Artist Proof – New Day

Artist Proof – New Day (song review) |self-released, single, 2015| 4/5 rock

"New Day" is a single by Artist Proof, an indie rock band from Melbourne, Australia. Artist Proof consists of song writers Chris Pattenden and Drew Schapper, supported by Dan East (guitar) and Chris Rourke (bass). They are not your typical sound only-orientated musicians however, because they enjoy collaborating with (and are inspired by) other people who express themselves through art – just like teaming up with, for example, artists who paint murals while the band is performing in the same room.

"New Day" is also kept close to art since it was inspired by the paintings of Melbourne-based artist Dagmar Cyrulla. Her art captures random moments in the lives of ordinary people of all ages, genders and races.
The song begins with a delicate yet not too highly pitched piano, sufficient to let the emotions come out by opening the listener’s heart. It is then followed by a male voice, characteristic enough to remember it after the first listening. Interestingly, the voice sounds as if the singer was much older than his actual age would suggest (obviously it is not always a rule to 'sound' according to one's age).

Once the piano paints the song theme in the beginning, the bass and drums slightly change it in the latter part of the song. Gradually, a vibrating guitar tune and the aforementioned instruments join the singer. They sketch the rhythm, along with adding more sound layers, building it up towards the chorus. Upon reaching it, the initially sentimental song turns into a full-blown rock track, though it's still based on a rather slow tempo, letting a listener focus on the poematic vocals better.

The strong melody line in the song indicates that musicians have been inspired by the 70's & 80's music, with its characteristic traits present in songs by Freddie Mercury's Queen, Pink Floyd, David Bowie - but also Peter Murphy at times - due to their theatrical, ethereal and slightly dramatical expression. The arrangements were carefully chosen and sewn into the composition.

The song is good as is, but will also make for a good background when matched with an equally emotional video, preferably aimed at the younger part of the population. Still, since retro seems all the rage now, it wouldn't hurt to show older people who catch up with their younger selves, either. Is the song inspiring? That depends on your own blood pressure. If it's high, your body feels better hearing moody, melancholic, almost transparent tunes, and it'll thank you for playing "New Day". If only heavy or very dynamic music can get your body moving, you should rather choose a different song to accompany your morning coffee.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, June 22nd, 2016. Proofreading: Mike 'Vesper' Dziewoński)
Source: http://industrialrock.net/php-files_en/articles.php?article_id=581







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Merrin - Mr. Dominant

Merrin – Mr. Dominant (song review) |self-released, 2016| 5/5 rock, pop, funk

Merrin are a band from Wellington, New Zealand. Judging by their newest single's vibe, the quartet is aiming to gain attention worldwide, presenting a potential hit - something the music industry is always on the lookout for.
The song's low, energizing groove and excellent vocals should agitate listeners already from the very beginning. The arrangements placed swiftly within a solid body holding the entire composition, clearly shared between verses and choruses, make for a really catchy and powerful song. Any chart topper needs to have some repetitions to remain memorable, but in this case there’s not a single second of boredom here.

'Mr. Dominant' begins with vocals that are followed by drums (Richard Maxwell Jr), guitar (Karl Wootton) and bass (Lisa Tagaloa). The rhythm is bouncy making the track instantly memorable, yet it ends on a perfect, popular note with all instruments bringing the rhythm to a gentle stop. Melodically, 'Mr. Dominant' fuses rock, pop, funk and metal vibes thanks to edgy guitar riffs, the overall structure, and the catchy groove. Riffs and drums are less dense, unlike when utilized in purely metal tracks, so the song may find its way to various listeners, not bound to any specific genre. Every instrument, including the voice, has accurate placement, and everything is timed flawlessly. Even if the song may sound spontaneous at first, there's quite a lot of math hiding underneath.

The timbre of the vocals is very interesting, since they sound quite 'androgynous' - the voice could belong to either a woman or a young man, and it’s hard to say before you have a look at the band’s line-up. It's rebellious, confident, and distinctive - it can tap into higher notes easily but it mostly keeps a lower, almost masculine tone somewhere in the middle. Its range intrigues as well. To satisfy your curiosity, the person behind the voice - Charlie Phillips - is female. Being gifted with a voice like this, she should expect many opportunities in the music industry (and beyond, e.g. voice acting in movies or games) sooner or later. It seems that singing comes effortlessly to her - on top of that, her voice is easily recognizable.

Lyrically, 'Mr. Dominant' refers to the act of seduction of an alpha-male man, so called 'the old electric masculine' driven by own ego and thus, always wanting to be in control. How could a female be in control of such a guy, then? Using her sexiest attributes, according to the song writer.

