AutomatoN - Sub Coma

AutomatoN - Sub Coma (album review) |Machine Man Records, 2017| 5/5

1. Sub Coma, 2. Automata, 3. Deus Machine, 4. Corperate Oxide, 5. Get Out, 6. Bionic Rain, 7. Run, 8. State of Creation, 9. Thought Process, 10. Light Bending, 11. Demise, 12. As the Ship Burns, 13. Silence

This is a concept album to tell the story of a violent space battle between humans and Synths which started in August, 2717 and lasted four days. Sub Coma is the first of the trilogy (together with Human Purge and III: A New Life).
The album begins on a heavy note with the title track. Arrangements roll out slowly. Listener are introduced to the story behind the album's concept which speaks of an isolated spaceship where Synths took over and were not controlled by the human crew anymore. The human astronauts feel threatened and hopeless, so they record memos while awaiting death. Their reports and observations are cleverly mixed with low tuned guitars, often played in unison. Occasional lyrics are sung with a contrasting, higher voice.
Next, dynamic electro lines open 'Automata', followed by grounding, vibrating guitar riffs. Moods vary between conflicted - frustrated and sad, expressing the readiness to rebel, then submission. Progressive metal meets djent here - a common theme throughout the whole of the album.

'Deus Ex Machine' won't show mercy for your ears. Here, the fight between humans and Synths gets real. Guitar riffs simulate rapidly shot bullets and squirting blood. The vocals are angry and growled, supported by higher backing vocals. The bass plays in unison with guitars, with complex drum lines providing a perfect fit.
The following track, 'Corporate Oxide' continues the hateful release. Drum beats and riffs accelerate immensely here. The verses include growled vocals and complex structures, but the choruses seem to have been written in compliance with Fear Factory's most famous sound (high vocals sung in quasi-childish manner), supported by a heavy metal background. The short ending part is completely different, kept in an electro vibe.

If you love 90s industrial metal in the vein of N17, Bile or Ministry, the next track is dedicated to you. 'Get Out' steals the show for all the good reasons. It is based on a simple composition but driven by powerful, repetitive arrangements (for guitars, bass, drums, and vocals), which resonate within the listener's body, giving it a desired chill. 'Get Out' brings an atmosphere of doom, threat, and domination - indestructible demonic energy spills out in every direction here.
In contrast to that, and perhaps to let you catch a breath, the follow-up entitled 'Bionic Rain' sounds quite positive, despite of the angry vocals utilized in verses. The song uses a classic rock and metal composition and could easily be a radio hit. After that, 'Run' again falls into the tune of Fear Factory and Mnemic - expressed by solid, repetitive, heavier tunes and distorted vocals mixed with lighter electronic music at times.

Fast, dynamic tempo and djent-like arrangements are the driving forces behind 'State of Creation'. The contrast between high and low tunes sounds very pleasing and makes the brain easily switch between such amplitudes. Drumming is the most underlined instrumentation in this track but at times surrenders enough space to let guitars lead the way till the end of the song. Next, 'Thought Process' mixes electronica with low tuned guitars. The vocals here are expressive in their anger, then replaced with memorable innocence. All this is spiced up by soul-tearing solo riffs.

'Light Bending' bring melodies of sheer beauty for all ears. The wall of sound increases and decreases, enhanced with both kinds of vocals, as heard before. It's characterized by sudden changes in tempo, where arrangements are cut rapidly then replaced - and by memorable choruses. All the song writing techniques should keep your ears full and interested enough to follow on.
Afterwards, 'Demise' lets you experience catharsis through powerful and complex arrangements. The composition is built upon contrasts, where hellish doom meets divine beauty. In the beginning, a sensitive ear may find the electronic background not very much in sync with guitars and drums, yet there is no trace of an unacceptable discord here. During the choruses, the whole song shines victoriously like the rays of a new dawn. In the ending part of the track, the arrangements and general mood touch one’s heart so deeply that the more sensitive among you may shed a tear or two. The verses drag you forcefully back into the darker side of music. It totally makes sense to press 'stop' after hearing 'Demise' to let your heart cope with emotions a bit better, until you're able to continue listening to the last two tracks of the album.

The battle for the ship is over 'As the Ship Burns'. Whether humans have won or not, it's time for evacuation before mass destruction erases all of its current crew. The song's atmosphere brings tension, yet the music can become quite peaceful at times. It's the longest track on this release and is definitely memorable thanks to the ending choruses. The whole fight will never be forgotten.
The final scene: the sky is filled with smoke. The only survivor looks on as the burning parts of the exploded spaceship fade in the outer space. Emotions of sadness, realization of loss mixed with relief are expressed through electronic sounds, piano tones, and a dead-tired automaton's report. Love energy and beauty radiate from 'Silence' strongly, thus sensitive, imaginative listeners may burst into tears again.

AutomatoN's Sub Coma album is a purifier of a record. There are melodies, smart passages between arrangements, the vibe of both doomsday and victory, and a heart-opening catharsis experience. The band has been founded by Nate Exx Gradowski. Judging by the complexity of arrangements, compositions, and the overall amazing performance, nobody could have guessed it's the work of a single person. Nate's not a newbie, however - he's been a member of Isolated Antagonist since 2014.
Fans of Fear Factory, Mnemic, Dagoba, Sybreed or Strapping Young Lad, as well as hard sci-fi stories will be greatly pleased with this release and should definitely hunt down the remaining two parts of the trilogy.
If you're however into different genres, you should give Sub Coma a try simply because it may drastically influence your musical interests and broaden your horizons.

