Cybertoyz - Undo.Exit

Cybertoyz - Undo.Exit |self-released, 2014| 5/5 metal/electronic

01. Enter: A Fistful Of Dust, 02. Absolutely Identifiable, 03. Battery Operated pt 1, 04. i:Romance, 05. Bleed Your God, 06. Battery Operated pt 2, 07. Survival Type, 08. The Dead Drive Fast, 09. Heavenly, 10. Exit: A Handful Of Stars

Cybertoyz is the solo project of Zyggie (Alexander Korpusov; guitars, programming, sampling) - a guitar player armed with his favourite Framus Diablo 7-string and Ibanez JS1000 guitars. Undo.Exit is the sophomore release of the Moscow-based project founded in 2004, coming 8 years after the debut Chaos Theory album.

The newest album brings a mix of two main sound themes - guitar driven and electronica, matched together successfully so far. As Zyggie admits, he managed to incorporate catchy riffs on odd chord progressions and Satriani-like legato shredding into industrial and electro tunes. He was inspired by highly influential rock artists such as Led Zeppelin, Rush, Steve Vai, Buckethead and Jeff Beck as well as electronic acts: Aphex Twin, The Young Gods, Nine Inch Nails, Gravity Kills, Switchkicker/MM9, Pitchshifter and Die Krupps.

The technique called 'shredding' is quite important for the majority of metal guitarists - either for their own finger training, best guitarist contests or just showing off. It is always entertaining to watch or listen to, but when included in several songs on an album, it must be well arranged and mixed to avoid sticking out. Undo.Exit is an example of production done right.

You'll have a taste of shredding in the very first track, "Enter: A Fistful Of Dust", which would suit an action video game perfectly. In fact, it reminds me of a theme from Quake III. However, aside of the guitar soloing, there are electro synths and a symphonic female voice in the background. The composition is pretty short but rhythmic with somewhat an epic motif.

The following track, "Absolutely Identifiable" begins with a high-pitched looped guitar riff, later altered by a small spattering of electronica. The mix grows potent when dense drums and bass join in next. The guitar returns with a memorable, spiritual solo further along the track. The arrangements change quite often in this purely instrumental track, and probably only the rhythm remains solid throughout.

If you're craving modern electronic music, listen to "Battery Operated pt 1". It is not deprived of guitars, reminiscent of how Robert Fripp (King Crimson) uses his instrument quite often. Think of spirals drawn with high-pitched sounds and expressed with the entire scale. There are also a contrasting groovy bass and fundamental drums in the background so in all, there's some good fodder for your ears.

The moods on this album do come in different shades, but they don’t change too often. You can already sense differences in the song titles, e.g. "Battery Operated pt 1" sounds technical and sophisticated when compared to "i:Romance" which brings the style of the 80s rock songs through a warm and melodic vibe. There are upbeat dynamics and classical guitar solos that go well with tiny electronic add-ons. Balance in the track has a strong focus, certainly helping listeners keep a healthy, steady heartbeat. If this track is about a romance, it's about a spirit-opening experience.

After that you get exotic, nostalgic, stretched and singular tone guitar passages wrapped around a rather cold and 'windy' composition. "Bleed Your God" sounds like typical Middle East music but performed on an electronic guitar instead of traditional Eastern instruments. It is a very short instrumental track, that might as well have been used as the intro to the album. Here, it gives you a breather before you dive into the complex arrangements written for "Battery Operated pt 2".

This composition, built upon improvisation and performed on guitars, drums and bass is even shorter than the previous track, so you won't get too deep into musical confusion. Think that you've just jumped into a malfunctioning electronic device, where some lines of code are still working well, but others loop like a damaged vinyl record.

"Survival Type" begins with a KMFDM-like electronic passage, but then turns into a prog-rock or even a prog-metal composition, thanks to dualistic guitars vs synths arrangements. There are symphonic metal elements smuggled in as well, with an additional dose of beat-driven electronica, which fits in very well. The guitars seem to have an argument with the bass regarding leadership. Both however, stitch interesting arrangements individually as well as together, so they do complement each other like lovers in a passionate relationship.

"The Dead Drive Fast" brings a bit of an iconic Depeche Mode-esque motif but then falls into rock'n'blues & rock'n'roll. Not entirely though, if you recall the main goal of the album - to reconcile guitar driven arrangements with modern electronic music. There are far more variegated influences coming from different genres (metal as well!), thus only you can decide if Ziggy succeeded.

Linking tracks within an album to make changes in the tracklist smooth is a good move - check out how "The Dead Drive Fast" slides into "Heavenly". The latter is a rock ballad, but you should forget about nostalgic boredom you may find in trendy songs by Chris Isaak, for example. You'll find a bit more of Clapton's guitar mastery instead, but still altered with clean, chillout electronica in some spots.

All this leads us unto the final track, "Exit: A Handful Of Stars". A sad (but not melancholic) mood permeates this song. Female background vocals appear rarely, just enough to give the track a slightly heroic feel. This instrumental ending of the album should leave listeners in contemplation.

All compositions on Undo.Exit flow smoothly, instead of possibly interrupting each other when groovy electronica extends what guitars only kick off. This speaks perfectly for Zyggie's expert songwriting - after all he studied jazz theory in a college, but also spent around 15 years on self-mastering his guitar techniques.

The guest musicians on this album are: Anna Lyapina (vocals), Sergey Timofeyev (bass), Alexander Karpukhin (drums), Dmitry Oslyakov (drums) and Ruslan Dzhigkaity (drums).

