Message To The Machine - Self-Inflicted

Message To The Machine - Self-Inflicted |CRL Studios, 2013| 4/5

01. Screamer Number Four, 02. I Am Effigy, 03. Your Eyes My Lies, 04. Pariah, 05. Reclaimher, 06. Your Sex, 07. The Desolate Beat Of Tarquin Pain, 08. My Little Psycho, 09. Edens Laboratory, 10. Patiently We Drown, 11. The Engineer, 12. Demon Creeper

The third album of Message To The Machine that was written, performed, mixed, mastered and produced by British musician James Orez brings a lot of experimental electronica mixed with ambient and industrial tunes. The overall sound is also heavier when compared to the Endlessly Copying Ourselves EP released in 2012.

You'll probably notice a specific, hidden duality in most of the songs. It's a result of mixing aggressive, disturbing and noisy arrangements (including vocals) with initially innocent and sweet sounds. Clamorous repetitions are typical for industrial music as they are purposely utilized to mimic either working or broken machines but also heavy industry workers using hammers, drills and other tools. Message To The Machine operates with similar sound effects quite often, giving compositions a noisy vibe. Not only that, James also skilfully utilizes silence as well as dissonances.

"Screamer Number Four" opens with whispers and an arythmic tempo. As the title suggests, you will hear a lot of hard-hitting, hardcore-like vocals yelling the lyrics out, though they are interlaced with infantile voices as well. "I Am Effigy" brings rebellious punk moods mixed with electronic arrangements.
The composition of "Your Eyes My Lies" is based on repetitive arrangements built upon beats and synth driven tunes enriched with alternating aggressive and delicate vocals. Catchy yet complex, the song has the feel of early Nine Inch Nails music. 'Glassy' ringing sounds (as if played on bottles) and irregular beats in a cloud of oneirism characterize "Pariah". Stretched, groaning vocals sound as if James was murmuring a very creepy story to scare you.
"Reclaimher" starts with a quiet vocal part, reminiscent of The Cure songs. Soon after, it's followed by a noisy industrial turmoil in the style of Einstürzende Neubauten. The lyrics are almost declaimed with a voice full of hatred. In addition, you will also hear many cool sound effects and samples within this composition.
"Your Sex" sounds angry but an accented and thus irritating synth leitmotif may be stealing too much of your attention. The song seems to be a bit too long, as well (6:20). A similar remark could be pointed at "My Little Psycho". It's a tad annoying, pushy track which due to numerous repetitions seems to be longer than it actually is (04:11).

"The Desolate Beat Of Tarquin Pain" marks the first of the two ambient tracks on Self-Inflicted, not lacking in industrial flavors. The sound of an irregular heart-beat goes well with buzzy beats and gentle, oriental-ish backgrounds. Sonically rich and full of very well-thought arrangements, it speaks well for James' talent with making experimental ambient music.
The other instrumental song is called "Edens Laboratory". It brings lots of thriller/science-fiction motifs, ripe for use by the movie or video game industry. The dark ambient atmosphere will undoubtedly affect your imagination. In "Patiently We Drown", high quality experimental electronica is characterized by a non-disruptive, pumping tempo and gentle, high tuned piano chords. The vocals sound different here; they are dark and controlled as if you were listening to the famous Vincent Price retelling his eerie experiences.
"The Engineer" does not only include great lyrics (mind the memorable chorus: "I am the only engineer who can rewire"), but also an almost theatrical performance enriched with matching, mechanical music. The atmosphere feels a bit psychotic and delusional.
The closing song, "Demon Creeper", sounds a bit different when compared to the others. The opening, velvety sounding guitars may soothe your senses after the noisy tracklist so far, but the deeper you go into the track, the more of the industrial vibe comes back. You should also pay attention to the excellent mix of levelled guitars and low tuned synths, which comes up when the chorus begins.