Overall, the song is great for any kind of media placement, and will surely stir the physical energy of listeners, whether it is aired on worldwide radio or included on a personal playlist. The song's recognizable fragments may be a good match for a TV advertisement as well. Guano Apes, Nico, Living Colour, Deftones, and Rage Against the Machine - you could probably name these if you really need a sonic reference, but make sure to check out other songs by Merrin, streamed on their social profiles.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, May 12th, 2016. Proofreading: Mike 'Vesper' Dziewoński)

Source: http://industrialrock.net/php-files_en/articles.php?article_id=579

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Interview with Gilbert Engle - painter and musician

Interview with Gilbert Engle*

I would say it has become much easier to create very high quality works since hundreds of years ago. The potential options are unlimited. As mentioned, the problem is that there are way too many people who want to be artists and musicians. There is just no way to fund everybody.

http://industrialrock.net/php-files_en/articles.php?article_id=578

*Gilbert Engle has been composing music for over 30 years and creating art for 25+ years. With over 600 music compositions, 50 albums, 200 visual works and 80 paintings completed so far, he has always had a small, but dedicated fan base. As he has found the time and backing to devote full time to his passions, Gilbert has built the newJazz.net portal to provide free access to most of his completed and upcoming works and to share his passion with a global audience.
 

Interview by Fabryka Music Magazine

Gianluca John Attanasio - Beyond2Doors

Gianluca John Attanasio - Beyond2Doors |House Of Clouds, 2020| 4.5/5

1. King Money, 2. Black Forest, 3. In The Club, 4. I Lost My Angel, 5. God Save Every Soldier, 6. Baby Up Baby Down, 7. Sacred Flight, 8. The Life Will Continue, 9. Living In My Blues, 10. Miss Dog, 11. In The Morning, 12. Silent Roads, 13. Time Is Over

The new album of Gianluca John Attanasio took 3 years to compose during his travels between Rome, London, New York, and Los Angeles. Not only did he write music for independent cinema, theatre, and the dance scene, but also composed, arranged, and produced music during the last 15 years. This is clearly audible to careful listeners experiencing any of the tracks present on Beyond2Doors.

Thirteen brand new tracks offer a blend of many genres - blues, psychedelic rock, rock ballad, or even hip hop. All are united by the lead singer's confident and somewhat raspy voice.

'King Money' brings a typical blues feel and expressive, well trained vocals. Both arrangements and composition keep the classic tone here and, therefore, will be loved by the sound purists. The rocking vibe provided by the bass and drums is additionally contrasted with the higher-reaching harmonica. 'In The Club' is also a track that fans of The Blues Brothers may dig from the very beginning - the odd (but fitting) addition being psychedelic organs. The chorus is extremely memorable thanks to various repetitions and the overall melody. 'Black Forest' is kept in the same vein - swinging sounds just as easy to remember. Vocals, synths, and bass are accented mostly at the beginning, while the guitar and drums take over a bit later, collaborating nicely when the chorus appears. Skillfully written arrangements allow for vocals to be either highlighted by instruments or shine on their own.

Attanasio's admiration for The Doors is obvious in two of the thirteen tracks. 'Baby Up Baby Down' shows it through the use of a synth (perhaps even the famous Moog) and improvisation-like arrangements, perfectly placed within the song. Even if the singer's voice is rougher than Jim Morrison's, it matches the guitar driven musical explorations, from blues to metal. 'Silent Roads' carries the subtle, magical vibe of the iconic 'Riders on the Storm', bringing along a hefty dose of synths. There's a lot of motion in the background and the vocals are matched with these arrangements very well.

As for the ballads on the album, 'I Lost My Angel' is a track suitable for a slow, romantic dance for two, thanks to its melancholic vibe carried by guitar, bass and drums. The other half of the song includes a slightly vibrating guitar solo and a subdued synth. 'Living In My Blues' is kept in a homogenous mood, though its tone is more swinging than that of 'I Lost My Angel', with the guitars accented more strongly at times. Vocals appear frequently and are on par with all the other instruments. It's highly recommended you listen to this one with your eyes closed.

'God Save Every Soldier', as the title suggests, is a tribute to those who have been sent to fight for peace. The song includes a really surprising melody change - with the unexpected arrangement sounding more electronic, including a minimal dose of deep techno bass and a slightly faster beat. It makes the track sound less epic, though the overall mood is peaceful.

