 numbered copies. It's also worth mentioning that Evestus is going to release a new album in 2013 which may be followed by a series of music video singles next.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, February 4th, 2013. Proofreading: SanDeE)

This review on Fabryka Magazine http://industrialrock.net/php-files_en/articles.php?article_id=466

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Tooms - Disgraceland

Tooms - Disgraceland (song review) |Industrial Strength Records, Disgraceland, 2013| 5/5

"Disgraceland" - the brand new single by Tooms is an in-your-face answer to the current mainstream metal music promoted through high budget advertising campaigns. This composition breaks through these unoriginal metal songs, which are represented by initially aggressive riffs that fall into soft, tendentious melodies. Instead, Tooms have made their composition angry, for a reason.

When it comes to audio values, "Disgraceland" carries fervid sonic madness brought by punching drum beats, memorable enhanced guitar riffs and censorious, fighting vocals. Passionate throughout, the track is rowdy but remains solid Hardcore. The vibe continuously probes into listener's ears.

Tooms musicians, Karl Pryor (drums, programming and production), Idene Roozbayani (vocals, programming and production), Phil Van D (guitars) and Eddy Liddle (vocals) have been well known for mixing a variety of dynamic music genres such as Crossover, Hardcore, Drum'n'Bass and Metal. Therefore, not only does "Disgraceland" sound innovative but remains as belligerent as a guitar driven metal song should.

This track is supported by a self-made but professional quality video. It fits the song motif very well with a rollercoaster styled montage and visuals that are kept in black, blue and orange color tones.
When you visit either the Tooms or Industrial Strength Records YouTube channels, you'll spot the "Disgraceland" video single featuring a heavy-toothed green monster that searches across a city and brings a night-scare. The video also includes riot-ready men wearing skull-like masks. Don't get me wrong, the musicians that make up Tooms are young and angry tattooed activists just like the 70's/80's British punk frontmen. However, Tooms make it clear that they could take the fight to the front line and that you should say 'No!' instead of nodding submissively.

Beyond their imagery, Tooms’ lyrics are also used to illustrate current issues and the failure of institutions which according to this British band, have been causing harm and motivating people to leave their homes to fight back through violent street protests: "Heading on out into a dark age, Rampage is how we trade, Broken Britain it never existed Caused by the hated institution inflicted".
Not only is ACTA/SOPA Internet censorship mentioned but so is the worldwide economy crisis, impoverished poor and middle classes, corruption and rigged elections, enormous education fees and many other manipulative systems being revealed every minute in every corner of the world.

Undoubtedly, "Disgraceland" is a direct call for action. At some point, we're all dependent on other people’s decisions. We must not allow others to lead us towards any imposed alternatives. The rebellious and rousing message behind the song may be summed up by the lyrics: "We've had enough of this nightmare, Took it out on the streets of England, We think that’s fair, Locked up frustrations left to rot inside, We won’t rest tonight".

The Disgraceland EP also includes four remixes made by the biggest names in Hardcore Techno and extreme Electronic Dance music. Artists include GRR, Lenny Dee, Lowroller and Dirty Fingers Licked. Furthermore, the EP had received support from the legendary US Hardcore label, Industrial Strength Records based in New York and it will be released via digital download on 02/15/2013.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, January 28th, 2013. Proofreading: SanDeE)


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Reviewed by Fabryka Music Magazine

Surety- random songs review

Surety - random songs review |self-released, 2012| 4/5

1. Tempered, 2. Ransom, 3. I Am The Influence, 4. Few and Far Between, 5. Desecrated

Surety is a heavy metal band located in Florida that was founded in 2012, however the musicians - Joe Page (vocals), John Page (lead guitar) and John Jones (drums) are by no means novices to the metal music scene. Their previous band which was formed in 2004 was called Metal Reign. They self-released a full length album entitled 8 Fingers of Whiskey and played a lot of shows in South Florida during that time.