It's also worth adding that mastering and production are very well done (by Nickolay Vengrzhanovich at Light Temple Records, Moscow, Russia). Both styles of music that meet on this album need a different mastering approach, and it turned out successful on Cybertoyz' Undo.Exit. Neither guitars nor electronica take up all the bandwidth.

The excellent, cyber-punkesque blue cover artwork was designed by Eugene "Jonny" Postebaylo and looking at it while listening to the music feels just right.

Watch out for Cybertoyz in your area - they do play live gigs. Zyggie also had an endorsement contract with Framus/Warwick and AMT Electronics between 2009-2010. You should not miss this release if you're looking for innovative guitar driven compositions.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, June 23rd, 2014. Proofreading: Mike 'Vesper' Dziewoński)

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=542

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Interview with Spookshow inc. electronic rock

I think what is important for all of us, is to try to rise the level of consciousness and awareness - to talk to our inner self rather than catch up with and follow the tempo of "progress" and madness of the modern world in general. It is a big market place out there: the system really got accelerated. I mean we get offers to put on and try out new stuff - be it glasses (what about these Google glasses – do we really need it?), political and media campaigns, whatever. During one single day that is sick.

Full interview: http://industrialrock.net/php-files_en/articles.php?article_id=540

Interview by Fabryka Music Magazine

Spookshow inc. - random songs review

Spookshow inc. - random songs review |self-released, Visions of The Blinded World (pt. 1), 2013| 5/5 electronic industrial rock

Scary Dream, Falling Down pt. 2, Cyberage

Born and raised in Lithuania but making music in UK and Norway, Lucky Spook (guitar, programming, songwriting and production) released the Visions of The Blinded World (pt. 1) album in late 2013, even though the majority of the material on the album was written 10 years ago. His inspirations come from a diverse host of bands such as Pink Floyd, Paradise Lost, Rob Zombie, KMFDM, Skinny Puppy and Nine Inch Nails mixed with modern beats made famous by Prodigy or Chemical Brothers. He can still recall that Pink Floyd and KISS were on the list of dangerous and unwanted Western culture products, as he found out at school in his Soviet homeland back then. Motivated to rebel and equipped with a guitar, he began playing with fire soon after.
The album is available as a digital download and a limited edition CD with the same 10 songs available through both channels. This review covers only three of them.

"Scary Dream" is one of the opening tracks and refers to a phenomena of dreaming, its symbolism and hidden meanings. In the lyrics, the author speaks of an oniric encounter with animals such as snakes, unicorns, and dogs. These stand for either the author's or the society's primitive instincts related to magic, which he needs to face himself.
As for the music, it is a rhythmic track. Because the lyrics are relatively short, the leitmotif is rooted rather in the repetitive instrumental parts than vocals. The leading guitar riff is altered, looped and mixed with tunes typical of Prodigy or Sonic Mayhem songs. Arrangements are wisely thought out and include a fair share of dynamics but also silent spots. "Scary Dream" sounds suitable for an action video game.

"Falling Down pt. 2" is a slightly darker track, where guitar riffs are mixed with electronica and sampling. The screamed vocals have a touch of added processing, as much as you would spot in an average coldwave track. In addition, they are mixed with a variety of well-matched sounds, which place them in a lively surrounding. It's a highly memorable track thanks to the rhythm, repetitions, female whispers, and the high-pitched guitar leitmotif. If you like White Zombie or Rob Zombie's solo work, this may be your favorite song of the three.
The track is short just like its dark lyrics are. They seem to relate to OBE (out of body experiences) that take place when a dreamer or someone meditating feel their spirit leave their physical body and traverse through space. In this case, the dreamer seems to be a fan of an access-all-areas with evil intent.

Finally, "Cyberage" speaks of a person born in an age of no peace, only fear and hatred leading to war and isolation. But there's the Internet, a cybernetic child that almost everybody adopted and got addicted to through video games, dating, trolling, gathering information or stealing copyrighted materials. Moreover, the fear of privacy abuse keeps haunting about, even though a lot of people leave open traces of their own on-line activities.
Sonically, the song resembles Prodigy with its single high-pitched guitar riff, but also KMFDM or Sister Machine Gun thanks to the minimally exposed, whispered or processed vocals. There's a nice groovy line based on beats placed between the lower and higher end of the spectrum. Both the beginning and the end of the track sound very intriguing and pleasantly attractive. The track could be a great way of getting the listeners interested in hearing more from Spookshow inc.

These are songs of high quality in terms of mastering and production - an additional advantage aside of their dynamic musical themes. It's also worth mentioning that Lucky Spook along with his friend Soltex and additionally hired musicians supported The Legendary Pink Dots live in 2005.
Hopefully, you'll check out the remaining 7 songs on Visions of The Blinded World (pt. 1) and will look forward to the release date news for the 2nd part of this album.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, May 26th, 2014. Proofreading: Mike 'Vesper' Dziewoński)

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=538

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Crash-Scan - interview (2014)

Crash-Scan - interview (2014)

NINa: You seem to like reaching out into the very core of things, then mixing and shaking them up. Does the use of technology alter the organic sound of guitars, voice and drums to the point of a better understanding through dissonances?