Move over, synthesizers - it's time for the piano. 'Sacred Flight' brings piano arrangements with the accompanying lyrics delivered by Attanasio's down-tuned voice, sounding more intimately than in other songs. When it comes to the atmosphere here, hope and drama keep interlacing. The piano arrangements continue in 'Time Is Over', but the style is that of a pop/rock ballad - similar to something you would hear on a Foreigner or Elton John record. The romantic atmosphere is expressed with additional samples of rainfall and subdued thunder, mostly in spots where the vocals take a break. Furthermore, it's easy to imagine 'Time Is Over' being performed by an all-stars crowd at a fundraising concert, bringing back the spirit of the 80's and Bob Geldof's & Midge Ure's Live Aid.

While the piano took over for 'Sacred Flight', guitars get to rule across 'In The Morning'. Instrumentally, it's still kept in an acoustic mood, but it's more rock-oriented, akin to Eric Clapton's music, with the vocals recalling those of Billy Joel. 'The Life Will Continue' has a warm vibe, but the accenting bass and drums take it into rock territory, with a high-pitched guitar soloing in the background, letting the synths and Attanasio's voice be more expressive. The song's production is a bit different, perhaps due to some additional ambiance surrounding vocals and guitar, as if they were recorded live on stage, and later mixed and mastered.

At the opposite end of the musical spectrum presented on the album we have 'Miss Dog', offering a complete change of instrumentation, mood, and style. It contains a lot of skillful borrowings from hip hop and modern pop music, utilizing a faster, danceable tempo and somewhat graded vocals. The lyrics are quite ironic though, referring to the idea of how the hip hop scene uses sex and women as their major song-writing inspirations. 'Miss Dog' may become a steady hit on air if offered to the right broadcasters.

Clearly, Gianluca John Attanasio recorded the album with a lot of moodiness in mind, rather than expressive dynamics. There are clearly emotions at play here, but performed rather retrospectively, with reflection trumping reaction.

Lyrically, Beyond2Doors touches many topics - from an inner journey into the self, discovering emotions, learning from karmic (romantic or erotic) relationships, a dash of loneliness, but also expressing support for soldiers. Since the album is a trip into the blues rock of the 1960's, it's highly recommendable for listeners of all ages who prefer well developed, unhurried tracks coming from the heart.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, June 21st, 2020. Proofreading: Mike 'Vesper' Dziewoński)

Source: http://industrialrock.net/php-files_en/articles.php?article_id=577

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Reviewed by Fabryka Music Magazine

Heretics in the Lab – Exit

Heretics in the Lab – Exit |self-released, 2016| 5/5 industrial metal

1. Death, 2. Atrocity, 3. Precious, 4. Forever, 5. Special, 6. Sorry, 7. Rise, 8. Away

When you listen to an album that begins with a mix of looped, agitating sounds of hammering and machines, supported by quick and heavy guitars, then you’ll recognize the genre straight away. Indeed, Exit is a direct trip into the mainstream industrial metal music of the 1990s, just as fans memorized its best characteristics back then, with a distinctive sound that created a whole subculture.

Heretics in the Lab (the original spelling is hERETICS iN tHE lAB) is a one man band from Virginia, US formed in 2004. Thomas Morgan, who uses "h3" as his artistic moniker, is a self-taught passionate who does everything literally from A to Z. Both recorded songs and music video singles that promote various tracks from the band's discography come from him. Obviously, additional live musicians are hired for live shows, but the entire studio work is done entirely by h3.

The newest album brings eight, highly (and equally) energizing songs. If you, the 90's industrial rivethead, had lost hope for the arrival of any flooring albums by once recognizable industrial rock and metal artist such as Marilyn Manson, Nine Inch Nails or Powerman 5000, then Heretics in the Lab will make your dreams come true, in lieu of these bigger names. People new to the genre can find the album entertaining as well, thanks to its dynamical, aggressive vibe.

Let's look into the tracks in detail now. 'Death' is the intro to the album, with a plainly industrial theme mentioned before. It is also enriched by sampled speech. The track sounds mighty thanks to a skillful blend of briefly scratched, predatory guitar riffs and drums laid only in places where the composition requires and allows that.

Sonically, the introduction's foretaste shouldn’t mislead you, since 'Atrocity' begins with a closely packed, pulsing sound of some device, of possibly a medical purpose. Medical references – nurses, syringes, hospital, blood, scars, drips, patches, and bandages are often utilized in modern but not less mainstream industrial music, thus you've got a bit of a refresher here. The high beat is then empowered by a deeper drumbeat and the listeners are taken into a twister of all kinds of overlapping sounds. These are still kept under rigid control by the overall composition, which can be witnessed in the song's very end when the wall of sound is slowly cleaned and pulled down, leaving only the buzzing guitar to accompany you on your way to the next track.

