Krebs – The Last Place on Earth (EP review) |Machine Man Records, 2017| 5/5 Darkwave / electronic
1. The Hollow, 2. When Hands Go Still, 3. Umbra, 4. Moonlit Window
Krebs is an electronic music project of Michael Haggerty (lyrics, vocals, programming, keyboards, guitars and bass) founded in Philadelphia in 2012. He released two EPs in 2017 – The Last Place on Earth is followed by Blood and Stone.
A mysterious, ambient mood opens the EP with 'The Hollow', which is the longest track on this release. The chorus’ rhythm appears soon after the quick intro, but then slows down serving as the core for following verse arrangements. The track has an open composition which allows for many various elements to be placed throughout. Here, melancholic dark wave meets the brighter side of the electronic genre, while the vocals remain calm and balanced.
'When Hands Go Still' sounds very goth through operating on a low level of dynamics and a characteristic vibrated guitar riff appearing next to percussive parts. Compared to other tracks on the EP, the soft vocals receive an additional voice effect here. The mood isn't too dark, as a variety of silenced, lighter, and colder synth sounds appear between the cues.
On the other hand, 'Umbra' is a fully instrumental song which influences listener's imagination through its scenic, ocean-like waves of peaceful ambient arrangements and inner beauty. It could easily make for a soundtrack candidate for a movie with both futuristic and historical motifs (just like Highlander), thanks to utilizing newer electronica and traditional instruments side by side.
'Moonlit Window' (the last song) returns to the dark wave themes previously brought by 'When Hands Go Still'. Arrangements become one with carefully placed vocals and are distributed skillfully, letting the composition enchant the listeners with its instrumental lines and Michael's voice. There's something creepy going on in the background too, accompanied by sounds of an electric bolt and wind chimes at the song's end.
The Last Place on Earth EP offers darker moods than songs released on Blood and Stone. It's almost as if Michael wrote them to suit listeners during all four seasons of the year – the former fits the fall/winter time, while the latter is great for spring and summer. Get both EPs and reach out to the musician to let him know how much you liked the songs!
Krebs – Blood and Stone (EP review) |Machine Man Records, 2017| 5/5 Electronic
1. Blood and Stone, 2. Vulnerable Outline, 3. Razor Tree
Blood and Stone is the 2nd EP of Krebs, released in 2017. The band is the brainchild of Michael Haggerty (lyrics, vocals, programming, keyboards, guitars, and bass).
Blood and Stone EP offers 3 high quality electronic songs. Even though moods as well as subgenres (such as dark electro, electronic rock) vary between each song, the EP's concept is consistent. The opening song pleasantly develops until the very last note. The composition is based on a steady tempo with beats supporting various but always delicately organized arrangements. These are shared between memorable verses and the chorus which can be sung along with the vocalist. Michael's voice is soft here, and feels a bit lonely and distant.
Guitar riffs accented in the following 'Vulnerable Outline' firmly place it in electronic rock. The solid rhythm is occasionally shattered by noises and repetitive vocals. The track is memorable and short enough to become a potential hit, especially if accompanied by a suitable video. Fans of Marilyn Manson or Skinny Puppy should dig the song from the very first listening.
'Razor Tree', on the contrary, brings an uplifting, almost sunny mood. It's a perfect track that not only sounds good as it is but could also play its part really well as a component of an advertising campaign.
It should be noted that excellent the audio quality, mastering, and production enhance the listening experience of this release quite a lot. Grab it as soon as you can, whether you're deep into alternative electronic music or a listener of many tastes.
1. D.D.D., 2. Fool Song (Take Me with You), 3. Disappoint, 4. Hora
Gris, 5. The Monitor, 6. The Poison, 7. Trippin Trippin, 8. Untitled
This is a one man band founded by Juan Madrigal in South Dakota.
Inspired by modern electronic music, he wrote, performed, and recorded
the eponymous debut album for his GoMa project.
The opening track ('D.D.D.') has a danceable vibe, though the singer's
voice sounds somewhat tired and overwhelmed, similarly to what can
usually be found in goth music. The simplicity of arrangements and
catchy melodies make the song memorable. Then, 'Fool Song (Take Me with
You)' brings a whole new, more lively rhythm and stamina within. Since
its smart composition, lots of body moving electronica, and intensity
make the track a song hit, it could easily be submitted for matching
publication opportunities such as Various Artists compilations, to allow
GoMa reach a broader audience.
'Disappoint' focuses on both vocal arrangements and sound structures.
Some parts include 8-bit music, techno, experimental, and similar
electronic add-ons - all wrapped up with a dynamic rhythm.