Bryan: I think that is quite true for us, yes. In the end it’s all about the feeling you’re trying to express and communicate to the listener. With Crash-Scan we’re obviously using semi-traditional ‘song’ forms, but to do that and create unsettling or oppressive feelings involve manipulation and subversion of known elements. Modern technology allows us to do that a lot more drastically than older tape and sampler manipulation methods, but we’re still trying to keep within relatable forms for this band. We love recontextualizing sounds and field recordings, putting things together that don’t fit and trying to make something we like out of it.
Read full interview: http://industrialrock.net/php-files_en/articles.php?article_id=536

Interview by Fabryka Music Magazine

Crash-Scan - Repeat Until False

Crash-Scan - Repeat Until False |self-released, 2014| 5/5 metal experimental industrial

1. Choke, 2. Pure, 3. Ohm, 4. Desolation, 5. Senescence, 6. Chrome Lies, 7. Chronic Atrophy, 8. Plans For Winter, 9. Tentacle Vortex, 10. An Eye For A Tooth, 11. Subduction, 12. Out Of Reach, 13. Under The Dirt

Crash-Scan is a heavy yet innovative band from New Zealand that formed in 2008. Repeat Until False album was released 5 years after the band's debut album Catalyst and is written, performed and recorded by Ron Nobbs (vocals, programming), Bryan Tabuteau (programming, synths), Vivian Stewart (guitar, bass) along with Brad Gallen (additional percussion).

The music presented on the latest release is inspired by a variety of industrial and metal bands such as Nine Inch Nails, Skinny Puppy, Ministry, Fear Factory, Meshuggah, and Gojira. Crash-Scan however, have taken the industrial metal genre to the next level. There are no melodies, rather pure torment expressed through machines and guitars. They took the core of what heavy steel industry is all about and transferred it into music - repetitions, noise, weight and all the impact you can imagine. The music on the album is about 'processing', 'making', 'transforming' and other associated activities. The atmosphere in all songs is comparable to that on Godflesh albums, though the sound is more modern.

Let's look into the following 13 songs, with average track length varying between 3 to 6 minutes. The tracklist begins with "Choke", which will give you a taste of things to come. It sounds like a slower and distorted sound of the late 90s Ministry and Fear Factory, but flavored with Crash-Scan's own ingredients. It gets even noisier with experimental add-ons but the repetitions and heavy guitar riffs (cut with lighter motifs in a few spots) make the track as memorable as a mantra.

"Pure" involves a bigger share of electronics, reminiscent of Frontline Assembly, but mixed with guitars and beats. The contrast between verses and choruses is accented better than in the previous song, but still almost lacks any melody. Distorted whispers add a sense of thrill.

"Ohm" begins with a set of structured rhythms that are then followed by chunky guitar riffs. A variety of additional effects creates an experimental feel, with the vocal style similar to that of digitized black metal compositions. Heavy guitars create an interesting wall of sound near the end. Since they are digitally processed, there's a strong sense of higher mathematics flowing throughout this track.

"Desolation" involves tuned down guitars and a very contrasty world music motif, as if it was derived from Turkish or Middle Eastern music. The sound may be irritating at first, but at the same time it sticks to your ears and underlines the verses. It is as if a painter splashed a natural color image with neon paint with equidistant spots. Angry, digitally processed vocals, looped effects (used so often by Fear Factory) and the overall sequence of sounds make it a memorable composition. In fact, it could gain even more attention with a matching music video.

Now it’s time for the best track on this album. At first, there’s a creepy, piano-based intro enriched with a digital, gloomy follow-up. Then, it's transformed into amazing arrangements accompanied by a heavy load of guitars and distorted, hellish vocals that you'll love. The composition is complex, but this speaks for the band’s song-writing skills - and Crash-Scan are definitely proving theirs here. Less deformed guitars appear a bit later, and the overall feel of "Senescence" is that of shifting dynamics.

The songs seems to be carefully put in order on the tracklist, and so those heavier are intersected with slower but equally dark moods. This applies for instance to "Chrome Lies". It sounds like it could have been developed better, however. The drums sound a tad too simple and repetitive, with the vocals falling into the background and almost gothic melodies coming out in some parts as well. Fortunately, the end of the track brings an intriguing heavy guitar arrangement.

"Chronic Atrophy" brings atonal, broken rhythms and has quite an experimental feel, still being supported by healthy metal riffs and factory-like industrial tunes. The beat and the drums are perfectly set up for this composition, which is alive & kicking (or even stinging) inside of its dark meaning. You'll probably sense a bit of Ministry's Filth Pig and The Darkside of the Spoon albums in this song.

Likewise, the next track "Plans For Winter" sounds like a mix of "Chronic Atrophy" and "Senescence" in terms of the composition complexity as well as general heaviness. The load of low tuned guitars and altered vocals are what Godflesh fans will enjoy here. If you like sounds accompanied by matching visuals, you may imagine a mining drill or any heavy gear making its way slowly through rather inaccessible terrain.

"Tentacle Vortex" sounds like a heavy take on impressionism mixed with a complicated device manual - open to interpretation despite initial definition. Arrangements here are based on very heavy, tuned down guitars, noises, repetitions and distorted screams. They appear only in the background, so that they are not overwhelming. Besides, "Tentacle Vortex" is a very cool title; not only does it suit this track but also a book, movie or painting.

Then there's "An Eye For A Tooth", another slow'n'heavy composition in case you thought it couldn't get any heavier. The song is not as 'easy' to remember as "Desolation" however, even though a similar high-pitched sound appears in a few spots. Again, classical industrial attributes are treated with a modern approach and, of course, guitars.