(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, January 14th, 2018. Proofreading: Mike 'Vesper' Dziewoński)
Source: http://industrialrock.net/php-files_en/articles.php?article_id=598

Facebook | YouTube | Machine Man Records

Buy on: Bandcamp | iTunes | Amazon | Google Play | Official Merch



---
Reviewed by Fabryka Industrial Rock & Metal Encyclopedia

Dizzolve - The Hookwirm EP

Dizzolve - The Hookwirm EP |Machine Man Rec., 2017| 4/5

1. Porno Dump, 2. Hookwirm, 3. Trident, 4. sPill Ur bLood, 5. WEAPONZ (Take What's Mine)

Dizzolve merges a few non-contrasting genres such as harsh electro, EBM and cold wave. Since its date of inception (6/6/2006, in Philadelphia), Dizzolve’s musicians have released 8 albums, also successfully overcoming a hiatus during the 2012 Mayan 'end of the world' event. Their newest EP will be available to purchase since mid-December 2017 - let's take a closer look at it.

There are five brand new tracks clocking around 4 minutes each on average. The duo (Josh – vocals, AleK - guitar) prefer minimalistic compositions based on repetitive arrangements, supported by angry, hating, and slightly digitally distorted vocals. The beat is all-present but is also mixed with vocals and divided by synths, offering nice breaks from the notorious 'move your body' rhythm. All this is delivered within the first (and shortest) track entitled 'Porno Dump'.
Later, the guitar plays a more important role in the title track. The noisy guitar additions make the underlying amalgam of vocals and synths sound like 90's industrial rock. The arrangements are based on a 1-2-3 rhythm, imprinting themselves upon your memory. There's a bit of guitar soloing too but it's purposely distorted to match the overall industrial vibe of the song.

'Trident' is a word tribute to the band 3Teeth, since the Dizzolve guys are fans of their music. It may make some of the original industrial fans feel old, considering that 3Teeth have been influenced by the 90's cold wave and industrial genres. Thus, we're facing the 3rd generation of musicians who dig the mechanical yet beat-driven vibe with fresh interest. Technically, 'Trident' brings evenly distributed parts of guitars, beats and synths/samplers. Again, the hateful vocals dominate on top of the cues but the overall expression feels as if the core fire of vengeance hadn't been released fully, waiting to be sprayed onto the listeners further down the line.

'Weaponz (Take What's Mine)' initially brings a less tense atmosphere supported by 8-bit tunes, very popular these days and hailing back from the Atari/Commodore gaming scene of the 80s. However, the song continues the beat-driven theme later. The danceable rhythm makes the chorus memorable, but the old school, robot-esque effects as already known from the 70's electronic music can put off some ‘old school’ listeners.

The lyrics are obviously judgmental, though it's difficult to understand their meaning without having the right context. According to the songwriter Josh, the lyrics were written while dealing with feelings of betrayal and vengeance but also retrieving his own power after being emotionally abused. It makes sense as it's been a common theme in many genres though industrial music somewhat incorporated it the strongest – musicians cool down both their soul's and their ego's suffering with mechanistic tunes in an attempt to either express, or on the contrary, dehumanize the pain of disappointment.

Time for a few final thoughts. First of all, do use a pair of good headphones for the best sonic experience since there are so many individual sounds on the EP to attract your ears, that regular speakers may not reproduce them too well due to environmental noise (unless you already have an audiophile setup in place).
Secondly, 'sPill Ur bLood' is a hit song on this EP and could be easily used for broader promotion or submitted for use in a video game. The track truly moves energy in the body, as much as it brings a desired thrill in the skull. This happens through contrasting, low sounding synths and a multitude of other higher sounds, matched with the vocal parts and the danceable beat very well.
Thirdly, if you've been a fan of electro/industrial music, you'll find the EP pleasing to digest. However, purists who are used to listening to more mainstream genres like pop or rock may find the songs here too harsh and variable.
Finally, the EP encourages to check out other parts of Dizzolve's discography to find out if they've developed much since 2006, either thanks to the technological boom, or their own songwriting ideas.

(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, November 27th, 2017. Proofreading: Mike 'Vesper' Dziewoński)





Facebook | YouTube | Label's website

Buy on: Bandcamp (since December 15th, 2017)

Source: http://industrialrock.net/php-files_en/articles.php?article_id=595

---
Reviewed by Fabryka Industrial Rock & Metal Encyclopedia

Interview with Malice Machine

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

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

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

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



Interviewed by Fabryka Industrial Rock & Metal Encyclopedia

Commit Samantha - The Fallen

Commit Samantha - The Fallen (song review) |self-released, 2016| 4/5 alt-rock

Mixing alternative rock with exotic sounds always gives a song an intriguing atmosphere. This is exactly the sonic idea behind 'The Fallen', written by the Bostonian quintet working together as Commit Samantha. 'The Fallen' is a multi-layered track with many instrumental parts placed in sync, which are wisely distributed within a less complex composition. Fans of Godsmack, Tool, Alice in Chains or Stone Temple Pilots (but not only) should get in gear with this vibe right away.

Initially however, listeners will be gently guided into the song with said exotic vibe, where the only dominant element is a beat played on a hand drum. The voice of Kon, which comes next is characterized by a nice & light, masculine timbre. The vocals are nicely balanced, distanced and a bit detached in a non-emotional way, except for a few tense moments where the musicians scream all together.
The deep drums (Mike Stanislovitis), bass (Grant Harris), and guitars build an advanced structure for the song, exposing the listeners to its entirety within the next four minutes. The band has two lead guitar players in the current line-up: Jeff Peck and Mark Gorman; this allows for a wide variety of guitar riffs performed simultaneously. All musicians play their respective parts very well. It should be also mentioned that Commit Samantha invited Casey Young (who programmed & toured with YES) to layer an additional texture into their song.