'Hora Gris' is a perfect track for an action movie (involving car racing or military jets, choppers, Air Wolf
like themes or video games of that kind). Rhythm and beats along with
electronic backgrounds bring back the best known sound of 90's Skinny
Puppy, with vocal arrangements nicely placed between the instrumental
lines. 'The Monitor' may give listeners ideas about a futuristic
self-conscious A.I. being locked within displays just like Shodan in the
System Shock video game. Again, techno beats, vocals, and
intelligently utilized electronic music create another highly memorable
track on the album.
There's a duality found in 'The Poison'. Its verses offer mechanical and
darker, mysterious tunes. On the other hand, the chorus is clearly
inspired by NIN's's
'The Perfect Drug'. 'Clicking' sounds and 'breathing' machines build up
a certain atmosphere in verses, which speaks for Juan's creative
programming skills. 'Trippin Trippin', just like 'Hora Gris' carries a
lively journey-like vibe but the overall composition lacks consistency
despite its catchy arrangements, then ends up weirdly - one could even
say 'psychedelically'. The last song called 'Untitled' offers a swirl of
gradually developing arrangements. Highly danceable and marching rhythm
forces the body to actively merge with the music. The track has a
massive potential to be re-worked and expanded further because the 4
minutes of music it contains truly isn't enough as of now.
Make sure to check out this and other Machine Man Records releases, as Chris Bollinger (the label owner) is a prolific industrial music talent headhunter.
Varicella - Dead Is Better (album review) |Machine Man Records, 2018| 4/5 industrial metal
1. Where Does Evil Live, 2. We Belong Dead, 3. Obey, 4. All Hail, 5.
Obsessed with Flesh (Fuck Slave), 6. Beautified Death, 7. A Pause for
Reflection, 8. Mindfucked, 9. The Sound of Four, 10. Burn My Eyes
(featuring Otto Kinzel), 11. (silence), 12. (silence), 13. Die Down Here
(Where The Monsters Are)
The band is the brainchild of Chris Bollinger, the founder of Machine Man Records
(vocals, programming, samples) and Chris Pasquarelli (guitar and bass).
Established in Philadelphia in 2008, it aims to bring back the sound of
"good old" industrial metal known from the 90s albums of Ministry, Godflesh, Skrew, KMFDM, Skinny Puppy, Marilyn Manson, and Pitchshifter, amongst other classics of that era. It has taken over 6 years for the duo to complete their debut album. Dead Is Better brings 13 songs of which 2 are silent connectors between full-sized tracks.
The intro ("Where Does Evil Live") is an instrumental track, giving
listeners a taste of the music pervading the entire album. Reverberated,
rhythmic sounds are mixed with obsessive guitar tunes and interlaced
with movie samples - a well known technique in industrial music. The
next track, "We Belong Dead" includes vocals with a very cool, demonic
voice effect which was used in the music of Godflesh and Skrew but is
not unknown to black metal either. The guitar riffs are often graded and
sound enjoyable if you are into the genre. The band has no drummer, so
all the beats are pre-programmed and mechanical.
"Obey" sounds much more aggressive and should satisfy fans of both metal
and industrial. The guitars are densely packed, swirling and stinging
like a swarm of pissed off wasps throughout the entire track. Jumpy,
devilish vocals spice up the instrumental cues again.
In the beginning, "All Hail" offers the fun of listening to the music on
alternating channels. Then it definitely borrows from Rammstein with
their marching, anthem-like rhythm and choruses but also the harshness
and simplicity of Godflesh. It's definitely inducive towards slow
headbanging as well!
There's a very cool sample technique utilized in "Obsessed with Flesh
(Fuck Slave)" at the beginning, followed by a machinery of guitars,
bass, drum-beats, and distorted vocals. It's this famous 'heavy
industry' music which many industrial metal fans are yearning to hear
again. Repetitive arrangements are interlaced with movie samples just
like in Ministry's music. In fact, Al Jourgensen’s
band sounds a bit stuck with their new albums lately, so Varicella
could steal quite a few fans from Ministry, easily. The following track
("Beautified Death") is deeply rooted in early ritualistic black metal
productions and is additionally mixed with buzzing industrial tunes. The
guitar arrangements are catchy, sometimes complex and dominating. I
enjoyed this track the most of all the ones on the album.
"A Pause for Reflection" allows for taking a 7 minute-long breath before
the next flood of rough sounds. If the previous tracks stayed away from
sounding melodious or nostalgic, then this one completely changes the
album theme. Its poetic, slow but still rhythmic atmosphere includes a
bit of an experimental approach as well.
What could one expect seeing a song titled "Mindfucked"? The music
explains itself. Layered arrangements are based on the bass and low
tuned, multiplied guitar lines repeating and rising up from the
underground like an army of golems, ready to storm the surface life.