You'll relax when "Subduction" appears in your speakers. It's a purely instrumental composition and a short one at that - a dark interlude, one of those you may associate with science fiction movies like Aliens or Event Horizon. It fits here thanks to the silently droning, reverberated sounds which create an atmosphere of both mystery and anxiety.
To trouble your balanced mind, "Subduction" is followed by another heavy song entitled "Out Of Reach", bringing a heap of distorted sounds, feedback and dissonances. There are random low tuned chunky guitars, sampled monologues and angry deformed vocals; things which can be found in Ministry music but ground a bit better.

The 13th song, "Under The Dirt" is the most traumatizing, even brainwashing experience. Not literary, but your brain may feel overwhelmed when reaching just the middle of the track, regardless if you try to fish out separated instrument tracks or understand the entire composition. It presents a combination of everything heard so far on the album but kept even dirtier, noisier, tuned lower, chaotic yet technical at the same time. I'm not talking about diving into a symbolic 'hell', but something way more disturbing.

Repeat Until False sounds haunting and grabs your attention as much as a trip down into an endless spiral, thanks to repetitions and guitar riffs, but also omnipresent atonal rhythms. The beat is not too intense or overused, otherwise the songs would sound too danceable and marching and thus, shallow. The tracks on the album express depth, darkness and gravity, instead. You may find them occasionally chaotic because of the extended use of noise & distortions but the range of chaos is narrowed down by mathematically precise arrangements.

Finally, it is worth mentioning that the album is available as a simple digital download as well as a highly customized, sophisticated and limited version on a 4GB USB drive.
Crash-Scan are planning a few more live shows around New Zealand and the release of a new EP with 4 new songs and remixes from Repeat Until False. I urge you to support this band, since they still care for what others have abandoned - creative ideas.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, May 23rd, 2014. Proofreading: Mike 'Vesper' Dziewoński)

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=535

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See also: 'Choke' music video | 'Game Over' music video (from Catalyst album)


Reviewed by Fabryka Music Magazine

Victoria Love - Yours For The Taking

Victoria Love - Yours For The Taking (song review) |Elle Indie Records, Ataraxis, 2014| 5/5 rock electronic

Victoria Love is undoubtedly 100% certified Texan, not only thanks to the singer/song writer Monique Jamail's rebellious looks, but most importantly her half raspy, half sad voice.

"Yours For The Taking" is characterized by a mix of both organic-symphonic and industrial sounds. The former represented by the cello, viola or oud, while the latter introduces programming and samplers. The song begins with a cello but then an industrial set creates a surprising, yet matching contrast to the opening arrangement. The two continue crossing each other throughout the entire song with a viola, bass and guitars joining them next. The bass is quite dominating - not only giving the song a rhythm but also a dark tone. The composition is well thought out and written, leaving a balanced space for both instrumental and lyrical parts.

As mentioned, Monique's raspy voice is very memorable thanks to its interesting timbre. The vocals sound sweet yet aggressive at times. It's seems like she could sing you a whole story a capella, and you'd still be affected by the impact of underlying emotion.
The open, easily understandable lyrics complete the music extremely well: "I spent most of my life afraid of myself / My thoughts, my actions, my temper, my hell / Behind my door hides every emotion I’ve ever felt / I never really talk yet have so many stories to tell".

Apart from Monique Jamail (acoustic guitar, vocals), "Yours For The Taking" features guest musicians such as Ivan de Prume (drums; ex-White Zombie), Marc 'Frap' Frappier (bass; ex-Circus of Power, ex-Skrew), Roberto Paolo Riggio (Atash; violins, oud), James 'Roz' Rosnack (drums, programming, electric guitar, synths) and Jen Mulhern on cello.

In addition, the song is supported by a high quality video single. It tells the story of a sensual relationship between two adult women and the revenge taken after the discovery of a third party joining a seemingly committed union. All the transforming feelings and behaviors relating betrayal are portrayed in vivid imagery - tears, questioning, depression, sorrow, anger, blame and despair. Apparently, there's some karma to be worked out and lessons to be learnt for one's spiritual development. The bitter find leads Victoria deeper into inner self analysis, and consequently the discovery of issues such as holding things back and unbalancing the proportions of giving and receiving. Nevertheless, the video reveals a quick fix for the unexpected problem, which results in a murder driven by wounded feelings, just like in a psychological thriller or drama. Monique, who plays the role of the betrayed woman seems to be a good actress, with very expressive eyes.

Finally, it should be noted that a different version of "Yours For The Taking" was released on Monique’s Just Breathe EP in 2011. The new master version reviewed here and present on Ataraxis, features Ivan de Prume on drums. Also, according to Victoria Love, the drums are produced better this time. The third, acoustic version was published by Victoria Love's own Elle Indie Records label. This track is also featured in the movie White Rabbit and a few compilations. The pre-sale of Ataraxis will begin in the Fall of 2014 and the album will be out this winter.

Victoria Love actively discovers and supports women in music by releasing compilations and organising a music festival. Make sure you'll visit her official website and support this artist by buying her music as well.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, April 24th, 2014. Proofreading: Mike 'Vesper' Dziewoński)

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=534

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Below The Sun - Katharsiss

Below The Sun - Katharsiss (song review) |self-released, single, 2014| 4/5

Below The Sun is a Norwegian stoner rock/hard rock band which is quite fresh on the scene, since it was founded only in 2011. Not many groups feature six musicians in the line-up however it proves to be a boon for Below The Sun, especially thanks to the members' skills.