The lyrical idea behind the track is an unattached analysis of Biblical Judas – the possible reasons behind his decisions, emphasizing destiny's path, default directions, and similar philosophical & spiritual issues. To quote a part of the lyrics: "We the chosen few / What more can we do / The future has begun / A truth we can't outrun” (…) No choice in the matter / It's perfectly clear / The pathway is chosen / No innocence here." Despite the subject matter, it's not Christian music at all.

'The Fallen' brings an intellectual (rather than rebellious) mood, which definitely helps with focusing on individual instrumental parts. The whole track was mixed by Pete Doell at Universal Music, based on the band's own studio recordings. The song however still feels like a cleaner version of a live recording due to the additional ambiance - the sound 'leaks' slightly, thus possibly causing some purists to sniff disapprovingly. It's not a biggie though, since the arrangements clearly speak in favour of the band's creative potential.
Make sure you give Commit Samantha constructive feedback via their social profiles, see them live during the incoming shows, and buy their music. This should encourage the band to continue on their enlightened path of creative & philosophical escapism.

(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, February 23rd, 2017. Proofreading: Mike 'Vesper' Dziewoński)
Source: http://industrialrock.net/php-files_en/articles.php?article_id=591




Official | ReverbNation | Twitter | Facebook | YouTube | Google+ | Instagram

Buy on: Bandcamp


Reviewed by Fabryka Industrial Rock & Metal Encyclopedia

Malice Machine - Digital Scars

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Facebook | YouTube

Buy on: Bandcamp | CDBaby | Spotify | Amazon | iTunes | Google Play



Reviewed by Fabryka Industrial Rock & Metal Encyclopedia

State of Being - Signs

State of Being - Signs (song review) |self-released, The Misinformation Age, 2016| 4/5 electronic rock

State of Being are an electronic-industrial rock band from Cleveland, OH. I met them on Myspace in 2005 when social networking, self-promotion, and HTML customization were not only allowed, but also actually fun. SOB released their debut album in 1995, followed by an EP and three other full length releases until 2005. They played a variety of US shows back then, supporting well known industrial rock acts such as Pigface, My Life with The Thrill Kill Kult, or Kill Hannah. However, as many die hard industrial fans may admit, industrial rock music started fading away after Y2K. Therefore, Christopher Foldi (the founder) put the band on hiatus for 10 years, occasionally producing remixes and playing with his new band Frigid Touch.

Industrial music hasn't returned to its mainstream position since then, but nowadays bands can find better on-line opportunities to promote and sell their songs. It seems that this encouraged Christopher to resurrect SOB by focusing on lighter electronic music, and give it a shot by releasing The Misinformation Age - a new album in 2017.
The nine brand new songs were inspired by: the increasing divide between the darkness and the light within human civilization, provocative media, political & religious manipulations ('fake news'), attempts of stealing & destroying the land of indigenous people (the Standing Rock protests) - just to mention a few sources. Despite such alarming themes, the music on the album is free of distress.

As an example, the fifth song on the tracklist (entitled 'Signs') brings deep bouncy beats mixed with a steam release-like sound, and a low-profile guitar. Foldi's vocals, fitting within these arrangements very well, can be recognized by any careful listener who heard him sing before. His voice holds pessimistic and optimistic timbres at the same time, with one in 'control' and balancing the other. The dark tone is something you can find in goth & darkwave vocals, the more positive one fits pop music.
Both verses and choruses are extremely catchy, which should make it easy even for a child to sing along. In addition, the unstoppable drum beats are wisely contrasted with pitched synth sounds. The idea to prevent sameness is remarkable here, because it's well known that human ears find sonic contrasts entertaining. All this makes 'Signs' a highly danceable track supported by colorful, vibrant dynamics. An interesting, perhaps cartoon-like video could be made to illustrate the song further.

All these 'signs' and shifts we've been witnessing on many recent occasions speak for our world's re-design and they will certainly awake those who are still spiritually asleep. We all know one truth however - the light will prevail in the end. If you feel overwhelmed by the gloom seen on the TV, then perhaps listening to this song may brighten your mind for four and a half minutes.

(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, February 15th, 2017. Proofreading: Mike 'Vesper' Dziewoński)
Source: http://industrialrock.net/php-files_en/articles.php?article_id=92


Official | Twitter | Facebook | YouTube

Buy on: Bandcamp | Amazon | iTunes | CDBaby



Reviewed by Fabryka Industrial Rock & Metal Encyclopedia

Merrin - Sin

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

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

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

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

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

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

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

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



Official | Facebook | Twitter | Instagram | SoundCloud | YouTube



Reviewed by Fabryka Industrial Rock & Metal Encyclopedia

Hendrik Jan Vermeulen - Krieg

Hendrik Jan Vermeulen - Krieg |self-released, 2016| 4/5

01. Der Krieg, 02. Präsentiermarsch, 03. Sankt Michel, 04. Lazarett, 05. Visé, 06. Ein toter Mensch, 7. Brüder, 08. Handgranatenwerfer, 09. Im Feldkwartier auf hartem Stein, 10. Der Hohenfriedberger, 11. Angriff, 12. Schwerverwundet, 13. Totentanz 1916, 14. 1917, 15. Im Osten, 16. Abschied, 17. Totensignal

Artists get inspired by a variety of things including, but not limited to legends, dreams, events, personal experiences, or futuristic visions. The Dutch guitarist, music teacher, and founder of Krieg - Hendrik Jan Vermeulen - dedicated the entire Krieg1916 project to his late great-uncle Bernhard Kronauer who fought as a soldier of the German Army and died in the eastern parts of Galicia (present Ukraine) in 1916. The Krieg album was released a 100 years after Kronauer's death.
The music here becomes a complementary background for carefully chosen, early 20th century poetry created by various poets, who also did military service during WWI. Undoubtedly, German-speaking listeners will be pleased by both verbal and instrumental content interlacing on this release.