The industrial opening of 'Precious' sounds very haunting. The song is accompanied by a promotional music video single (check out the band's YouTube), full of rapidly firing, thought-provoking images - long-time industrial music fans should be familiar with such visuals. Since they are matched with the song's aggressive theme and rhythm very well, I don’t think many viewers can complain. The sound effects and memorable vocal lines combined with raspy guitars will guide careful listeners back to ”the best of NIN” and act as a strong reminder of the vibe known from the now legendary Broken and The Downward Spiral albums.

'Forever' brings a lot of clicking electronica in the beginning, but then lashes out with metal through slow and heavy guitar riffs. Surprisingly, vocals are kept rather high and peaceful here. After hearing the intro, metal fans would obviously expect growling, expressive screams or other emotional explosions found within the verses. This changes a bit when the chorus comes, the vocals however are mixed with a voice effect that makes the song's overall vibe mechanical. When accompanied with spoken rather than sung lyrics (similarly to many other songs on this album), the track becomes a good reminder of Manson's mortuary, somber, tormented music, not deprived of memorable dynamics either.

'Special' is a potential hit with its clearly and rhythmically spoken lyrics, dynamic bass, drums, and noisy guitars - as well as highlighted moments of anger. It’s very memorable and will definitely work well during live performances. After that, 'Sorry' arrives with a bit more of synths, making it sound like an 8-bit game music memorabilia at times. Aside of distorted vocals, edgy vibes and a slightly 'outer-space' atmosphere (through the aforementioned synths), you'll also come across a sweet electro-pop melody appearing in choruses.

'Rise' is a track partially different from the others. Not only is it entirely instrumental, but also driven by a distinctive, graded, simple and recurring bassline. This, blended with a melancholic piano gives the song a flavour of NIN, Primus, and Joy Division smelted together. Listeners would perhaps expect more of that theme to be extended further, since the melody and mood progress in an intriguing direction.

The grand finale of the album titled 'Away' is a lovely tribute to NIN with its typical setting within arrangements made for lyrics and shortly outlined guitars, as well as a groovy, haunting background including synth and drums. Everything in 'Away' is pure synergy spiced up with matching vocal expressions and yet, it's skillfully connected with 'Death', the album's opener. This is an excellent potential hit that deserves either a music video single or serving as a soundtrack to a short movie.

Overall, Exit is a pleasant and engaging listening experience. All tracks are pretty short but it's almost required for catchy and potentially popular songs to stay under the five minute mark nowadays. In addition, many of these tracks could make a good match with s/f and adventure movies (think of the Marvel series or David Lynch's weirdness). Special attention should be paid to the vocal work of h3, who perfectly catches up with any tempo changes present throughout the album. Industrial metal and rock music fans are highly advised to get this album and support h3's endeavours – you won't be disappointed.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, April 18th, 2016. Proofreading: Mike 'Vesper' Dziewoński)

Source: http://industrialrock.net/php-files_en/articles.php?article_id=576

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Reviewed by Fabryka Music Magazine

Ethan Pell - The End Is Now

Ethan Pell - The End Is Now (song review) |self-released, single, 2015| 4/5 soundtrack

Nuclear weapons and their use resulting in mass destruction have been a source of inspiring fear for many authors since its proven, long lasting effects have been historically witnessed in Hiroshima and Nagasaki. As if the weapon's impact hadn't been already tested enough, rocket makers permitted by governments have kept trying out their products through 'nuclear tests' which affected the Earth's natural structure, its people, oceans and stratosphere most negatively. A post-nuclear tremor does also leverage the planet's natural energy/vibration - therefore, sensitive people who are not even close to the test site can still feel its friction, which is just as disturbing - we all are vibrational beings after all.

A number of sci-fi writers, video game developers, movie directors, graphic designers, musicians, and other creative individuals have been trying to illustrate life's development and its limitations if such bombs were simultaneously unleashed in many locations around our planet. The idea of post-apocalyptic survival behaviors and all life aspects being turned upside down (or often reverted) feels both fascinating and terrifying. It also resonates with Ethan Pell - a Canadian musician from Montreal, who tried to depict such an event through his 'The End Is Now' song. His direct contact with musical instruments started when he was a child, but he still keeps trying to learn more each year. Currently, he's studying at a music school, specializing in jazz, and focusing on playing the guitar, hoping to utilize some of the gained knowledge through writing progressive and space rock compositions.