A random selection of five Surety tracks were recorded during their recent live shows. You may notice great, predatory vocals which are underlined by high energy and a mean atmosphere amongst the songs. These aspects are spiced up with matching guitar, bass and drum arrangements that are not only characteristic for metal, but also hardcore sub-genres. Musical similarities may point to bands such as Pantera, Testament, Crowbar or Madball as well as representatives from the New York hardcore scene that are best known for their heavy and powerful sound.

The song entitled "Tempered" is filled with rebellious moods. You'll discover thrash metal riffs, but also fiery screams. Vocals and instrumental parts match together very well, however there's also elements of high tension and restless dynamics rolling on throughout the entire composition.

When it comes to "Ransom", this track sounds somewhat dangerous and brings an atmosphere of hunting for something. You may first think of a leopard sneaking around, then running at full speed with conviction towards a chosen victim. You may also visualize street fighters or gangsters who are solving 'this little problem' with guns and machetes. The drums and bass play a main role in this composition, but edgy vocals and guitars are not hidden either. The track sounds memorable and has hit potential as well.

Tough, heavy guitar riffs open "I Am The Influence". This in-your-face composition brings solid arrangements with amazing vocals, chunky guitars and smooth soloing which tightly fill in the track. These aspects equally match the technical styles of Pantera, although Surety left no room for wonder, just motivation and the joy of being carried away due to the overall pugnacious vibe.

"Few and Far Between" begins quite innocently, but later becomes as brooding and raw as the music of Drown which is notable and remains heavy until the very end. This song doesn't lack metal hostility. John Page's guitar soloing brings well known hard rock staples into the mix which compliments an interesting echo effect that was utilized on a few of the vocal parts.

The last composition, "Desecrated" showcases the brilliant cooperation between all the musicians of Surety. The track sounds passionate, although undiluted fury maintains control as much as a raging boxer delivers spot-on blows. Leveled guitars are accompanied and strengthened by the drums which create a connection that sounds indestructible. "Desecrated" seems to be the kind of a song that major metal labels should become interested in if they still wish to deliver high quality angry music instead of promoting wannabe-metal bands.

All of the above tracks are available for free download at the bands official website. It should be noted that Surety has decided to avoid releasing any albums. Alternatively, the musicians will provide their fans with a few new songs released every several months and presented on their official website. Since they are not dependent on the resolutions of any record label and prefer DIY, they don't have to work under the pressure of time constraints or deadlines. Surety would love it if new listeners checked them out on their official website, communicated with them via social profiles as well as watched a comedy channel known as OMG!Beer which is dedicated to alcohol.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, January 15th, 2013)
This review on Fabryka Magazine http://industrialrock.net/php-files_en/articles.php?article_id=464

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Closure - Closure EP

Closure - Closure EP |self-released, 2012| 4/5

01. Assertion, 02. Tonight, 03. Untitled I, 04. Untitled II, 05. Aspect Deletion - Per Year (Closure RMX)

What is it that describes natural beauty the best? There are many features you would list, but undoubtedly it's an intriguing balance with simplicity hidden behind the appeal and grace of a first impression. This description is exactly the feeling you may experience while listening to the debut EP by a one man German post-rock project named Closure that was founded by Carl Albrecht in 2010.

The most important thing about an average human brain is that it likes simple, repetitive tunes. Although, if they're too simple, the ears get bored. Therefore, a musician's ability to create unique atmospheres means a lot. These aspects will influence the way a listener perceives a selection of tunes as well as the harmonic or dis-harmonic melodies it's made from. Closure ventured towards composing hallucinatory music which will interact with your natural brainwaves very well. The debut EP was released in 2012. It includes four instrumental songs recorded, programed and arranged by Carl as well as a remix he did for the band Aspect Deletion. Although Carl is the sole recording artist on the EP, he plans to include a live bassist and drummer to perform the music of Closure in concert.

The opening song, "Assertion" initially brings challenging, yet soothing moods. After a while, it gains more passion due to repetitive arrangements based on dirty guitars, drums and bass. The overall atmosphere which advances with a bit of a tension may put a listener into an unexpected, addictive trance.