Most of the 17 songs are short, often clocking under 2 minutes. 'Der Krieg' is a perfect representative of the whole collection, with a high, young female voice begins a spoken poem - an apocalyptic and prophetic tale of a wrathful War God (written by Georg Heym in 1911). The young orator (Franca Ley) is then joined by a lower and less expressive masculine voice (Frank Fiedler). Finally, a cold, haunting ambient sound rises in the background, giving the track an uncanny feel. This leads to the interlude entitled 'Preußischer Präsentiermarsch', which brings an uplifting and slightly 'aged', war propaganda-like melody (as found in many Nazi movies), possibly preparing imaginary soldiers for marching off into war.

A beautiful, almost magical guitar melody opens the next song - 'Sankt Michel', where listeners get the first impression of Heiko Schmidt's vocals. This male singer and actor from Cologne owns an extremely intriguing voice, the timbre which resembles a female alto. The musical arrangements match the poem perfectly here, as it's performed expressively through necessary dramatization, creating several memorable moments.
'Lazarett' is the first song on the tracklist kept in a slightly goth-rock vibe with additional drums and bass instrumentation. While the freely swinging guitar riff brings freshness, Heiko's dramatic recitation of Wilhelm Klemm's poem gives the heart a much desired thrill. Later, the delicate sonic background of 'Visé' (based on graded guitar accords) becomes a great fit for the warm and distinctive voice of a different, female singer - Charlotte Illinger. Krieg1916 collaborates with many artists, musicians (including Vermeulen's family members), and technicians, with everyone involved getting full credit on the project's official website.

'Ein toter Mensch' is a short track, purely based on spoken poetry. It is then followed by 'Brüder' - a melodious and instantly memorable composition. Heinrich Lersch's poem is delivered by Heiko Schmidt again, and a melancholic mood comes from the guitar, though rhythmic bass and drums lines prevent extensive mourning from taking over. The song (the title of which is German for 'Brothers') while dedicated to all soldiers, wasn't written to glorify mass murder through warfare, but to emphasize the importance of living in peace and mutual tolerance.

The freezing, yet beautifully snowy atmosphere of 'Handgranatenwerfer' was created with simple sounds of synth and guitar. They repeat in the background throughout the entire track, dominated by the early 20th century poem written by Anton Schnack. Another short acoustic song ('Im Feldkwartier auf hartem Stein') is supported by a solo guitar melody. Together with the vocal interpretation it may suggest that the performer (Hugo Luyten) tried to bring a positive vibration of hope to soldiers who would impatiently expect the war's end, rather than the arrival of new combat orders. 'Der Hohenfriedberger' is an instrumental composition carrying the motif of victory through an uplifting mood and arrangements typical for an anthem, performed with a high-pitched guitar, quiet bass, and drum cymbals.

The 'Angriff' poem by Kurt Heynicke becomes the leitmotif of the next track, where a delicate piano arrangement creates the only background. It's enough though, because the masculine voice (H. Schmidt) recites the poem with an entire spectrum of emotions, making for a desired retrospective insight. It's then followed by 'Schwerverwundet', which begins on a positive note with expressive tones of an acoustic guitar and equally dedicated female vocals (Janina Raguse) getting an angelic vibe later on. The mood and voice may suggest she depicts the spirit of a Virtue drifting over a battlefield, searching for those who were severely wounded or dying, to transfer their souls to a better place.

Verses used in 'Totentanz 1916' were written by the German Dadaist and sound poem pioneer Hugo Ball, who was rejected when he applied to join the army due to his medical condition. Ball's anti-war sarcasm gave him the label of a 'traitor', forcing him to flee to Switzerland, where he successfully continued working as part of the Dada movement by co-founding Cabaret Voltaire. The song is enriched with percussive, wake-up sounds calling out to action. The following track ('1917') starts with an uplifting, acoustic guitar part. The skilfully written composition is equally shared between the story-telling vocals (reciting the poem by Carl Zuckmayer) and soothing arrangements, additionally supported with an electric guitar soloing later on.

'Im Osten' brings as melancholic mood as sad the life story of the poem's author is. Georg Trakl was an Austrian expressionist, working as a pharmacist and medical official, who suffered from post-war depression that eventually led him to cocaine overdose and death in a military hospital in Kraków, Poland. Since Trakl died in late autumn, the imagery of falling snow comes to mind again, thanks to delicate guitar and synth sounds wrapped into slow rhythm arrangements and enriched with matching male vocals.
Countering this mood is 'Abschied' - the only pure rock piece here, starting with a soloing guitar, then joined by bass, drums, and male vocals reciting a poem by Alfred Lichtenstein. He could foresee his own death in this prophetic writing, completed just a few weeks before he was killed on a French battleground. This and 'Brüder' could work great with a music video with screenplays based on existing historical material.

Finally, the instrumental 'Totensignal' brings the end of the tracklist on an epic, peaceful note with a 'rest in peace' motif. No eulogy is necessary however, as the guitar gives an emotional tribute to the late soldier. It could be performed at Bernhard Kronauer's funeral, if only his body was found.

Even though there are historical traces hinting at Hendrik Jan's great-uncle's last location, there's no grave to be visited. Krieg, an in-memoriam work of art, is a gift from a family member who despite never having a chance to meet or know more about his ancestor, got inspired enough with the story of his life to write music, curate a selection of war poems, and engage talented performers to combine these two elements into a solid unity. The songs of Krieg will be presented at various events and radio shows starting in January 2017. Many European countries hit by WWI and WWII celebrate their rise from ashes every year, so there should be many opportunities to present these pieces to a wider public, perhaps accompanied by a theatrical performances on the historical subject as well.