The song starts with a moment of silence followed by a sad piano leitmotif, supported by electronic, vibrating sounds. Both are then joined by a raspy, weeping guitar solo with a slow, well matched drum and bass rhythm in the background. The guitar solo receives a hard rock ballad-esque tone later on.
The song may seem purely instrumental in the beginning, but vocals appear after the track's fourth minute. The voice is distorted, as if the vocalist was only a shadow or suffered from radiation illness in the post-apocalyptic world. The vocals are skillfully transmuted into noise (or wind) at the end. This allows listeners to imagine the 'before & after' landscapes – the same area, once alive and covered with fresh grass and flowers, now a dead and barren wasteland with specks of ash lifted by the wind.

The song and its dramatic mood obviously refer to a post-event reality and bring themes such as loss, sorrow, hopelessness, ending, surrendering, and a monochrome scenery to mind. These motifs touch the heart and soul, turning very memorable when the song eventually stops. Thus, 'The End Is Now' can be a great song for a short movie with a matching theme or setting. The composition and arrangements are very accessible - they don't bring any unnecesary, knotted complexity within. On the production side, the whole track was put together on an iPad with Garageband.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, April 2nd, 2016. Proofreading: Mike 'Vesper' Dziewoński)

Source: http://industrialrock.net/php-files_en/articles.php?article_id=575

Buy on: Bandcamp


Reviewed by Fabryka Music Magazine

Interview with MSHAA

February 13th, 2016:

Interview with MSHAA (industrial metal, electro metal, Poland)

NINa: Which acronym of the band name's meaning resonates with you best?

CS (Cien Soulwhore): They are two equally important acronyms... The first meaning - Mary Should've Had An Abortion - is to criticize religion and encourage people to do their own research about the real history of Christianity...
The Catholic Church started persecuting and killing non-believers as early as the 4th century. The slaughter of heretics, Jews, atheists, agnostics and pagans was supported by Vatican for over a thousand years. The cult of Jesus has been used to create the false empire, built on slavery, torturers, murders and pedophilia scandals. Prevailing religions were implemented by way of violence, which makes the Christians at least as adept at mass murders as the Jihadists. Holy Inquisition murdered nine million women, worshipers of the Great Mother, accusing them of satanic witchcraft. The native population of what is now South America was literally massacred going from 80.000 to 10,000 people. They've destroyed the pagan cultures, dissipating the real legacy of first holidays. So if people cannot draw any conclusion from the life and death of their "messiah", then perhaps the "holy birth" propaganda was just a waste of time.

Read full interview here 

Dystopia album review: here


Interview by Fabryka Music Magazine

MSHAA - Dystopia

MSHAA - Dystopia |self-released, 2015| 4/5 industrial metal, electro metal

1. Dystopia (intro), 2. No Way Back, 3. Nuclear Fallout, 4. Beyond The Lambs, 5. The Earth Is Bleeding, 6. Suck My Gun, 7. Dealer, 8. We're Used To The Rules Of The World We Made Up, 9. Walking In My Shoes, 10. The Imperfect Gods, 11. Delusion, 12. Dehumanized Society

MSHAA was founded by Cien Soulwhore (vocals/synths/programming) in Poland in 2011, who was afterwards joined by cEndyman on drums and Darth on guitar. According to the musicians, the acronym can be translated to Mary Should’ve Had An Abortion but 'msza' also means 'holy mass' in Polish. MSHAA's sound can be described as a blend of dark electro, industrial, cyber metal and horror, traditionally inspired by music of Ministry, Rob Zombie, Marilyn Manson, Skinny Puppy, or early Nine Inch Nails. When it comes to the subjects covered on the album, the songs describe degradation of the human kind, media manipulation, as well as enforced theocracy.

At the very beginning, listeners - citizens of Earth - are greeted with a message from aliens or ancient spiritual guides. The spoken words are floating in a cloud of airy, noisy, modulated sounds and accompanying SFX. Initially the first full track on the album - 'No Way Back' - continues this motif from 'Dystopia (intro)', but then a high electro synth comes in at full force and takes the lead. Since the song's subject and mood sound uneasy, the synth is joined by drums, guitars and vocals simultaneously, adding more heaviness and torment.

'Nuclear Fallout' seems like an evergreen theme amongst industrial music fans because it conveys both fear and fascination with the possibility of global annihilation and the curiosity of what would happen next. The song makes for a neat reminder of 90's simplistic aggro-industrial as it's based on a marching rhythm, guitar riffs and hateful vocals. Another classic theme - organized religion with its close-mindedness and superstitious fears - appears in the form of 'Beyond The Lambs'. It begins with agitation, thanks to the fast tempo and modern vibe provided by the mix of heavy guitars, jumpy drum beats and synths. Verses and choruses sound much more distinctive and separate when compared to the previous track.