James has a good voice (often powered up by filters and effects for the sake of the mechanical mood of his music). He also seems to have good theatrical skills allowing him to perform the songs in an animated way. At times smooth, then unexpectedly rough, he sounds unpredictable and a bit unbalanced on this album. Surely, it's a perfectly planned artistic manifestation and the final result will draw your attention.

These are not easy-listening compositions and will require your brain to focus. According to James, the idea of Self-Inflicted is related to self-doubt and self-loathing due to the reappearance of second-guessing and the fear of losing control (as in "Demon creeper lurking in the darkness, demon creeper trying to control (…) too many words are running through my mind, too many demons are trying to hurt me" /"Demon Creeper"/). Lyrically, the songs speak of frustration arising when false hopes meet sheer reality ("Drowning within our very own lonesome pathetic, apathetic so called lives staring blindly into, mind saturating screens filled with false hope and pre tense" /"Patiently We Drown"/).

A bit of criticism at the end. Some of the lyrics were seemingly written before the music, thus they were adjusted to the musical arrangements. The final result is that the lyrics sound stretched in a few spots ("Demon Creeper", "My Little Psycho").
Secondary, the drum machine sounds too automatic, loud, stiff and basically maintains the same depth in most of the tracks. However, while the beat may hurt you in "Screamer Number Four", "I Am Effigy", "Reclaimher", "The Engineer" or specifically in "My Little Psycho", it works in "Your Eyes My Lies" and "Your Sex" very well.

It'd be great to see a live performance of Message To The Machine if it included a screenplay, unique outfits, maybe some masks and make up too, as known for instance from Nivek Ogre's (Skinny Puppy) shows. Self-Inflicted is a great album to buy if you dig experimental industrial music with screamy vocals and brooding moods.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, July 19th, 2013. Proofreading: Mike 'Vesper' Dziewoński)



You may also like: Message To The Machine - Endlessly Copying Ourselves EP review.

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Reviewed by Fabryka Music Magazine

UN-reason - interview

Check out this interview with UN-reason band at http://industrialrock.net/php-files_en/articles.php?article_id=491

Excerpt:

NINa: Is it more enjoyable when things one desires are difficult to obtain and hold? Does frustration stir up creativity?
Elio: You must work to get good results and when the results come and are good you feel gratified. Instant gratification is fleeting and it is, as the word itself suggests, very short lived. If you work hard to obtain something eventually you will also have built some strong foundation to start working on something else afterwards. The harder you work, the more skills you acquire and the more daring your future projects may become.

Conducted by Fabryka Music Magazine

UN-reason - UN-reason

UN-reason - UN-reason |Patetico Recordings, 2012| 5/5

1. A Place Of Truth, 2. Blinks, 3. Run Back, 4. Under, 5. Too Deep, 6. Twisted Metal, 7. Kids Hurting Kids, 8. Our Special Way, 9. Open, 10. This Is Not My Fear, 11. Waves

UN-reason hails from Savona, Italy and was founded in 2010. This relatively new project was formed by experienced musicians who were previously involved in such bands as Twenty One Crows, Pushkins, Fallen Tears, F.E.M. or The Sense.

Their eponymous debut album mastered by Reza Udhin (Inertia, Killing Joke) brings 11 songs - a mix of post-rock, post-punk and industrial. The compositions sound emotional and touching. Extremely well elaborated, lyrical arrangements are built upon harmonious tunes with peaceful moments found throughout the release. The overall mood on UN-reason is based on non-invasive contrasts.

If you study the lyrics a bit closer, you'll also find out that there's a bit of frustration due to disappointment, unwanted changes and unrealized needs usually referring to one's love life. Elio Isaia (voice, guitars) with Jacques Pedretti (a guest song writer) wrote poetical lyrics that match the music very well. Various figurative expressions speak almost as visually as paintings (for instance: "I stole her love and melt it, and buried it on the Moon, I bathed at night in her cool blue room" /"Run Back"/).
Elio's voice is instantly recognizable, which is always beneficial for a singer. It's rather high-pitched (between tenor and baritone) and makes a good match with the music. Elio fits within all the songs and never goes out of tune. He also occasionally uses voice effects, adding a rough industrial overlay to songs such as "Blinks", "This Is Not My Fear" and "Kids Hurting Kids".