"Tonight" reflects the composer's view on a type of night many of us are familiar with: dreamy, harmonious, peaceful and sensual. It's usually like that unless you deal with a sleep disorder, tooth ache or generally speaking, got sick. The track doesn't miss dense accents though, many of which were expressed by rhythmic, grungy guitar riffs similar to those from "Assertion", but definitely heavier.

When it comes to "Untitled I" which is the third track on the album, the main vibe behind the meaning of the song is repetition. Carl gains much of his influence from bands like Godflesh as well as their post-rock project, Jesu, who base the foundation of their music on the repetition of hook driven rhythms as well as the characterization of arrangements that rely on the raw power of an intelligently used drum machine. Your joy depends on how long you can forbear the same repetitive guitar arrangements including those in the higher octave ranges. Having 3:41 minutes to utilize within a composition could have led to an achievement of a more outstanding delivery of effects. However, the sound of "Untitled I" does become addictive at some point and includes nice contrasts between pitched and low guitar riffs that are layered along the track.

The following song called "Untitled II" begins with languorous guitars supported by matching, slow drum beats. You'll also hear a bit of light synths accompanying the two. The song sounds relaxing. It may be a good idea to listen to it when you feel the need to dream or meditate.

"Aspect Deletion - Per Year (Closure RMX)" finishes the Closure EP. Its repetitions and overall "nowhere to rush" atmosphere make it a neat non-rock track that is a good match to pubs and clubs where patrons chill out while having regular meetings with friends.

Some bands create original songs when they reach their artistic limit in structure and complexity throughout their compositions, but only if the arrangements are thought out and performed very well. Others, like Closure prefer to focus on building their instrumental songs through simplified songwriting with enchanting moods. All of the songs on this EP bring simple, repetitive schemes, however the sound is extremely captivating. That's the natural beauty as I mentioned above and the track "Assertion" illustrates it the best.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, January 18th, 2013. Proofreading: Scott M. Owens)

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Kimmo Savilampi - Unending Hearts EP

Kimmo Savilampi - Unending Hearts EP |self-released, 2012| 5/5

1. Ghost, 2. Mardness, 3. Plead My Guilt, 4. Red Wine Sleepless

Kimmo Savilampi, a producer, guitar player, singer and DJ who's also a musician in the Swedish band Harlequin Park came out with a mighty solo EP in 2012. Not only did he compose the songs based on both traditional and modern metal arrangements, but he also made a lot of his authentic ideas come to fruition by putting them in the music.

Unending Hearts contains a track-list that includes 4 brand new, high-energy and professionally composed songs featuring "Ghost" as the opening of the EP. The first thing you may notice when listening to the track is how rhythmic and compelling it sounds. You may find segments somewhat reminiscent of Megadeth, Testament as well as Ministry in the substance of "Ghost" thanks to low, edgy, looped guitar riffs that are mixed with slightly more contrast due to being created by very passionate and skilled guitar player. You can enjoy both metal and rock vibrations spliced with heavier, partially screaming and sometimes growling vocals. The dynamics of the choruses truly bring the image of a machine gun rotating on a rack and sending bullets all around its axis.

On the other hand, the tempo of "Mardness" is slower so the song sounds heavier. Wisely thought out arrangements and repetitions create a lively composition based on low tuned rhythmic guitars and additional drum beats. What's most important, professional growls mixed with a regular voice in the vocal tracks create a powerful connection. You can also hear graded, virtuoso guitar arrangements which are characteristic for both the progressive and heavy metal genres. Kimmo toys with moods by bringing out these heavier melodies once aggression strikes.

Graded guitar riffs along with non-intrusive, although solid rhythmic sections make "Plead My Guilt" a particularly good candidate to have hit potential. It brings with it the most heavy metal virtuoso soloing, but also a spiral of constantly spinning dynamics. "Plead My Guilt", even with a bit of growling vocals is probably the most hooky song on the entire Unending Hearts EP.