(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, December 30th, 2016. Proofreading: Mike 'Vesper' Dziewoński)

Source: http://industrialrock.net/php-files_en/articles.php?article_id=588

Official | YouTube | HearNow

Buy on: CD Baby

Reviewed by Fabryka Industrial Rock & Metal Encyclopedia

Toby Poynter - The Comeback

Toby Poynter - The Comeback (song review) |self-released, single, 2016| 5/5 alt-rock

Toby Poynter lives for music and expresses his pure soul by making emotionally charged, rhythmic songs. When you screen his past music-related achievements, you'll spot that he feels about writing and performing alt-rock songs the best these days, yet he listenes to all kinds of music - from The Beatles to Bon Iver. Therefore, he didn't shy away from playing grunge and funk with a few other bands back in the 1990s.

'The Comeback' was recorded in Sweden and is an alt-rock track speaking of a love relationship's end. The author gave the song a light, romantic mood despite of the theme - which, when personally experienced, may turn some people to grieving. The vibe gives the idea of a diplomatic farewell, not followed by hating, bullying, and burning bridges.

Technically, there no sneaky intro here, but the verse comes in instantly after a short, buzzy guitar riff. A rhythmic bass line and a drum beat join the guitars - the latter sounds dirty at times for a good reason, considering some old good grunge references. The melody instantly roots itself in your brain thanks to the track's catchy pop-based chorus: "Don't come back anymore", which repeats quite often and is supported with male backing vocals. Toby's voice is characteristic, at times raspy, at times high enough to handle the required pitch. He's a self-taught singer and composer - his voice might be influenced by voices of the original grunge scene - Eddie Vedder (Pearl Jam) or Chris Cornell (Soundgarden). It's also noticeable that Poynter's singing had improved a lot since the 90s thanks to many years of practice.

The unquestionable strength of his music - the songwriting - allows Toby for expressing the call of his heart. The composition here was thought-out carefully with all possible parts filled by matching arrangements, and never choking on anything. The arrangements sound memorable, however not unique - they were fitted for the vibe loved by alt-rock aficionados, though they do make this song tight and vital overall, thanks to their placement. Even the ending moment doesn't weigh the track down as it sounds just as one could only wish it to be - the rhythm, instruments, and arrangements gradually stop.

'The Comeback' is one of the Poynter's newest productions. It seems to be a candidate for a fuller tracklist of a yet-to-be released album; make sure you follow Toby on Facebook to get fresh updates about his recording process. The song is a potential hit, and is already being played on various radio stations. Obviously, certain demographics and entertainment branches are on a lookout for such a vibe, but it depends on how the author wishes to have his song used. It's a necessary part of a healthy mind to release an emotion out of one’s heart sometimes, yet it won't hurt to reach out to a larger audience and get paid for your creative skills turned into making others feel good. Finally, do watch 'A New Beginning' - his other, professionally recorded music video single available on YouTube.

(Reviewer: Katarzyna 'NINa' Górnisiewicz, December 4th, 2016. Proofreading: Mike 'Vesper' Dziewoński)
Source: http://industrialrock.net/php-files_en/articles.php?article_id=587


 


SoundCloud | Twitter | Facebook | YouTube
 
Buy on: Bandcamp| Spotify | iTunes | GooglePlay


Reviewed by Fabryka Industrial Rock & Metal Encyclopedia

Dumb Hole - Bravest of the Galaxy

Dumb Hole – Bravest of the Galaxy |SCHÄF Records, album, 2016| 5/5 alternative rock

1. Somebody, 2. I'm Ready, 3. Invincibles, 4. Now I See, 5. She's All My Love, 6. Dancing Without Sound, 7. Killing for Love, 8. Proud of You, 9. Deadline, 10. A Free Old Man

These days, human civilization is greatly divided not only due to skin color, location, financial status or music taste. It's now about a pure vibrational friction between the heart-driven truth seekers and the brain-based manipulators, considering that the human brain is more receptive to fears and illusions. When there's an attempt to tame the vibration of truth, people feel it and revolutions are ignited. This can be already observed world-wide: manifestations, and individual re-valuations of every aspect of one's life. It's not an exclusive 'mid-life crisis' anymore, but an Awakening that touches every age group.

With Bravest of the Galaxy we get a new album which addresses the topic of revolutions really well. Leonardo Guzman (vocals, guitars) and Magnus Almqvist (drums) – the Swedish/Argentinian duo working under the name Dumb Hole channeled the rebellion’s vibe into ten dynamic songs. Bravest of the Galaxy includes several songs that will instantly get you hooked thanks to their upbeat tempo and sound.
These musicians don't wish to make you wonder whether they're good with their instruments. 'Somebody', the album opener, already offers amazing drum play aligned with guitars and vocals. Since there's no bass in the band, the drum kit has been set up carefully to compensate that lack. Not only is the song immediately memorable but its production is professional and lets its dynamics bloom. The performers want you to open your eyes and stand up for your own truth, rebelling actively.

Are you ready for a change if the song put you in a proper mood? The band teases - 'I'm Ready', then fires up with another rocking tune. This song speaks of breaking free from capitalism and overcoming related societal fears. It's supported by a slightly anxious tempo, though the overall mood is light. Almqvist again delivers his drumming, on par with the likes of Marco Minnemann, for example. The composition is rather traditional for both rock and pop genres, and consists of well written arrangements. 'I'm Ready' includes also more aggressive moments, which definitely spice up the overall atmosphere.