The musicians express their know-how by tuning in through truly skillful, cooperative play. Jon Griffin (guitar) places accents or puts up noisy walls of sound wherever it's necessary ("A Place of Truth", "Under") while Jan Maio (synths, virtual orchestra, guitar) builds intriguing sonic backgrounds ("A Place Of Truth", "Blinks", "Kids Hurting Kids", "Open").
The rhythm section adds a refined vibe to the compositions. The bass (Giorgio Bormida - guitar, bass, piano) sounds range from murky, quite characteristic for gothic rock ("Blinks", "This Is Not My Fear", "Waves") to warm ("Twisted Metal"). The drums played by Lorenzo Bartolini feel just right and work really well with the bass. The interplay between both instruments really shines in more emotional tunes like "Run Back", "Our Special Way", "Too Deep", or "Waves". As a side note, the drums in "Open" were manned by a renown guest from the scene - Martin Atkins (PIL, Killing Joke, Nine Inch Nails, Pigface).

My favorite songs are "Our Special Way", for the gentle "guitar versus bass" arrangements (as known from the 80s Bauhaus or New Model Army songs); "Run Back", which could be the main theme of a movie; and "Blinks", thanks to its edgy industrial rock vibe.

All tracks on UN-reason album are memorable through their verses and choruses, but also little dirty (and a little dreamy) guitar vibes coloured with bits of sampling. Regardless of the typical chorus/verse repetitions there’s little to no boredom to be found on this album.

When it comes to the album concept, it aims in bringing back the interest in true creativity and inspiration, against the global trends, slowly drowning the world in rather nonspiritual ideas and populist consumerism for the last two decades. It's also about the importance of freedom - leaving the system and mass behind and becoming a unique human being integrated with and expressing one’s own soul again. As articulated in "Kids Hurting Kids": "We have been plugged, we've been drugged at home, our life is a box, a prison we pay, only when I close my eyes this distance is gone".

The band’s comprehensive and well designed official website should encourage you to visit often. Make sure you follow the band on their active social profiles. Moreover, if you like visual arts, you should pay attention to Giorgio's personal website presenting his dark designs. And don’t forget that he also remixed a few tracks for known industrial bands such as Pigface and 16volt.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, July 15th, 2013. Proofreading: Mike 'Vesper' Dziewoński)

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=490

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SLOWtheIMPACT - Pleasantly Amused

SLOWtheIMPACT - Pleasantly Amused (song review) |self-released, ...and Those We've Left Behind, 2012| 4/5

SLOWtheIMPACT began as a solo project of Steve Cockayne (guitar, vocals) in Portland, OR in 2007. Presently, the band is a quintet - the line-up includes Amy Smith (keyboard/back vocals), Zach Barnum (bass/vocals), Brad Buttram (guitar) and Mark Matocha (drums).
The newly released "Pleasantly Amused" track comes from their 3rd album entitled ...and Those We've Left Behind. It starts off with vocals and bass bringing about the flavour of old school goth music (for instance The Cure).

As for the main theme, "Pleasantly Amused" is a love song. The lyrics talk about missing a partner when spending time away from one another and the desire to meet again. The band shows a lot of experience in handling the subject matter of saving or improving a relationship under such duress. This song may work really well for teenagers and 20-something couples who most often fall into a turbulent love life head-first.