The final, shortest track called "Red Wine Sleepless" is an instrumental song, however it is very complex and potent. Diversified soloing which is tightly stitched to rhythmic guitars and drum beats move along the track. Later, the composition broadens to create more space, but also the rhythm slightly slows down. Still, you can enjoy hard rock soloing when the heaviness begins to dominate and come through. The ending segment of the song is a tasty dish for anybody who appreciates solid and vivid guitar playing.

Swedish metal musicians have been world famous for their intense music and intelligent song writing. These usually include arrangements which are required to be utilized in terms of rock or metal genres, but often contain their own genuine additions too. These ideas allow for the bands to be pleasing for listeners who are oriented towards new talent as well as fans who prefer to hear a more classical approach in music. Kimmo Savilampi's Unending Hearts solo EP will definitely satisfy a wide circle of audiophiles.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, January 12th, 2013)

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EB11 - System Breakdown

EB11 - System Breakdown (song review) |self-released, single, 2012| 5/5

EB11 is an alternative/rock band located in Tenerife, Spain which was initially a solo project founded by Eber Pitrelli (vocals, guitar) in 2006. Having much more to offer than just audio productions and studio releases, he decided to look for other skilled musicians to play live shows together. Presently, the line up of EB11 also includes Joaquin Tulian on guitar, drummer Manuel Conti and Alberto Delgado on bass.

It sounds like "System Breakdown" is one of most energetic songs the band has recorded so far as it encompasses the spirit of raw rock within a very well arranged composition. Short and cutting guitar riffs rhythmically support edgy, grunge-esque vocals while the drums and bass speed the heartbeat of the listener. The vocal sections are underlined by guitar arrangements giving them additional vibration.

The composition sounds very solid from its almost acoustic beginning to the intensified end as it contains both hooky verses and melodic choruses. The musicians collaborate very well. You'll spot a bit of guitar soloing as well as nice transitions that are very characteristic for rock music including the alternative and grunge sub-genres.

"System Breakdown" has hit potential and should be targeted for radio airplay rotation since the song is a great addition to any alt-rock music collection. A various artists compilation released as a CD or a digital download and distributed through rock magazines worldwide could offer the band some better recognition. It's never too late to search for such an opportunity on-line.
The track sounds like if it was inspired by bands such as Incubus, Foo Fighters or Breaking Benjamin, but it may recall the sound of System of a Down as well. If you are fans of the above mentioned bands and looking for a new musical discovery, EB11 should be your next focal point. So far, the band has released the She EP and a full length album called D.I.Y which is only available to purchase during their shows. EB11 has been diligently working on their second full length album that is to be followed by a tour sometime in the near future.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, December 28th, 2012. Proofreading: Scott M. Owens)

This review on Fabryka Magazine http://industrialrock.net/php-files_en/articles.php?article_id=461

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Alex Von Z - Drawn

Alex Von Z - Drawn (song review) |self-released, Implicate Order, 2012| 4/5

Spiritually driven music usually sounds pleasant to the ear as well as radio-friendly. Alex Von Z, an American musician from Colorado who sings in tenor as well as plays an acoustic guitar says he's inspired by artists such as Chris Cornell, Tom Petty, Blind Melon and Counting Crows. You will undoubtedly hear these influences in both the song arrangements and vocals.

"Drawn" carries with it a blues vibe, but also features songwriting ideas that are characteristic for both rock and pop genres. The arrangements are simple although very solid with a dreamy mid-tempo time signature that is supported by light rhythms. Not only are the choruses memorable, but the verses are very catchy as well. This is not a song which demands a lot of mental concentration or analysis to understand the message, however nobody is screaming, destroying instruments or causing noisy experimental sounds. On the contrary, this acoustic composition brings soothing, positive moods to your ears from the very beginning to the end of the track. Having said that, if "Drawn" were to be performed by a female singer it would sound as good as the vocals recorded by Alex. Perhaps a male and female duo would sound extremely well on a live version of "Drawn" or should at least be kept in mind and utilized on a new composition with this sort of dynamic and vivaciousness on a future release.