First of all, their newest single "Katharsiss" is supposed to be released on the band's future EP but it's already available on major music on-line stores. When it comes to genre classification, it's stoner rock with elements of hard rock (string instruments) and psychedelia (keyboards). Make sure you listen to the entire track since it begins with an innocent nostalgic piano and that doesn't truly express the core sound of the composition once it reaches its peak point.

The track is bouncy and rhythmic thanks to solid heavy guitar-driven arrangements performed by René Gunnerud Vandli (vocals, guitar), Herman Tveitan Djupvik (bass) and Martin Miguel Busvold (lead guitar). However, the major sonic impact lies in the singer's voice. It's raspy, disdainful, memorable - he also screams like a pro. Jostein Vikan offers everything what a rock or metal band needs! The additional vocals in choruses are provided by René.

The catchiness of the track relies on various repetitions. Drum patterns are written very well and played skillfully by Vladimir Diaz Nelidov. Keyboard passages performed by Jonas Folvik Aune bring contrast through lighter, but not softer motifs - they cut through guitar-bass-drums dialogue in really well chosen spots. The final result is a vibrant composition that easily may make the listener hit the 'play' button again upon reaching the end.

What else does this song need? A matching music video single could do well, since many listeners discover music not only thanks to streaming audio content but also through visuals. Other than that, minor improvements in terms of production could add additional depth to the track.
Below The Sun's strengths are undoubtedly rooted in writing arrangements, composing, performance and of course Jostein's recognizable voice. Their music is inspired by bands such as Fu Manchu, High on Fire, Deep Purple, Queens of the Stone Age or Mastodon amongst all. Keep an ear out for those guys, peculiarly if you enjoy hard rock tunes.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, April 19th, 2014. Proofreading: Mike 'Vesper' Dziewoński)
This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=533

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VIA - Closets

VIA - Closets (song review) |self-released, Acid EP, 2013| 4/5 hard rock grunge punk

Fresh and highly motivated, here comes VIA - a band from Minnesota founded in 2013, who released their debut EP Acid soon after. The founder, Jason Tuthill (lead vocal, rhythm guitar) met his present band members through social networks and various other online locations. The final line-up includes Jason with Erik 'Evo' Vobejda (lead guitar), Ben Leff (drums) and Justin Von Rueden (bass). All of them had gained musical experience in other bands before VIA.

The EP features "Closets", kept in a grunge vibe since the band is inspired by music of Alice in Chains, Nirvana and QOTSA, amongst others. However, if you listen more attentively to the individual instrumental track, you may hear the song mixes three genres with a hard rock bass, grunge guitars and punk drums.

"Closets" has loads of dynamics and energy, so it must sound entertaining during live shows. The song doesn't carry any aggression, depth or any specific heaviness. The entire composition sounds solid and very guitar-driven with leading 'dirty' motifs. The drum parts are as fundamental as you'd expect from a punk or alternative rock track - pure dynamics rather than showing off. Arrangements aren't complicated or experimental either, thus rock music purists should enjoy them best. Jason's vocals match genres and the arrangements mentioned above really well. What's most important, choruses are very catchy thanks to the melody. Since the track is short and lively enough, it should be accepted by most of rock and college radio stations.

Regardless the song's garage-like flavour, it still may need better production, as the instruments sound a bit flat. Individual short guitar passages (aside from rhythm guitars) could have been underlined better as they splash fresh accents onto the background.

The musicians are currently working on a full album to be out by the summer of 2014 and planning a national tour. Whether VIA plays to enjoy the moment or evolves into an established group - you will know only if you follow the newest updates on their official website and social outlets.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, April 16th, 2014. Proofreading: Mike 'Vesper' Dziewoński)
This review on Fabryka Music Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=532





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Stiletto Ghetto - Don't Call Me

Stiletto Ghetto - Don't Call Me (song review) |self-released, Celebrity Society, 2014| funk rock 5/5

Stiletto Ghetto was founded by Louis Raphael (drummer, producer and co-writer) in San Francisco in 2010. Louis is accompanied by a variety of skilled musicians who perform music written by him in studio and on stage. The collective definitely spices songs up through their own expression and character.

Groovy, repetitious bass lines dominate here and interact with the drums very well. Since the rhythm and dynamics are the most important traits of funk music, that’s spot on. There's a soloing rock guitar mixed with excellent arrangements written for saxophone, jazz piano and trombone. Technically speaking though, the guitar riffs are on a layer below bass and drums, giving priority to the main funky theme. Most importantly however, the bass is accompanied by a powerful female voice.

As mentioned before, Louis collaborates with other musicians. "Don't Call Me" features guest vocalist Racquel Roberts. Her highly memorable voice perfectly matches both jazz and funk. It sticks to your ears instantly, together with a performance of the rhythm section, sometimes resembling Anastacia's or Aretha Franklin's voices in tone and range.

The lyrics were written by Louis Raphael and Safiya Bird-Whitten. The song tells a story of a lack of mutual respect and loyalty; friends or rather so called 'friends' who are not available when one needs their help the most, but who always call on you to expect support, advice or help with their own problems when they get in trouble.

"Don't Call Me" is a selection from the 8 songs recorded for the Celebrity Society album released this year. It follows Tendernob Hillbillies EP (2011), put out by guitar icon Steve Vai's own Digital Nations label. This helped Louis license and place two of the tracks in two independent movies.