'The Earth Is Bleeding' sounds hooky from the very beginning thanks to its dynamic 'phat' beat and aggressive vibe - a solid reference to 90's industrial music in the vein of Skinny Puppy. The song warns against a foreign nation draining natural resources such as oil in other countries under the cover of bringing peace and protection. The choruses are memorable, and the general production is very sharp, both making this track a true hit. The bouncy rhythm continues into 'Suck My Gun' as well, which is an 'electro' reply to Marilyn Manson's music, with equally explicit lyrics about a psychopathic murderer looking for revenge due to a failed relationship. The atmosphere feels dense and sluggish with the song's heavy instrumentation, though the choruses are catchy. 'Dealer' has a lot of hit potential too and will be instantly noticed by fans of industrial metal. This composition is one of the best on the album because all arrangements are equally distributed throughout the track, instead of being simply collected and repeated. Plus, the guitar riffs use in the track infuse the body with a nice vibration.

The multi-layered melodic lines and sounds along with declaimed lyrics engage both ears nicely in 'We're Used To The Rules Of The World We Made Up' which mirrors the naive yet twisted atmosphere known better from Skinny Puppy's music. The subject matter here refers again to false spirituality that provides no care to its supporters, but is focused on own financial gain first and foremost.

If you're looking for an earworm, 'Walking In My Shoes' is a very strong candidate. Not only does it have a memorable melody line together with wicked vocals aligned to an average tempo, but also a clearly dystopian atmosphere and grim lyrics. Next, 'The Imperfect Gods' speaks about gods of technology whom the narrator blames for arrogant and spoiled humans, triggering wars based on fearful survival instincts. A high-pitched, disturbing synth starts it all off and continues throughout the track. This motif is layered with down-tuned guitars, a damped beat and distorted vocals, although the synth occasionally comes back to the surface.
Obviously, love as a topic couldn't have been skipped on the album, since that emotion is an inseparable part of the human life. 'Delusion' speaks of a romantic disappointment, accompanying the album's joyless atmosphere. It sounds more electronic than guitar-driven and the song lyrics match the instrumentation very well - they leave space for both parts to balance and then combine together.

Finally, gadget lovers should pay attention to 'Dehumanized Society', which also provides more beats, industrial noises and vocals rather than guitars, ending the release on a lullaby-like note. The vocal style suggests that we can sleep safely now since there's nothing to worry about - we have been reduced to files in a human database, notoriously tracked and controlled by various electronic devices, deprived of privacy, comfortable alternatives, and the liberty of opting-out.

Dystopia, just as the title suggests, is not an uplifting release and it clearly wasn't meant to be one. The depth of drums usually sounds alike in most songs, perhaps to reflect a lifeless society's tedious rhythm. The endings of most songs could have been re-worked to intrigue listeners a bit more, as they sound a bit too plain. Also, some tracks include too many vocal parts and may feel over-saturated. Cien Soulwhore uses a distorted, ugly, and vile voice on the entire album. It sounds as if he turned into one of the human monsters-to-be to send a warning to the modern civilization, pointing out the issues threatening Earth and people. Explicit lyrics are not a rarity on this album. However, despite of such wake-up calls, the lyrics do not offer any solution, except for questioning authority or simply making a noose for yourself. In fact, Poland seems to be a fertile ground for establishing such a project - an artistic protest against organized religion with its bigotry and clearly financial directives, the misuse of which has also been supported by the current right-wing government.
Songs like 'The Earth Is Bleeding', 'Suck My Gun', and 'Dealer' show the band's expressive potential the best. Buy this album if you wish to get a taste of hopelessness, although a few songs on the tracklist may give a solid boost to industrial and electro dance-floors too.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, February 13th, 2016. Proofreading: Mike 'Vesper' Dziewoński)

Source: http://industrialrock.net/php-files_en/articles.php?article_id=573

Read also: Interview with MSHAA (2016) here



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Reviewed by Fabryka Music Magazine

Barefaced Liar - Mind Over Matter

Barefaced Liar - Mind Over Matter (song review) |self-released, Mind Over Matter, 2015| 5/5 pop/rock

The human brain when bombed with negative news and images every day becomes either over-sensitive or indifferent. The topic of 'Mind Over Matter' refers to the fear of unknown. This emotion often freezes the heart but kicks the brain into survival mode. The track encourages to face unidentified issues to discover their true colors and then make one's individual judgment instead of acting pre-maturely based on other people's superstitions. Music has been used as a successful method of therapy since the ancient Greek times and Barefaced Liar's 'Mind Over Matter' is a continuation of this tradition, thanks to its super positive melody and irresistible rhythm, aside of prompting lyrics.