There is also a promotional video for "Drawn" available on YouTube. The video features interesting paintings by Laurie Maves and Joanna Whitney because the lyrics of "Drawn" tell a tale of a woman painting a picture of a man. "I can’t change the way I am / So I’ll just love the way I am drawn / That’s how she’s drawn" followed by "It’s just the way she loves to play, helps to pass the time along / She’s a muse that can amuse remind its perfect how we’re drawn". The focal point of the video illustrates a message of self-affirmation to "be yourself and love yourself". Otherwise, it could be an analogy of how a woman in love portrays a man in her mind, but also that he doesn't want to change himself (for her), so he just accepts her observations (to avoid hurting her notions and losing her feelings).

Implicate Order was released in November 2012, so this is a pretty fresh EP which lists 3 songs including "Drawn" along with a full length radio edit version on the tracklist. Each song is available for free download from the artist's website and social media profiles such as Reverbnation at the moment.
Finally, as a word of advice, Alex should consider submitting this song for radio-airplay opportunities as often as possible. Due to its pop-rock styling, "Drawn" has probable worldwide hit potential.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, December 26th, 2012)



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Reviewed by Fabryka Music Magazine

Insomniaddict - Farewell (electro mix)

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

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

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

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

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

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

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

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Reviewed by Fabryka Music Magazine

Gramilla - Paradox

Gramilla - Paradox (song review) |self-released, Villains, 2012| 5/5

If you're a fan of rock or metal music and come across a band tagged with these genre names, your appetite for heavy tunes and brooding vibes increase immediately. In the case of Gramilla's song entitled "Paradox" which was released on their Villains album, you'll get these impressions pretty fast.

This quintet was formed in California in 2009 and is represented by the following musicians: Efren Pacheco (vocals), Kerr Leonard (guitars), Craig Leonard (guitars), Matt Bird (bass) and Arture Bezie (drums). After releasing their demo in 2010, the band then worked on their first full length album which features 10 songs and brings with it mostly alt-metal and hardcore rebellious sounds (don't miss "Every Mans Vice"!)

"Paradox" is the second song, however one of the shortest tracks on this release. It begins with dark guitar riffs followed by screaming vocals that bring an element of protest and criticism into the song. Efren sounds like very good and highly accomplished singer. His voice has a bit of a dirty tone with elaborate colors, so it perfectly corresponds within the context of the rock and roll style, but could also be successfully matched to sub-genres such as grunge, punk or hardcore as mentioned above.

The mid-tempo of "Paradox" is underlined by groovy drum beats and bass lines. The guitars are layered quite wisely and the solo's sound almost like sewing stitch riffs placed in the right spots. These methods of arranging a song allowed Gramilla to break any possible monotony amongst the rhythm while taking the irascible moods to a higher dynamic when synchronized with less rhythmic notes.

"Paradox" doesn't carry many positive moods, although it's not happiness that we usually expect from heavy music. Most listeners of heavy music desire these sort of compositions to let them release their frustration and anger. This is due to many common and ordinary life issues that fans may encounter on a daily basis and which can accumulate pretty fast. However, if you think 'harsh' doesn't go along with 'melodic' or 'catchy' in terms of moods, then "Paradox" can certainly change your mind. The vocal transitions along with the guitar solos are all it takes to prove this point extremely well.

Gramilla sounds like a great new band with the potential to be discovered. Become a fan of theirs and offer your support by purchasing their music, checking them out on-line and seeing if they're playing live at a venue in your city.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, December 19th, 2012)
http://industrialrock.net/php-files_en/articles.php?article_id=458





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Cofein - Never Give Up!