Does the song have hit potential? Definitely yes. Moreover, it perfectly fits into all sorts of jazz & funk radio playlists. Make sure you'll check out the entire album, too.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, March 31st, 2014. Proofreading: Mike 'Vesper' Dziewoński)
This review on Fabryka Music Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=531


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Ferni - Blame

Ferni - Blame (song review) |Gradation Music, Afterburn EP, 2013| 5/5

"Blame" is a rock ballad written, performed, and recorded by Ferni Lopez - a singer and multi-instrumentalist from Houston, Texas. He’s a veteran of writing and playing music inspired by alternative, folk rock, and blues genres, as well as the founder of Brother Sol and Of Love And Justice bands. The song comes from his solo EP Afterburn, released in December 2013.

Rock ballads usually stick to the theme of "it could have been better" and lyrically refer to topics such as unsuccessful relationships, loss, loneliness, misunderstandings, unresolved problems, unrealistic desires etc., supported by melodious, nostalgic tunes. "Blame" firmly fits into that framework.

The track opening will immediately pull your attention into the mood thanks to deep, pensive bass tones with additional cymbals. A slow beat of a hand-held drum and a melancholic guitar come into play shortly afterwards. Highly expressive vocals are specifically what a song with a lullaby-like tempo definitely needs to make the contrasting sounds harmonious and well-matched. Indeed, Ferni’s slightly raspy voice fits in perfectly here. He can definitely sing and adjust his voice to across several ranges very well. The chorus sounds memorable and is exactly what a highly listenable radio or movie song requires.
The final part includes a careful and gentle, high-pitched guitar solo that melts into the whole track without stealing the focus, thanks to the harmoniously layered bass and drums tracks.

The arrangements and the composition have been put together skillfully. Needless to say, it’s quite surprising that one man can perform a song fit for an entire four-piece band, but Ferni's the living proof for this. His music bears inspiration from artists such as Bruce Springsteen, Pearl Jam, R.E.M., The Who, Mumford & Sons, Tom Petty & the Heartbreakers or Led Zeppelin. Therefore, if you like a nostalgic, guitar-driven vibe, you should enjoy "Blame".

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, March 31st, 2014. Proofreading: Mike 'Vesper' Dziewoński)
This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=530

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Reviewed by Fabryka Music Magazine

BROBST - Life Of Gypsies

BROBST - Life Of Gypsies (song review) |self-released, 2014| 4/5

This highly melodic track carries a lot of hit potential, since it’s instantly memorable. This is possible thanks to a balanced apportionment between inspiration drawn from both Depeche Mode as well as dark wave and electronic rock styles.

Probably, most of the people will first hear and then react to the rhythm. The dynamics in "Life Of Gypsies" are just accurate. The rhythm doesn't resemble a raging cannon, which would certainly kill the melody. Instead, subtle arrangements repeat and rock rhythm guitars along with a solo guitar spice them up with an edgy flavor. Guitars are played softly, without showing off and they embed well within the overall vibe. The string instruments also help the listener’s mind to drift a bit into a different direction than that created by the beat.

All electronic additions are of high quality and were placed in well chosen spots. Previously mentioned similarities to Depeche Mode's yearning tunes ring especially true. In addition, the melodies of verses and choruses support each other perfectly. As a result, the overall composition sounds harmonious.

BROBST may consider working a bit on his voice, however. The song seems to be written for confident, emotional vocals and it'd be really great to hear a slightly more vigorous performance. Some of the chorus parts require a prolonged, highly pitched voice, and here BROBST unquestionably delivers. In other moments, like during the opening verse where he sings with a lower voice, its melodic line comes across as a bit too wary and unstable. Other than that, the whispering does fit in these arrangements and the overall mood very well.

Finally, it should me mentioned that BROBST was the winner of the People's Choice Award (Atlantis Music Conference, Atlanta, Georgia) in 2007. Thanks to his success, he performed on stage the same night as Queens of the Stone Age.

"Life Of Gypsies" will be included on the tracklist of BROBST's full album, which is set to appear in July 2014. The release follows the Angel Dust EP (2013) which can be purchased in various on-line music stores.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, March 26th, 2014. Proofreading: Mike 'Vesper' Dziewoński

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=529

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Reviewed by Fabryka Music Magazine

The 88's - The 88's EP

The 88's - The 88's EP |self-released, 2013| 5/5

1. Get Me Through, 2. Addiction, 3. Time Was Right, 4. You Gotta Give A Damn, 5. For You, I'll Sing My Song, 6. Pride

The 88s trio which has been playing together since 2009 has an international line-up. The members make music in China, Portugal, France and the US. Joe Mahone brings the hard rock/metal drive through excellent drumming, Pheel Duarte feeds the songs with dynamic vocals, while Luis Coelho enriches The 88's music with Latin guitar influences.

The eponymous EP is their second release (the first one was out in 2011). The tracklist opens with a wavy guitar solo and gives you a foretaste of what to expect. "Get Me Through" has a melodic yet heavy mix, ensuring that you're listening to the work of experienced musicians who know how to skillfully borrow from a few different genres. They utilize Latin music, blues, hard rock and modern metal structures as well. They undoubtedly worked this one out and avoided predictable arrangements.

"Addiction" begins with a heavy and rhythmic mix written for the drums, guitar and vocals. However, this passionate track has also a surprising acoustic side, based on soft melodic arrangements. A professionally played guitar solo influenced by classic rock, as well as guitar parts draw inspiration from Latin music. As an interesting aside you should note that the song is bilingual (English & French).