Musically, from the very beginning, the bass builds a solid but dynamic core of the track, enriched with drums and keyboards later on. The bass line sounds simple and quite typical for 80s goth rock music. "Pleasantly Amused" doesn't bring along any dramatic moods, though your ear may detect a bit of impatience or even anxiety. A balanced share of instrumental parts, including peaceful guitars together with lightly accented drums make the whole a rather ear-friendly composition. Repeating arrangements and vocals easy enough to sing along work really well for the track, giving it a strong hit potential. The musicians play their parts very well and Steve's neat voice matches the overall mood of the song. Everything falls into place without stirring unexpected controversies within the song. Furthermore, it’s evident that considerable production, mixing and mastering skill were employed to polish the track, something that’s usually a problem for many self-sufficient bands.

Still, aside all this alternative-pop-rock compositional correctness, "Pleasantly Amused" lacks a bit more of an original approach, a touch of spirit to drag and shake the listener. Since a lot of listeners prefer a familiar sounding vibe, it should not be a big problem in terms of the band's success, though.
The song is as easy-listening as memorable, and one can definitely imagine "Pleasantly Amused" in movie trailers, commercials or popular radio playlists. The length of the track (almost 4 minutes) and its easy to adapt structure (thanks to repetitions) perfectly supports such purposes.

It should be also noted that SLOWtheIMPACT seems to be doing a good promotional job for their new, independently released album. They have an interestingly designed official website and frequently updated social profiles, which you should definitely visit. The song is available for purchase from the majority of popular digital distributors and the band also offers various merchandise in their own store.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, July 4th, 2013. Proofreading: Mike 'Vesper' Dziewoński)

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Johnny Marples - The Nu Signs EP

Johnny Marples - The Nu Signs EP |self-released, 2013| 4/5

01. The Nu Signs, 02. Parasite (No Balls), 03. We R 1, 04. Shut The Fuck Up, 05. Of Murder And You

If you haven't heard about Johnny Marples yet, it's time to look into his music as there's something heavy awaiting your attention.
This project was founded in Germany in 2008. Musically, it has been inspired by one of the last few significant music genres meaning Nu metal. Moreover, its founder used to be a drummer in various metalcore and deathcore bands before he decided to start recording his own music as Johnny Marples. The Nu Signs which was released in April 2013 is his debut.

The intro for "The Nu Signs" song may sound quiet but it's only an innocent pass into a massive mix of low tuned crunchy guitar riffs and haunting soundscapes. Guitars and drums in "Parasite" build the overall rhythm which is thankfully neither static nor too repetitive. The choruses bring a bit of a melody but they are kept on a heavy level, regardless. "We R 1" sounds fiery with a dark heavy background enhanced with highly pitched lead riffs. "Shut The Fuck Up" brings psychedelic guitar riffs, repetitive choruses, oppressive moods and loads of weight you won't be able to ignore, assuming you like metal music.
The final song "Of Murder And You" initially sounds somewhat lighter thanks to the lead riff but rest assured - the track remains as aggressive and relentless as others on the tracklist. The ending will show you how it may feel inside an overburdened head.

All the compositions are quite short but sound solid. They are rather loosely based on the traditional verse-chorus-verse concept, as if Johnny Marples didn't like routine. There's raw power which will touch those of you who have a revolting spirit and love for hardcore music. Songs are structured in a complex and knotty way, so they require responsive ears and brains. This music needs 100% of your attention. Johnny Marples doesn’t try to fit into melodic nu metal compositions, but instead brings anger, aggression and dominance known from death metal or hardcore. The transitions between the songs are smooth enough to allow for easy progression.

On The Nu Signs EP you’ll find frank, straightforward lyrics with an aggressive attitude. The band questions and examines the weak points in many topics such as the music scene, abusive friendship, alienation, misunderstandings or sexual frustrations. There's a definite call for change, for seeing things as they are and for switching one's perspective. In addition, the lyrics are spiced up with a lot of cussing but we're talking about metal music here, so you should know what to expect.