Guzman's a fan of Jimi Hendrix, Led Zeppelin, and Queen among others. You can hear that in 'Invincibles', with the 1970s rock feel in the beginning, though a bit later the added guitar effect gives it a fresher, more modern vibe. In contrast to the previous songs however, the vocals and heavier, groovy guitars are accented much more than drums. The song has many instrumental moments which bring a nice balance to the composition. 'Invincibles' speaks of humans as an invading species – in the eyes of ETs, we're aliens after all. The band brings an awareness to the fact that if humans desire to colonize Mars and other planets, there's a serious threat to any local, original life forms (and ETs' sacred sites). They could be destroyed due to our disrespectful conquest, just as we had proved our arrogance towards indigenous inhabitants of many regions on our own planet.

In many families, there's often a power struggle between father and son. It becomes more evident when the son grows up and begins noticing unfair, outdated rules and regulations imposed not only on him, but the rest of the family too. 'Now I See' speaks of psychological abuse of power by masculine members of a family. The vibe is touching with its mood full of resentment and reproachfulness. The vocals are much higher here, while the drums and guitars are tightly packed at times.

'She's All My Love' is all about playing fast, loud, and intensively. The song has very high dynamics - also in terms of the subject, as it speaks of a man falling in love with a prostitute, and obviously not being happy in that relationship. The track illustrates many shifts and stormy moments, perfectly bringing up the picture of how rough and twisted this couple can be with each other. Therefore, listeners may literally imagine them arguing, throwing items on the floor, the man spying on the woman during her working hours, etc. Since the song doesn't end with a strong accent but the swirling guitar arrangement continues, listeners may suspect the couple decided to purge their karmic connection further.

'Dancing Without Sound' has the 90s rock feel with both dominating, raspy guitars and softer moments within the composition too. The song is a potential hit thanks to its encouraging atmosphere but also a smoothly flowing rhythm. Moreover, prominent vocals let the singer be remembered and recognized.

Tense bass and assaulting guitars along with dynamic drum beats begin the next song - 'Killing for Love'. The chorus eases the built up tension, is memorable, and makes the song a potential hit. The emotion brought by the song, and the must-see official video single is related to manipulative attempts of so called 'Cabal' to control and terrorize people, to weaken and force them into making desirable choices, since non-conformity is unacceptable. It always triggers dramatic events world-wide because there's usually a bigger agenda behind it all, organized by politicians, Catholic and Islamic religions, and also negative aliens, according to conspiracy theorists.

'Proud of You' speaks of the problem of giving up one's passions due to becoming a parent. Like the previous songs, it brings tension and changing moods. Many tempo switches can be found here along with tightly packed drum beats and vocals. It's a great track for movies thanks to its storytelling qualities. The following 'Deadline' brings more noise within arrangements depicting lives of drug addicts while they navigate between fixes. In spite of this dark topic, the song is melodious and instantly memorable. Progressive rock fans may find some interesting instrumental references to the sound of Rush here.

The last track, 'A Free Old Man' is a mix of a few sibling genres including rock, industrial, and alternative. It is melodic and memorable but by no means simplistic. It’s the longest on the album and consists of several wisely intersected parts. The track begins with a melancholic, 'farewell' tune, but a dense combo of arrangements and speed comes into play with time, making for a nice contrast between the varied sections.

Bravest of the Galaxy is an emotionally charged album set within an uplifting, dynamic atmosphere, usually aimed at listeners in their 20s and 30s. No composition on here will make listeners feel like saying 'damn, we're doomed!' despite the song topics. The tracks were composed to trigger listeners to stand up for what their hearts resonate the best with. The writing on the album is clearly Dumb Hole's forte; the compositions vary acoustically, avoiding ear fatigue, yet all arrangements are professionally distributed within tracks to make the listening experience enjoyable. On top of that, since every song tells a different story, the arrangements mirror the emotions contained within the song motives; if it’s about difficult love, there's confusion; personal problems cause sonic tension; an addiction is linked with a 'noisy' mind, and so on. This mastery should help the band draw interest from those interested in TV music licensing, ads, radio airplay, audiobooks and many other creative media. Do support the band's efforts and buy their album ASAP!

(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Enclyclopedia, November 21st, 2016. Proofreading: Mike 'Vesper' Dziewoński)

Source: http://industrialrock.net/php-files_en/articles.php?article_id=586

Official | Facebook | Instagram | Twitter | YouTube

Buy on: CD baby | iTunes | Spotify


Reviewed by Fabryka Industrial Rock & Metal Encyclopedia

Moon Pigeon - So Far

Moon Pigeon - So Far (song review) |self-released, 2016| 4/5 alt rock

Moon Pigeon is the result of collaborative venture between current and former members of various South Florida and Atlanta based bands. Having gathered the required experience, they've drawn interest of many modern and alternative rock fans all over the world through active on-line promotion as well as touring.

The opening song of Moon Pigeon's self-titled debut album brings a moody yet rocking vibe. 'So Far' begins with subtle and distinctive, new wave guitar tones, gradually joined by bass, drums and vocals developing into short verses and the chorus. Both the instrumental arrangements and the performance sound solid and give the track a solid foundation. As a contrast, Mike Hernandez on vocals brings a delicate, melancholic layer on the top the music - his voice may remind you of Richard Patrick from Filter.
The song is not deprived of a harsher tone, expressed though raspy, vibrating tones by Gaston de la Vega striking his loose bass strings. The arrangements are written to expose the players either separately or together, through in terms of modern rock, obviously the guitar played by Oscar Rodriguez is placed in the foreground. The drums could have sounded a bit heavier and deeper at some point, but Brandon Leidel played his parts very well, nevertheless. The band collaborates nicely, with no single sound coming on too strong.