The song begins with a neat and high tuned guitar, with a full blown rhythm section adding a groovy vibe to the opening arrangement soon afterwards. The majority of these arrangements is based on uplifting sounds brought by vocals and guitars. The lively sounds of bass, rhythm guitar, and drums bring forth a darker, heavier tune into the song's background, making for a neat contrast with the opening leitmotif. The composition is open yet controlled by arrangements, even though the sound spreads really wide when the chorus comes up. Akshay's voice is soothing and pleasant for the ear, but kept in a rock vibe. Vocals intersect with instrumental parts perfectly – they are fitted within the composition tightly to engage your attention until the very end. In addition, some arrangements are kept out of the stream to prioritize vocals at times, proving professional song-writing.

The Barefaced Liar duo undoubtedly have taken their lessons in pop music structures. Firstly, vocals finish in all the right spots, and there’s a fade-out effect used at the end of the track. Secondly, the opening and closing arrangements are the same which perfectly binds both ends of the track for looped replaying. Thirdly, choruses are full of prolonged 'oh-oh' which is an evergreen method for creating a non-intrusive mood and makes for memorable track as well. It'd be difficult to find anybody who could resist reacting spontaneously to such melody and performance when combined.
All of the above prove that 'Mind Over Matter' has a lot of well-knit hit potential for listeners of all ages, and doesn't sound boring after giving it a few more spins. Moreover, this all-embracing track should be a good match for all kinds of media opportunities ranging from ads to series.

The song was composed and performed by two friends since high school - Akshay Chowdhry and Sumant 'Bala' Balakrishnan - from Delhi, India who decided to try their musical skills in making modern rock music. They have released 3 albums since 2008 and their newest, Mind Over Matter, was mastered by Jens Bogren (Fascination Street, Sweden). He is a notable name in the industry, with credits on albums by Devin Townsend, Opeth, Marty Friedman, and many others.
Barefaced Liar sound like a good duo to Like on Facebook and their song will be the perfect addition to your mobile phone’s playlist, assuming you enjoy intelligent pop-rock tunes.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, January 29th, 2016. Proofreading: Mike 'Vesper' Dziewoński)

Source: http://industrialrock.net/php-files_en/articles.php?article_id=572

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Reviewed by Fabryka Music Magazine

Sekten7 - Skyfall

Sekten7 - Skyfall (song review) |self-released, 2015| 4/5 industrial metal

Industrial metal band Sekten7 - as well as New Breed Invasion - are projects established by Brazilian musician Daniel who wishes to remain partially anonymous. He releases these and other, more ambient-orientated songs through his own Tribeleader Music label. His new song entitled 'Skyfall' conjures forth a dark, distorted guitar-driven atmosphere with lots of gravity.

'Skyfall' does not have a specific intro since said chunky guitar riffs along with a less deeper drum beat open the track without delay. Vocals are altered through the use of effects and the resulting slightly demonic tuning perfectly matches the overall hellish atmosphere. You'll also hear a quick roar of a Jericho-like trumpet that could illustrate the sky opening and the angel's fall. A captivating, angelic voice appears in the background soon after – akin to that of a mermaid from Greek myths, tempting a lost soul to approach closer and stay forever. Such a soothing add-on instantly dissipates the heaviness with light and beauty, while guitars and drums continue dictating a moderately fast tempo until the end of the song.

Interestingly, there's a love theme within this serious, down-tuned song. A demonic narrator speaks of finding the perfect soul mate ("She is just like an angel / That fell from the sky") who makes him feel one with the girl and the entire Universe ("You look in her eyes you see the light / You follow the light into the stars / Into the sky / Into eternity"). He then marries her to live together, forever. Ancient history knows such love stories - Plato wrote about the perfect soul split in two, remained entangled and longed to become one again. Though as romantic as it sounds, persisting on the path towards a reunion becomes a challenge here. The reality proves that even if meeting such a perfect mate is very likely, the ego often sabotages the needs of both heart and soul. The brain makes people run from fear of inexplicable things and the overall spiritual transformation such a love companion triggers.