As for the downsides, the lead singer may consider using his whole vocal range to a larger extent, which could allow him to improve his performance, as it would shift listeners' attention towards his truly powerful songs. He has a good voice, matching any heavy genres and his screams and growls are well executed. However, he drops the tune when a part of the song requires singing slowly with tonal changes (e.g. in "Parasite" or "Of Murder And You"). Neglectful spoken vocals is a method utilized in nu metal music but it’s a problem for many male singers (as well as for women attempting to switch smoothly to lower tones).

When you deeply study various discographies you may notice the first releases of many bands usually sound powerful, energetic, but they’re still rough. Quite often, they bring many new ideas and earn an 'iconic' status, eventually. In some cases, many bands are not satisfied with their debuts due to technical reasons. The Nu Signs EP is a release that opens many possibilities for Johnny Marples. Honestly, it's sometime hard to believe there's only one man behind the project. Not only did he compose the songs, play all the instruments, write the lyrics and do the vocals, but he also mixed, mastered and produced the entire EP on his own. What the band needs now is the support of true fans. Are you willing to be one of them?

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, July 1st, 2013. Proofreading: Mike 'Vesper' Dziewoński)

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=488

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Reviewed by Fabryka Music Magazine

Sergey Rybytskyy - Soul's Reflection

Sergey Rybytskyy - Soul's Reflection |self-released/AMAdea Music, Soul's Reflection, 2012| 5/5

1. Deliverance, 2. Profound Influence, 3. New Vista, 4. Battle, 5. Chameleon

A collection of the best instrumental songs released by Ukrainian composer Sergey Rybytskyy brings an excellent heavy load of progressive and neo classical rock music. Fabulous arrangements make it a recognizable release thanks to Sergey's technical and songwriting skills.

There's a lot to be found within the songs - dynamics and poetry, aggression and passion. The collection begins with "Deliverance" - fast paced hard rock drum beats build up a solid sonic spine for spiritually uplifting guitar riffs. By turns, higher and lower riffs shoot the song into your ears like a Uzi submachine gun. In fact, listening to this track makes one imagine a philharmonic with a pianist instead of a guitar player, performing a fiery-yet-epic classical composition, surrounded by people in very formal attire. It’s the same kind of music you may have heard from Dream Theater but also Apocalyptica - this time, it’s all made by one man.

The second track rolls off like a famous primadonna walking along a red carpet, all eyes fixed on her. All this due to the slow, vibrating guitar riffs with interesting background synths embedded into the composition. The riffs of "Profound Influence" eventually turn into a high-tuned cannonade (thanks to the generous application of guitar fingering) which may also be reminiscent 8-bit Atari or Commodore music hailing from the era of 80s video games (and involving loads of shooting lasers).

"New Vista", on the other hand, is loaded with a progressive rock feel. Solo riffs mix with a rhythm guitar and drums, eventually enriched by synth passages. Not only does this song fit nicely into any progressive music collection, but it also has hit potential. The song is the longest of the release, with some repetitive arrangements. As a dynamic and complex piece, it may be favoured by fans of such bands as Van Halen, Asia, Yes, Alan Parsons or Pink Floyd.

Some of Sergey's tracks had been already chosen for film and TV licensing. Unsurprisingly, since most of his work refers to motion and action. Speaking of which, "Battle" is very faithful to its title. It's pure combat between piercing solos, matching synths and solid background arrangements based on a running rhythm of drums. There's no place for breaks or hesitation here - just a crazy ride. If you like visualizing music, you may imagine two opposite mobs of medieval warriors with fierce expressions, galloping on their horses at each other, brandishing their weapons at the enemies.

The final track - "Chameleon" - begins slowly, with a regal style and grace, eventually turning into an invasive, psychodelic trip. Bizarre, circus-like synth arrangements and slightly distorted guitars should keep your focus nailed to the track’s progression.