Technically, 'So Far' is a short track and would certainly fit in a lot of media, from ads to movies. It should also do well on the radio. The song's mood feels melancholic - it brings feelings of loss, passing of time, letting go, self-realization. Thus, even if the theme is not necessarily related to love or passion, it'd still match a variety of emotionally touching, creative ideas. Does 'So Far' sound original? Not really, but Moon Pigeon certainly know what's attractive for contemporary audiences or certain demographics. In fact, many listeners enjoy what they've heard before, and that makes it easier for new bands to be taken under consideration too. There is a truly modern rock vibe present in the track - so if you are a fan of the genre, you will get hooked since the song is a solid piece from start to finish.

Moon Pigeon belongs to those bands that enjoy touring, so if you liked the sound of 'So Far', make sure you watch them perform live.

(Katarzyna 'NINa' Górnisiewicz, October 15th, 2016. Proofreading: Mike 'Vesper' Dziewoński)
Source: http://industrialrock.net/php-files_en/articles.php?article_id=585

https://facebook.com/moonpigeonofficial

https://www.youtube.com/channel/UCBotI22uh9iTofe7VD0iyBg

http://reverbnation.com/moonpigeon

https://twitter.com/moonpigeonband

Buy on: https://itunes.apple.com/us/album/so-far/id1159456915

 

Reviewed by Fabryka Industrial Rock & Metal Encyclopedia

Interview with Darice M. Kannon

Interview with Darice M. Kannon (2016)


NINa: Do you have any advice for aspiring writers? Is it always a matter of 'believing in yourself' or self-discipline and hard work to have the book completed and published? Or maybe it's other people's encouragement that makes writers succeed? Finally, where will you publish your book, and in what formats?

Darice: Find your authentic voice no matter what anyone thinks and build the empire behind you. Also, outline your story. Without a spine to follow, it's possible to quit because you lose your voice and begin to question yourself.

Full interview: http://industrialrock.net/php-files_en/articles.php?article_id=584

*Darice, a writer and musician, had an interesting concept of merging both of her interests. She wrote a book titled Condemned and illustrated the emotions of the book's characters through songs, gathered on an album with the same title.


Interviewed by Fabryka Industrial Rock & Metal Encyclopedia

Interview with David Arkenstone 2016

Interview with David Arkenstone* (2016):


NINa: Do you consider yourself a composer-messenger who can wake up people's forgotten memory through containing certain topics, moods, and vibrations within your compositions? What areas or worlds will listeners be invited to with your next album to be released this year?

David: I believe I have a gift that I work on cultivating every day. I am a vessel that music pours out of. At times I can direct it, other times it feels like I have no control over it. I have received many communications from people who claim to have had spiritual awakenings through my music, so I can say that to some degree, I believe I am a messenger. As far as next projects, I plan a deeper, darker collection of songs, as well as an album of music inspired by changes this planet goes through each year.

Read the entire interview here: http://industrialrock.net/php-files_en/articles.php?article_id=583

*American composer & multi-instrumentalist David Arkenstone is a soundscape explorer who aims to trigger your imagination by delivering both space and atmosphere locked within a musical composition. He paints atmospheric landscapes and thus, he's frequently present in movie and video game projects. Games such as World of Warcraft, Lands of Lore 2 and 3, Earth and Beyond, and Emperor: Battle for Dune (to name a few) already include David's scores. Having released over 45 albums and several soundtracks for film and TV, he also received three Grammy nominations for In the Wake of the Wind (1992), Citizen of the World (2000), and Atlantis (2004).