Cofein - Never Give Up! (song review) |self-released, Superdangerous, 2012| 5/5 rock

When you hear a female voice carving and accenting a rock song with such memorable passion, you probably won't stop listening until the track is over. Edit Unjian is the lead singer for Bulgarian rock band Cofein, so if you enjoy female voices in the vibe of Masha Mysmane (Exilia), Sandra Nasic (Guano Apes), Heyley Williams (The Paramore) or Danni Monroe (The Dirty Youth) combined with dynamic and heavier rock arrangements, you should reach out towards Cofein as soon as possible.

Initially, the band formed in 2003 and was called Tiramisu. Until 2007 they were covering songs rather than making their own. They were also submitting tracks for various contests including the annual biggest European music festival called Eurovision which is as popular as the Grammy Awards. Cofein's song reached number 5. They have not only drown the interest of European listeners, but also an independent U.S. label. Tiramisu underwent minor line-up changes in 2010 which also led to other improvements including their image, a heavier sound and taking on a new band name – Cofein.

The Superdangerous EP was released in May of 2012 and includes three songs. "Never Give Up!" opens the tracklist of this EP. The song immediately brings nice shivers upon the spine which are brought on by chunky guitar riffs in the beginning of the track followed by an intriguing guitar solo. The aforementioned solo brilliantly comes in when a groovy bass line combines with drums and rhythm guitar that build the underlying compositional structures.
Edi joins in on vocals soon after and it actually feels as if she were a surfer jumping upon an incoming wave and shaving the water. Her voice is placed between mezzo-soprano and a lighter alto which is pleasant to the ears. The vocals puncture through a listener like an arrow, yet resonate strong, sharp and confident. Her great English accent helps the song sound like a truly American production, but it is also useful for submission and acceptance in the arena of worldwide radio airplay. Edi's voice can easily match the genres of rock and grunge, but it is also quite suitable for country music. What's more interesting, you'll hear a warm timbre among her vocals which eloquently support her rapacity as well.

The initial segment of lyrics contained in "Never Give Up!" are underlined by tight bass lines and well balanced drum beats which dictate high-energy and solid dynamics. The rhythmic section is represented by Atanas Atanasov on bass and Petar Markov on drums who cooperate together very well. There are also two guitarist in the band: Tsvetan Karabov and Petar Todorov. This duo of guitar players allow for more layered, dense rock sounds to be placed into the music of Cofein when held in contrast to groups who perform with only one guitarist. You can expect a fantastic guitar solo to appear throughout the composition along with an intriguing bridge which is also set up in an expertly chosen spot on the track.
It should be noted that this along with other Cofein arrangements which were created for songs such as "Addicted to You" and "Superdangerous" have hit potential and have also been perfectly written to give the songs on the EP both claws and catchiness.

The band should continue entering various contests and submitting music for radio playlists as often as possible. Moreover, they should respect their own skills regardless of whether they are derived from natural musical skill or training to avoid selling their music too cheaply. Talent scouts, new artist headhunters and booking agents should pay attention to Cofein. If you, the reader are aware of any reliable professionals who could make the career of this band shine worldwide, please forward them this review.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, December 7th, 2012)
http://industrialrock.net/php-files_en/articles.php?article_id=456


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Andrew Appletree & The Neptune Riders - 59 To The End

Andrew Appletree & The Neptune Riders - 59 To The End (song review) |self-released, Dragonfly, 2012| 3/5

"59 To The End" is a song performed and recorded live at Zen Recording studio by Andrew Appletree (guitar,vocals, music, lyrics) and The Neptune Riders featuring Aimee Trachtenberg (vocals), Barry Waddell (guitar), Bryan Thompson (drums) as well as Stephen Paul Connelly (guitar piano, bass guitar).

It was released on the Dragonfly album in 2012 and is featured as the last track on the record.

First of all, the intro brings an atmosphere well suited to a live recording where the musicians are synchronizing before the performance of the song. You'll hear "Hold on!" calling for patience, followed by the sound of spontaneously touched strings, then drumsticks dictating the rhythm and somebody taking a deep breath. I believe this may have been left in the track on purpose to enhance the experience of the music. This song is deeply rooted in classic blues and rock styles. If you listen to a few other blues compositions, you'll notice it's almost a stylistic technical method which opens the track.