Soul's Reflection is an interesting collection regardless whether you're already a fan of the genres mentioned above or just looking around to discover a new talented guitar player. The album is available for purchase through a variety of retailers online. Don’t forget to let Sergey know what you think of his music and leave your feedback at one of his social sites.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, June 26th, 2013. Proofreading: Mike 'Vesper' Dziewoński)

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=487

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Ghost Embrace - Prisoner Of Pretty Lies

Ghost Embrace - Prisoner Of Pretty Lies (song review) |self-released, Ghost Embrace, 2013| 5/5

Ghost Embrace is an American band from Colorado, led by Annette Freeman who's a singer-songwriter, as well as a music producer. Not only is she armed with a wide-scale, well trained voice and a 12 string guitar but also a few colorful tattoos. Aside from the lead singer, the band includes: Jerome Lee, a music industry veteran who spent over 40 years playing an electric bass; Chad Kent who has played drums since he turned 12 (known also from bands Atomship and Watership Down); as well as two talented guitar players - Nema Sobhani and Ryan Kargoll. The soft, well-chosen background vocals are performed by Madeline Gardner, Brett Weisz and Leah Rose.

"Prisoner Of Pretty Lies" is one of the songs published on the newly released Ghost Embrace album. The track brings a variety of influences and moods ranging from such genres as metal, progressive rock, soul and R&B. At 2 minutes and 50 seconds, the track is pretty short, but includes all the necessities of a good tune - a bright composition, soothing arrangements, moods that grown on you and professionally performed music.

Annette's voice dominates the entire track. There are peaks expressing the moments of strong emotions such as passion, possessiveness or jealousy (where Annette sounds predatory), but also sweeter and softer spots that may illustrate love, hope or tenderness. When Annette sings: "Loving who you might be, Taking it too far, Believing what I see, Is who you really are" it should make you realise that this calming track is relating to the subjects of loneliness and casual relationships. Every year, thousands of people fall in love with barely matched partners, just to kill boredom or emptiness in their own lives. They meet offline and online, jumping into relationships to search for their own worth in the eyes of others. It's pretty natural to have expectations, yet a low self-esteem can turn out to be a trap, for both involved parties. This song could be a perfect musical companion to a movie trailer, one which specifically touches the topics mentioned above - love stories of people of all ages and orientations around the world.

"Prisoner Of Pretty Lies" could have sounded a bit too lyrical or moody, if not for the involvement of a dynamic duo - Chad with his confident perky metal drumming and Jerome providing warm blues/R&B bass lines. These two, mixed with progressive rock guitar solos brought by Nema and Ryan put a second life into the short composition. It seems that every musician in the band could have performed his or her part on their own equally well, leading to a bunch of great instrumental or a capella tracks. Still, together they complement one another to an even better result.

The track was recorded at HyperThreat Sound, mixed by Dave Fortman (Balance Studios) and mastered by Adam Ayan (Gateway Mastering). If you agree that love can be a little confusing sometimes, check out "Prisoner Of Pretty Lies" by Ghost Embrace.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, May 23rd, 2013. Proofreading: Mike 'Vesper' Dziewoński)

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=486

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Reviewed by Fabryka Music Magazine

Progressivenz - Pickin On Me

Progressivenz - Pickin On Me (song review) |self-released, single, 2013| 4/5

Progressivenz is a musical project founded in New Zealand by Rhys Williams. He's a guitar player, but he doesn't shy away from utilizing other instruments such as bass or synthesizers.

The new song by Rhys entitled "Pickin On Me" undoubtedly sounds groovy. This is mainly thanks to a repetitive, warm & funky R&B-ish bass line that dominates but also stabilizes the composition with a solid core. Additionally, nicely dosed electronica, borrowing themes from goa trance or electro genres chimes in at the right spots throughout the entire track. A fusion of the two results in several smart arrangements stitched into the composition, which is long enough to let the listener enjoy the groove.