Aggressive, heavy, and powerful, very memorable after the first
listening, so I'm rooting for it as the second best track on the album.
"The Sound of Four" begins with intense hammering, followed by
entertaining drumming. Yet the overall sound of the song is more goth
than industrial, thanks to sentimental guitar riffs. Distorted vocals
are just an addition to the track yet it feels well-balanced this way.
Then "Burn My Eyes" is almost a 'tribute to Skrew' thanks to its slow,
heavy rhythm guitars mixed with programmed beats, a soloing guitar and
demonic, masterful vocals. The song is quite an earworm and would
benefit from an artistic video single - as I'm imagining it - full of
fire and lava in the darkness, heat, hellish theatrical scenery, and
matching outfits. My personal 3rd best on the album.
Tracks 11 and 12th are silent, five seconds long breaks, leading up to
the last song. "Die Down Here (Where The Monsters Are)" is characterized
by a running tempo and a tense atmosphere of horror. The song is
somewhat experimental as it's missing a typical rock or metal
compositional structure - there aren't any verses or choruses present,
just mad arrangements based on a quick repetitive guitar riff and lots
of movie samples sewn in between the cues.
It’s worth noting that a few guest musicians participated in making this
album. Tim Chandler played bass on tracks 1, 4, 5 and synth on tracks 2
and 8. Otto Kinzel can be heard on guitar and bass on "Burn My Eyes".
Michael Haggerty (Krebs) created vocal samples for "Obey". Additional
backing vocals on "All Hail" are provided by Gunns Mahoney, while Glen
Mitchell (Isolated Antagonist) with Ghoulie Julie took care of the gang
vocals in "Mindfucked". Unfortunately, the band has no live drummer, but
their music is desperately calling for incorporating such an additional
musician. I hope a new band member will join the duo sometime in the
near future to replace the beat blueprints with real, organic, and fiery
performances.
If you're already an industrial music fan looking for new bands of the
scene, you should consider your money well spent on this release (either
a CD or digital download). Varicella is also a good segway for
newcomers to tap into the 90s bands for a clear idea of the sound that
the industrial subculture carried back then.
Mr. Kaplan - Rage Thrills Wow (song review) | self-released, single, 2017| 4/5
Mr. Kaplan (the artistic moniker of Jason McClary) has been trained as a
classical pianist but turned to electronic (house, techno) music thanks
to his early interests. After 20 years spent on studying and
practicing, not only does he mix and produce his own songs but also
provides services to other musicians (as "Mr. Kaplan Productions",
situated in Nashville, TN). He has also released two EPs, several
singles and remixes so far.
The gentle, synthetic intro does not let listeners guess what kind of
sound could follow it. As it turns out a bit later, 'Rage Thrills Wow'
has high dynamics and is kept in the vibe of 90's 'old school'
industrial metal. Most probably, Mr. Kaplan had been inspired by the
most representative attributes of songs written by such staples as Ministry, KMFDM, and Circle of Dust.
His song is splattered with repetitive drum beats, tiny electronic
additions, and drilling metal guitar riffs as well as sampled political
(John F. Kennedy's) and radio (George Orwell's) speeches. Predatory
guitar riffs obviously carry a nice physical thrill. The selection of
samples is perfect to keep the composition entertaining. They create an
atmosphere of impatience and tension which has been prevailing in many
countries as the world rises up against tyranny and political, childish
games. The composition doesn't offer release for these emotions however,
since the repetitive arrangement continues until the song's end. 'Rage
Thrills Wow' is supported by a music video which you can find on the Mr.
Kaplan’s YouTube channel.
The audio, mixing, and production qualities draw attention at once, even
if the metal-sounding song needed less-than-perfect audio purity
(compared to the requirements of any electronic track, for example).
Jason McClary has learned a lot from Grammy Award Mix Engineer Dave
Pensado whose lessons certainly paid off, as listeners can judge by
listening to Mr. Kaplan's songs and remixes (check out New Order's 'Blue
Monday' remix at his official website).
On the downside, the percussion part in 'Rage Thrills Wow' sounds a bit
too repetitive and comes over the guitar cues almost as if it tried to
push the riffs away too hard.
Regardless the final, dystopian quote borrowed from Orwell's famous 1984 novel ("If you want a picture of the future, imagine a boot stamping on a human face - forever"),
you will get the point – Mr. Kaplan brings the joy of life and the
rhythm to the music he makes, and thus his tunes offer quick motivation
to let you rebel against the lies and manipulations streamed everywhere.
Moreover, it looks like he could easily raise the dead with the "phat",
deep, reverberated bass being his favourite resurrection tool.