Secondly, well written arrangements include both solid rhythm guitar parts as well as soloing arrangements that transpire after passing through the middle of the track. Additionally, smoke filled bar-like moods are performed on the piano, which is such a specific instrument that it can steal the listeners attention as much as a saxophone, especially when utilized with rock music. When it comes to bass and drums, they give the song stable dynamics and never go upfront; both play their parts synchronized very well.

Thirdly, the vocals sound rough - the way we used to hear vocals performed in songs by Bob Dylan, Captain Beefheart or Tom Petty (yet not as harsh as those performed by Tom Waits). Thus, the vocals can be automatically associated with hard rock, blues and southern rock styles very well. There are also repetitive female background vocals reminiscent of what you would hear in music associated with the 1970s counter-culture.

Finally, if you are one to look at album covers first before listening to the tracks, you probably won't be able to miss the Neptune-related statuesque lady with a dreamy gaze which adorns this record.

"59 To The End" lasts a bit over 3 minutes in duration. Thus, you can think of many ways to use it, aside from just listening. This track would be a great candidate to be utilized in a radio set-list, movie soundtrack or also (based on the lyrics) for the long awaited “end of the world” as we shift from one year to another if you believe in the recently reported apocalypse that supposed to happen on 12/21/2012 (according to the sources of the crazies). Overall, "59 To The End" sounds like a great new musical discovery for the fans of i.e. Stevie Ray Vaughan or Van Morrison.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, November 23rd, 2012)
This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=455

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These Green Eyes - Paramedic

These Green Eyes - Paramedic (song review) |Blackledge Music, Relapse to Recovery, 2009| 4/5

This quintet, founded in New Haven, Connecticut comes up with emotional music based on melodic alt-rock arrangements. These aspects of songwriting have been playing an important role in many radio rotation lists throughout time. A fact which remains true regardless of the daily program schedule being pop or rock oriented. Most ordinary listeners don't require distracting music to be touched by its message and it seems the musicians who comprise the line up of These Green Eyes had this in mind when they were writing the song "Paramedic".

“Paramedic” is a short track (3:47) and basically begins with no intro. Memorable verses come instantly and they are filled with Colin's vocals along with a rhythmic mix of guitars performed by Jeff and Greg, drums by Mark and bass by Zach. Layered guitars play in harmony during the choruses and shift in and out of edgy rhythms during the verses and breakbeats. Also, the mood of the song changes at 2:00 with the bass guitar providing the melodic backbone of the juncture while the vocalist sings melodies in alto.

The topic of the song seems to underline the importance of rescuing people's lives. Paramedics, aside from fire brigades and police are the first responders who improve a victim's diagnosis in case of an emergency. Of course survival time is up to an individual's body resistance and own will to live, but good care may improve their chances of recovery.
Thus, the idea behind the song "Paramedic" could fit well into a documentary about people dealing with regional or national range disasters such as floods, hurricanes, plane crashes, shootings, etc. or devastating personal traumas like depression, suicide, divorce and many others. If this song were to be utilized in the soundtrack of a movie it would not only put an accent on the most important work of emergency teams, but also soothe the cinematic aspects of disturbing scenes that outline the reality of an accident before things return to normal. There are no brooding moods though.

The idea behind "Paramedic" is a thought-provoking one, but the arrangements and compositional aspects may not be enough to stir the interest of a high maintenance listener. It's undoubtedly a song fitting many popular radio set lists (over thirty US radio stations play this song on the air already), but it also has hit potential due to its musical repetitions and simple structures. If you need melodic music which expresses life issues of an important matter, this song is for you.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, November 6th, 2012)

This review on Fabryka Magazine http://industrialrock.net/php-files_en/articles.php?article_id=454

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Reviewed by Fabryka Music Magazine