Rhys' voice also sounds very interesting. A sensitive ear would find his vocals memorable and recognizable. They are a bit abrasive, holding passion and a hint of anxiety as well. On the other hand, Rhys has used a vocal effect that would suit pop music slightly better. "Pickin On Me" sounds intriguing, yet a bit murky. The effect was probably used to bring some more life to repetitive lyrics. It does take the 'dark' mood away from the song, though.

When it comes to the lyrics, they are presumably about a man who has a romantic interest in a woman, but deals with disappointment since she doesn't reciprocate his love... until he has enough of money: "You welcome me on pay day, And sing your little song, And then you push me to the floor, Just once the moneys gone". Moreover, she flirts with other men, giving a hard time to the one who wants her exclusively: "You dance with everyone but me, And have your little flirt, Then push me to the corner, Just like a piece of dirt". Apparently, it sounds like the man may be addicted to her presence, but he's not ready to quit this manipulative relationship yet.

There's something about "Pickin On Me" that you will like and at least a few details your ear won't miss. It may be the overall nice groove, the repetitions but also the sensual mood. These usually turn one’s mind on and so, they may play with yours as well.

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

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=485

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Reviewed by Fabryka Music Magazine

Division 1.1 - Submission

Division 1.1 - Submission (song review) |self-released, With A Vengeance, 2012| 5/5

Division 1.1 is a New Jersey based metal band of Rob Middleton (lead vocals), Steve Ratchen (7 & 14 string bass guitar, keyboards/synthesizers, lead and backing vocals), John Barone (guitars, backing vocals) and Brian Brennan (drums/percussion, backing vocals). Since the musicians' personal inspirations cover a broad range older and newer influences such as Black Sabbath, Rush, Ronnie James Dio, Megadeth, Metallica, Slayer, Dream Theater, Tool, Pantera and Disturbed, the music of Division 1.1 may be seen as an amalgam of the main elements introduced by these bands.

"Submission" is the fourth track from the With A Vengeance EP. The arrangement is mainly based on guitars, bass and vocals, though there are also pretty non-invasive synths in the background. All of these usually play in unison, but there are also parts where individual instruments have their top moments. The drum parts are my only concern - if their sound had been amplified a bit more (possibly during mastering), the track would have gotten an additional power kick and turned out much more epic (as for instance it happens in "Valley of The Kings" by Blue Murder). Other than that, they were performed and fit into the track very well.

The song is an excellent piece of collaborative music. It includes progressive, hard rock and neo-classical instrumentation enriched with interesting prog vocals, an almost 'aerodynamic' set of time signature changes and a rocking rhythm. It's easy to notice that the quartet must have spent years on honing their musical skills and gaining the necessary experience as a band. For instance, the left-handed bassist (using right-handed 7 string basses upside down) contributed to bands such as Alchemy-X and Vyndykator but also Wizards of Winter, the latter inspired by Trans-Siberian Orchestra.

In "Submission", the verses smoothly interlace with memorable and rhythmic choruses. The song’s lyrics are referring to religion - no wonder, as it has been occupying way too much space in areas that should have remained secular, adjusting to ordinary life requirements instead. Quite the contrary - religions lock on vulnerable minds, bring a lot of fuss, unnecessary bloody wars and terrorism instead of any wisdom. The song calls for resisting such submission and urges the listener to remain an independent, showing free will and making one’s own decisions. The chorus repeats: "Organized religion, Is just a means to hate, Anyone who's different, 'Repeat after me', they said. Organized division, A holy means to hate, Anyone who questions, The Sleeper will awake in submission".

"Submission" is a highly recommendable track with the potential of becoming a hit. In addition, the song as well as the entire EP were produced by Mike Romeo - the guitar player and founder of US progressive metal band Symphony X. If you're lucky enough, you may get to listen to it not only on the With A Vengeance EP, but also live. Thanks to its compositional momentum, "Submission" sounds like a great song to be performed on a big stage in front of thousands of listeners.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, June 5th, 2013. Proofreading: Mike 'Vesper' Dziewoński)

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=484

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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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