Interview by Fabryka Music Magazine

David Arkenstone - Beneath A Darkening Sky

David Arkenstone – Beneath A Darkening Sky |QDV Recordings, 2016| 5/5, dark ambient, fantasy
01. The Fog, 02. The Deep Desolation, 03. The Storm, 04. The Moonless Midnight, 05. The Ice Forest, 06. They Are Coming, 07. The Wind From The North
American composer & multi-instrumentalist David Arkenstone is a soundscape explorer who aims to trigger your imagination by delivering both space and atmosphere locked within a musical composition. He paints atmospheric landscapes and thus, he's frequently present in movie and video game projects. Games such as World of Warcraft, Lands of Lore 2 and 3, Earth and Beyond, and Emperor: Battle for Dune (to name a few) already include David's scores. Having released over 45 albums and several soundtracks for film and TV, he also received three Grammy nominations for In the Wake of the Wind (1992), Citizen of the World (2000), and Atlantis (2004). His expertise in sculpting entire fantastic realities with sounds recently led to the creation of yet another capturing set of compositions.
His latest opus, entitled Beneath A Darkening Sky, was released mid- 2016 and is an escapist venture into dark fantasy lands, reportedly composed by candlelight. There are seven brand new tracks and each clocks over eight minutes. The album opener ('The Fog') brings a promising foretaste – a mystical atmosphere, supported by angelic female voices. A slow, rhythmic pulse appears later, skillfully mixed with incoming waves and layers of higher tones. Oriental drums and ambient atmospheres are key elements here and obviously, such a trance-like melody will allow listeners to detach from the outside world, and eventually drag them into a world full of magic.
'The Deep Desolation' brings a different mood - foggier and darker than found in the opener. There's no specific rhythm here but instead, focus is put on orchestration, violins, and an atmosphere of sorrow. A voice full of longing adds even more nostalgia to this already slowly passing soundscape. Unquestionably, it's the perfect composition to be performed live in a philharmonic with an orchestra. Finger's crossed for David to land such an opportunity soon!
The expression found within 'The Storm' may surprise those purists who would expect to hear a cannonade of thunders, a shock of lightnings and a torrential flood of rain. Instead, David paints the storm with pastels (including the obligatory thunder strike). Thus, it's not presented as fearful but as a refreshing, life-giving atmospheric phenomenon. Imagine a village that had been suffering due to weeks of drought. When a storm finally arrives, the rain waters plants and refills the river, bringing everything back into balance and safety - all is well. However, this delicate approach applies to the first half of the composition only, because the other intensifies gradually. The extremely melodic ending part attracts attention through it 'multicultural' feel - as if imaginary Celtic, Indian, and Arabic musicians united to accompany the storm by transmuting its vibration into positive energy. One could wish this became true for the political situation in our world – the oldest, polarized nations teaming up to quell the fray and make Earth a peaceful planet again...
'The Moonless Midnight' could illustrate a night spent in a monastery or at an underground occult gathering. Your mind’s eye may spot initiates chanting around a white pentagram drawn on the floor (certainly dotted with burning candles and smudged with incense smoke) and the master of ceremony conjuring inside the symbol. But even if initially only men are involved here (judging by the voices), the ceremony could be dedicated to the invocation of a Divine Feminine whose nostalgic voice is heard in the latter part of the composition. David used waves of ethereal sounds, splashed with heavier tones, in perfectly matched places. Discerning listeners should be satisfied, as it seems there's some hard to beat stereotype of what a mystical site should sound - including bells, ethereal voices, otherworldly choirs and, for contrast, a few uncanny drones. 'The Moonless Midnight' is a great example of how music can (and always should) influence imagination, just like books do - giving listeners goosebumps!
'The Ice Forest' is a truly awesome soundscape thanks to its cold, slowly developing set of sounds which keep changing, yet remain perfectly balanced. In the beginning, the theme has a sci-fi feel thanks to clearly 'galactic' sound references, despite the song title suggesting something completely different. There's more dynamics here compared to previous tracks and also a bit of uncertainty, as if we were led into a new territory. Arkenstone skillfully operates the harmonic contrast again, balancing depth and weight. When the arrangement progresses enough, the listener - so far following mysterious footprints or a route on an ancient map serendipitously found in a snow-covered tree trunk - will be led out of the frozen, monochromatic land into a peaceful, colorful village full of fires in hearths. The atmosphere brightens up on all levels, thanks to a mirthful rhythm (produces by a flute, a violin and drums). Our explorer is then peeping from behind the corner of a hut at locals who dance, sing, and drink wine, celebrating the end of a long day.
Judging solely by the song's title again, 'They Are Coming' could probably refer to extraterrestrials. Yet it remains unclear what kind of entities - ETs, ghosts, Lightbeings or zombies to mention a few popular ones - the listener may expect to come. This, and other songs don't provide lyrical content to learn more details from, so we can only guess that those who are coming are friendly, since the song doesn't carry any negative, frightening sounds. Instead, a deep nostalgia is all-present here, with the sounds that build the mood appearing, disappearing or being replaced by other tunes when their 'mood-making job' is done. There's also a drum-based background which puts listeners back into the safety of a trance-like state of being. The track's end proves David's compositional skills in building finales and switching between arrangements. Finally, if you've ever heard of the scientific idea of a multiverse, then here we have the audible example of it – worlds put into worlds, none fixed too tightly within another.
Even if it initially starts with a drift of a cold chill, 'The Wind From The North' isn't only freezing - it also brings a warming feel at times. This is thanks to a deep, bulging, hypnotic pulse, methodically put in the forefront of the composition with other 'windy' sounds heard in the background. The human brain is certainly receptive to such a setting, as the pulse makes it 'attached', with other slowly floating arrangements opening the soul and leading it into quite an out-of-body experience. When such a dream-like state is achieved and when the pulsation stops (it'll come back later, don't worry), the bells and voices come in, together with a sensation of looking at a vast snowy land.
This composition carries a very imaginative theme - the lonely voyage of a Chosen One to survive and fulfill a mission (and obviously, it could be the perfect match for a movie or a video game with such a plot). When a cathedral-like atmosphere arises (thanks to suddenly appearing organ sounds), the listeners may imagine that the traveler has been side-tracked during the quest and unexpectedly discovered a lost spiritual site. This place may offer our explorer an experience of astral travel during which he or she learns more about the ancestors, him/herself and finally, hears a prophecy related to the mission. 'The Wind From The North' was released with a music video single, available on Arkenstone's YouTube channel.
To sum it all up, the songs smoothly connect with each other on the whole album, so it's not really important which song you choose to start with – you will always tap into the album's atmospheric leitmotif with any composition. David's tracks are produced, mixed, and mastered extremely well. Thus, many aspiring sound designers could learn a lot from him. He has also mastered techniques of manipulating the volume (for the illusion of distance, spaces, and dimensions he can pave new passages through), and operating both weight and harmonic contrasts through darker and brighter tones. Most of the tracks, quite characteristically for this album, have a breakthrough moment, usually placed near the middle of the composition.
Could there be any additional use for this album, besides just listening? In my opinion, [please credit the reviewer for bringing up this idea ;)], Beneath A Darkening Sky should be sent to art and literature schools, along with soundscapes of other well known 'mood-designers' (Mark Morgan and John Powell, to name a few) to develop and deepen the students’ artistic sensitivity through a series of 'Listen, Imagine, Illustrate' classes.
My only suggestion is that it may be helpful if David uses an extended sound library of angelic female voices so they could bring a welcome diversity. A careful listener would rather imagine not the same, but various 'beings’, occupying different areas of his mythical world(s).
Undoubtedly, this is a must-have album for lovers of video games, movie soundtracks, soundscapes, dark ambient, fantasy art and more, before David's upcoming, chill-orientated album comes out at the end of August 2016.
(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, August 16th, 2016. Proofreading: Mike 'Vesper' Dziewoński)

Source: http://industrialrock.net/php-files_en/articles.php?article_id=582

Read also: Interview with David Arkenstone (2016)

 





Official | Twitter | Facebook | YouTube | SoundCloud | ReverbNation | Discogs

Buy on: Amazon | iTunes


Reviewed by Fabryka Music Magazine