The 88's seem to be inspired by music of Metallica, Foo Fighters, and System of A Down. "Time Was Right" is a goof proof of this. It’s a heavy track built upon balanced arrangements, neither leaving empty spaces, nor invading your ears with arrogant intensity. The structure is diversified enough to keep your mind engaged, but also repetitive enough to stick to your memory.

A swinging mix of guitars, drums and bass begins "You Gotta Give A Damn", an example of a popular alt-rock theme, which easily fits into prime time airplay. The song is short, melodic, dynamic and instantly memorable. It has spots filled with guitar solos and intensified drumming, with very suitable vocals.

If you like Soundgarden or Nirvana, or just enjoy the grungier vibes, "For You, I'll Sing My Song" is, precisely, for you. The track includes also an interesting part performed by Pier, a guest musician utilizing a Chinese instrument called Erhu. She appears midway through the song and brings more of a world music feel. When it comes to vocals for the track, Pheel Duarte proves clearly that he can adjust his voice to different styles of music.

Now, it's time for a decorative jewel. "Pride" is a huge finish, definitely enriching the whole EP with a big, nostalgic theme. You can clearly imagine the lone guitarist performing on a stage. When he's focused on the instrument, locked in an invisible bubble of the sound, the entire world seems to disappear. There are only three things that matter here: him, the guitar and the music these two make in the limelight. You've heard that same, never changing tune from Santana, Clapton, Led Zeppelin or Queen and you'll hear it again, this time performed by Luis Coelho and The 88's. It's also a great movie track.

All the songs on the tracklists have a definite flow connecting them - whether it’s their rhythm or mood, or the technical skill behind them. Thus, the end of "Pride" interlocks with "Get Me Through" very well and you can listen to the entire EP on repeat.

The album is worth having and the band deserves your support. Their official website and social profiles should give you more insight into The 88's next move.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, March 4th, 2014. Proofreading: Mike 'Vesper' Dziewoński)

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=526
 


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In_zekT - Artifex

In_zekT - Artifex |self-released, 2013| 5/5

01. Strain Reactor, 02. ARTIFEX, 03. Sub-Humanist, 04. Overman, 05. Dialling the North Code, 06. Ionize, 07. Termination Sequence, 08. No Fate But What We Make, 09. This is Not an Exit, 10. [0]

Norwegian metal is best known for its straight-forward, merciless sound. It's no different here. This is one terrific album that takes what's best in industrial/cyber metal (raw anger, repetitions, sampling, SFX) and djent (atonal, down-tuned, stretched, syncopated guitar riffs) to a new level, creating a fresh, yet to be named genre.

In_zekT was founded in Norway in 2002. They started with a slightly different line-up, and their music initially sounded differently, too. A chance to meet Ministry's founder Al Jourgensen in 2003 had resulted in having Luc Van Acker (his mate from Revolting Cocks) produce In_zekT's debut release back then. Also Chris Vrenna (Tweaker) was involved in mixing one of the band's albums. Artifex however, begins a new, more extreme chapter in the band's career with two musicians in the line-up: Peter Vindel (lead vocals, guitars, synth, programming, sampling) and Kjetil Ottersen (vocals, guitars, synth, programming, sampling).

The first song leaves no space for guessing how the new chapter is being developed. "Strain Reactor" is a deeply guitar driven track, but the riffs are distorted by various effects and modifications making them sound industrial. Also vocals, delivered by guest vocalist Secthdamon, are slightly altered. The arrangements change and build up a solid, tight composition without overwhelming the listener.

"Artifex" starts with alarming, howling sirens. Then, electrifying guitar riffs along with drums and distorted vocals jump to the fore. The density of riffs, but also the combo of drumbeats and synths resemble motifs better known from newer Ministry and older Nine Inch Nails songs (the latter is specifically audible in the final part). The arrangements vary throughout the track, and the composition method makes it possible to avoid excessive repetitions. The bands operates with anger, tension, turmoil and silence very well.

"Sub-Humanist" erupts with no pause between the tracks. In fact, the rhythm keeps pumping so dynamically, that you'll probably begin headbanging right away. There are elements of thrash metal and a very little bit of electro, stimulated with modified, screamed vocals as well. The whole set is energizing and memorable, therefore I personally vote for "Sub-Humanist" as the best song on Artifex - at least when speaking of its 'metal' flavour.

After such a big dose of aggression, you may think that the musicians reached their limits and the next track can't be performed even more fiercely. Wrong. Each following song seems to sound angrier. "Overman" takes you on the first excursion into the world of dark tunes on this album - only at the beginning though, because wicked ferocity quickly breaks through the cinematic atmosphere. Buzzing, feedbacky, noisy industrial effects are sampled into the song, matching the other arrangements perfectly. Technically, some themes were gently borrowed from Fear Factory, but spiced up with In_zekT's own flavour.

Possibly to avoid a further escalation of mad energy, "Dialling the North Code" suddenly appears in a strangely fitting place on the tracklist. It's a dark ambient soundscape partly kept in vein of Mark Morgan's music (think of soundtracks to such classical video games as Fallout or Planescape: Torment). The cinematic, cold mood is enriched with deep thumping drones and undoubtedly reflects a story - one your mind may create when inspired by these dark sounds. Test your imagination. It's also an excellent track for a science-fiction movie or an artistic installation.