Whether Jason continues releasing his own songs or focuses on
producing/mixing other artists' music, he has a ton of potential to
write obvious hits. Get in touch with him soon if your track lacks
power!
Gene Gorski - Nowhere To Hide (song review) |self-released, single, 2016| 4/5 spoken word
Gene Gorski has been writing songs for the last thirty years, recording
music at his home studio. He has released three albums so far, donating
all his income to various charities. Gene follows his heart – the main
reason why he has been more interested in providing original pieces of
music instead of trying to fit in mainstream trends.
This time, he re-interpreted a classic theme - passing to the other side of the mirror - as found in the Alice’s Adventures in Wonderland.
In Gene's version of the story, Alice lands in a dystopian, twisted
world. It is not full of wonders but rather includes many aspects found
in our reality. Suffice it to say that the protagonist of the story
becomes a stripper involved in sado-masochistic activities.
The tempo of this rather short (3:15) song is very lethargic, comparable
to a slowly rocking boat stuck on a still ocean with a sole survivor on
board. The composition consists of several verses and a chorus,
repeating a few times. The lyrics are poetic and they rhyme well. They
are short and lack in meaningful details, since they are written for
those already familiar with Carroll's original tale.
Acoustically, the song has a story-telling motif with random guitar play
which adds tones to the vocal line and supports the overall vibe. One
could relate this to Johnny Cash's spoken word songs. Gene also focused
on building an atmosphere of minimalism and isolation, equipped only
with a microphone, an open body Gretch guitar and a Swart Atomic Space
Tone amp. His voice is definitely memorable for its masculine strength,
tremble, vibration, pride, nasal tone, and a touch of decadence. It is
clear he perfectly knows how to control these elements to build up
tension when necessary, but also bring the song down again.
It's pleasing to listen to the entirety of 'Nowhere To Hide' for both
the distinctive vocals and the random, accompanying guitar arrangements.
Those of you who search for rather intellectual than simply rhythmic
music will surely enjoy it.
Kevon Carter - Hey Alice (song review) |self-released, single, 2018| 4/5, pop
So far, many artists have paid their tribute to the imaginary Alice of
Lewis Carroll's famous story and her dream-like trip into the unknown
followed by discoveries have been interpreted differently each time.
'Hey Alice' by Kevon Carter is an easy-listening, rhythmic song where
the accent is put on building a memorable melody. The composition
follows classic rules. The arrangements repeat and sound flexible so
that the song could easily exist in its original (pop) space, but could
also have a more guitar or drums driven version (which matters in case
of using the song in other media).
The song speaks of a romantic relationship – the titular Alice is being
encouraged to come into physical contact with the one who wishes to
please her: (…) I'll show you magic, working wonders with the palm of my hands / Won't you please come and play with me (…)
This invites a comparison between Alice's icy innocence (expressed by
the piano/electronics) and the man's experience - he's trying to build
trust by gently knocking on her personal igloo door (represented by a
non-invasive beat in the composition). The details of their encounter
are what listeners may want to work out on their own.
The mood here feels fragile, almost on the verge on breaking like a
layer of thin ice at times, yet it's solidly grasped by the composition.
The softness results from instrumental arrangements (written mostly for
the piano and synths), led by Kevon's vocals for the most part.
Speaking of which, Kevon’s voice is high, melodious, and youthful - in
some tones may resemble that of Michael Jackson's and Mick Hucknall's
(Simply Red). Kevon grew up in the Caribbean Island of Trinidad &
Tobago and later moved to NYC. Inspired by a variety of famous voices
(Prince, Bob Marley, and John Lennon to name a few), he gained musical
experience in both singing (lead vocals) and performing live with
several tribute/cover bands. Lately however, Kevon has been focussing on
making solo music - recording an album, mastering his voice, and song
writing in general.
The target audience for 'Hey Alice' may vary, as it could seem to be a
track meant for teenagers, but due to its accessibility it can be easily
picked up by others. It's a memorable song that any modern radio
station should appreciate, but it lacks any ground-breaking, unique
attributes - that's why it may become a seasonal hit only. It fits the
current trend of modern pop songs to be performed live, supported by a
team of dancers and flashing stage lights. It’s easy to imagine ‘Hey
Alice’ played for a large crowd singing along with the artist. Movie,
advertisement, and TV entertainment execs are always on the lookout for
songs based on light notes and romantic themes, so Kevon would be right
to submit his single for their consideration.
(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock &
Metal Encyclopedia, January 22nd, 2018. Proofreading: Mike 'Vesper'
Dziewoński)
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.
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)
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.
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.
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.
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.
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.
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)