After the dour break, buzzing guitars make a return. "Ionize" begins with a shattered wave of mechanical drumbeats (there is no human drummer present in the band) followed by distorted vocals, guitars and minimally present synths. The beginning of the song sounds rather monotonous, regardless of its expressive fury. However, the track grows in time thanks to tempo changes, arrangement placements and guitars that occupy increasingly more space within the composition. There are powerful riffs in the middle of the song, while its ending is marked with significant fade out and silence.

Now, it's time for the apogee. A composition of "Termination Sequence" is long, for a reason. At first, it reflects what's labeled as cyber metal or futuristic metal thanks to specific sound effects mixed into the guitar driven arrangements (with a guest solo by Archaon) and a fiery performance. It then falls into an intriguing abyss of dark ambient soundscapes - drones, tiny buzzing, haunting passages, motifs of ocean and outer space, etc. - the mood changes drastically. The musicians deserve a standing ovation for the way they morph the end of the dark ambient part with the arrangement that follows, seamlessly leading through industrial tunes into metal again. The band accumulates all the features present in previous songs - diversified arrangements, a murky atmosphere and an explosive blast in the darkness. Not many metal artists can do it skillfully but In-zekT prove themselves. "Termination Sequence" is the other best track on the album, in terms of its overall value.

"No Fate But What We Make" begins with a healthy heartbeat, followed by sampling and altered, piercing guitar riffs as heard in some djent compositions. Vocals are slightly modified with distortions and SFX. The overall dynamics resembles a thunderstorm, yet changes throughout the track, including ambient passages. The middle of the song is melodic and memorable, with soft and gentle vocals. Yet another excellent conjunction between this and the return of guitars calls for respecting the musicians' skills.

The final two compositions, "This is Not an Exit" and "[0]" include a fair share of electronic and experimental sounds with additional samples provided by Vegard Dølerud. Guitars and metal arrangements appear throughout both compositions.

"[0]" is a noisy limbo, as experienced by someone attached to a rotary drill digging a corridor in a coal mine. The noise however slowly loses its dirty, confusing power to gain a dark ambient atmosphere in the end. It's a 22-minute long composition (that's how professional noise composers do it - check out i.e. the maestro known as Merzbow) - it may sound tiresome for most, but fans of experimental music should appreciate it.

In_zekT's artistic need for expression forged into Artifex resulted in a powerful, yelling blast and cold furious sounds penetrating deep enough to re-program your DNA - all that to make you remember their songs for a long time. Artifex keeps a perfect balance. The trick here is that both passionate and dark sounds build up a contrast which makes arrangements/songs emphasize one another. Moreover, this creates an acceptable tension, a method commonly used in classical music compositions.

This release is available in both digital and physical formats (digipack). Don't steal it, buy it. Support the band, because they turn their brainstorming into innovative music, successfully. The high quality of mastering and production (done by Peter and Kjetil with an additional engineering of Ronny Furuseth Kaasa) should help the album climb high in alternative music rankings.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, February 18th, 2014. Proofreading: Mike 'Vesper' Dziewoński)

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=525

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Reviewed by Fabryka Music Magazine

Dead of Day - Sick and Twisted

Dead of Day - Sick and Twisted (song review) |self-released, single, 2014| 4/5 metal

Dead of Day is a British one man metal project formed by musician/songwriter Rikki Siddle in late 2012. Inspired by music of bands such as Machine Head, Pantera, Killswitch Engage or Metallica, he released Walk in the Shadows EP in 2013.
Wrapped with heavy arrangements and angry moods, "Sick and Twisted" is his brand new single. Its beginning is exemplary of the exact sound that develops throughout the whole composition. Some bands prefer to utilize the so called 'wall of sound' (played in unison or individually), usually in the third part of a song - just before the end. Instead, Dead of Day uses a heavy mix of downtuned bass, chunky guitar riffs and dense drum beats in the first part of the track.

The arrangements smartly repeat and there are similarities to what we've heard so far on older Metallica albums. Guitar riffs entwine with bass and drums quite often within the song, weaving a stitched pattern. This type of composition keeps listeners energized and ready for headbanging.

The lyrics express disappointment being mislead by someone’s false self-presentation, perhaps due to a friend’s betrayal: "You're not the person you portrayed / Routine life your masquerade", "Your moral compass is corrupt / Shouts for forgiveness are unjust / The thoughts of what you could have done / Sick and Twisted pass the gun".
Rik doesn’t sing here - he rhythmically utters the lyrics with a haunting, hateful voice. This vocal method is quite characteristic of metal and hardcore music, yet well matched to Dead of Day's sound.

"Sick and Twisted" could definitely benefit from a better mastering and production process. It’s understandable that an artist in this genre would want his music to be rough, grainy and noisy. Yet even a reliable 'garage quality' tune can be cleaned from unnecessary noise, then polished to keep the original sound, with much improved quality. Such mastering services are usually pretty expensive, but there are many on-line & print resources that allow for a bit of sound engineering DIY.

Regardless of that, "Sick and Twisted" does sound catchy in its own heavy way, thanks to a lively dialogue between choruses and responsive guitars. They fit in the groovy background created by bass and drums very well. It's also nice to hear the riffs cut abruptly at the end of the track, where one would expect one more repetition.

According to Rik, his main focus has been on songwriting and recording, but he hopes to hear other bands record and perform his songs as well. Whether it’s about licensing, writing or performing music together or just being a passive listener, you should visit his website to give his other work a spin.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, February 6th, 2014. Proofreading: Mike 'Vesper' Dziewoński)

This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=524

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Reviewed by Fabryka Music Magazine