The key instrumental parts of 'Skyfall' repeat very often, but since they are enriched with various effects (ie. stretched to depict a flight into the stars), they do not become boring. However, since the lyrics speak of a life-changing event, a careful listener could be forgiven for expecting a more pronounced development in the composition as well. If such a phenomenon becomes a breakthrough in the narrator's life, arrangements could have been equally altered to illustrate a distinct division between the 'before' and the 'after'. The difference here sounds very subtle though. Nevertheless, it's still a solid, dynamic track, letting the listener dive into a sea of guitar-driven noisiness without having to pay much attention to less important details.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, January 20th, 2016. Proofreading: Mike 'Vesper' Dziewoński)

Source: http://industrialrock.net/php-files_en/articles.php?article_id=552

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Unified Past - Peace Remains In This World

Unified Past - Peace Remains In This World (song review) |Melodic Revolution Records, Shifting the Equilibrium, 2015| 5/5 progressive rock

Progressive rock turned out to be a fertile ground that has been developing successfully for the last 40 years. While older listeners started their sonic journey from lengthy and serious compositions by ELP, Genesis, King Crimson or Pink Floyd in the 70s, and their successors danced to the 80s music by Yes, Jadis, Rush, Marillion or Asia, fans of the genre nowadays enjoy an amazing spectrum of new bands to choose from, not just traditionally coming from UK or USA, but virtually every corner of the world. Moreover, a significant subgenre of 'prog' - progressive metal - revitalized the metal scene. However, writing such music demands a lot from musicians - they simply must be really pro(g? ;-)) about composing, performing, collaborating (which usually includes a lot of improvising, writing/reading musical notation, studying music theory etc.) because time signature is what progressive rock loves. If the time signature is put in a wrong spot, the joy of listening is pretty much over, unless you prefer to enjoy experimental sounds.

Based in New York, Unified Past has been continuously taking the progressive rock scene by storm since 1999, and accelerating their ascent every year. The 'Peace Remains In This World' single comes from their newest, 7th album titled Shifting the Equilibrium (2015). A chance listener doesn't have to be a die-hard fan of prog to feel the track's vibe resonating within their body, since the song has loads of unquestionable depth, juiciness and spirit.

The songs' intro sounds typical for the genre thanks to the cold virtuosity of Stephen Speelman's keyboard work, but what follows are heavier, modern guitars and a spacious drum sound. When the bass shifts to down-tuned notes, the keyboards continue their lively leitmotif. Dave Mickelson uses the lowest notes on the bass at times, literally dragging the balance 'down', especially when compared to keyboards and vocals (which, in turn, stretch the composition 'upwards').

The chorus brings an excitedly-sounding keyboard arrangement, making your ear focus on that instrument, though it does take a second row seat in favour of vocals and bass at perfectly chosen moments. Victor Tassone provides masterful drumming, produced to stay in the middle of other instruments, providing the composition with a solid backbone. All arrangements repeat and yet remain spirited until the very end of the track.

Phil Naro's voice is quite high (but not as high as that of Jon Anderson's of Yes fame) and sounds very upbeat, both attributes making it characteristic. Interestingly, the top vocal part makes for a separate melodic line at times, and is perfectly supported by the instrumental melody in the background.

Overall, the composition (spanning seven minutes) is open and includes many matching variations - imagine spirals spinning inside spirals. It sounds as if all instruments were biting the composition from every possible direction - at times simultaneously, then letting only one of them feed. This means that every musician got enough of space to showcase his skills. Therefore, peace and balance kept far from boredom remain present throughout the entire track and engage your attention along with dynamical, intersecting instrumentation. The arrangements oscillate between cold and warm vibes, and the tempo and time signature change pretty often. Such contrasts along with memorable melodies are always a turn-on for any sensitive ear and stimulate brain waves a lot, too.

Finally, the song's subject is a peaceful reminder about keeping serenity in the world through refreshing the values that once used to matter, such as authentic spirituality ("Time to go inside") and kindness. Making peace and not war or money is humanity's goal - our lives are very short when perceived through a broader, time-related perspective. Therefore, it's pointless to waste all that precious time on provoking one another, leading to easily predictable results.

Thanks to such a mindful theme and non-aggressive (yet lively) music, many listeners will certainly get hooked on 'Peace Remains In This World'. Undoubtedly, the song sounds huge when performed live on the stage, so make sure you buy a ticket (and the album too) when you learn that Unified Past goes on tour.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, January 15th, 2016. Proofreading: Mike 'Vesper' Dziewoński)

Source: http://industrialrock.net/php-files_en/articles.php?article_id=571

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Ghost in the Machine - interview 2015

Interview with: Ghost in the Machine (December 2015)

NINa: You've successfully submitted a number of your songs for use in TV and games. What's the toughest part of licensing music? What kind of intellectual property risks should other musicians be aware of if they wish to submit their tracks for such placements?

GITM: The toughest part of licensing music is understanding what the customer really needs. Sure, it is hard to make connections to even have the opportunity to license music. But there are lots of publishing venues now where most bands can get a shot. But even once you have a foot in the door, there are many challenges to accurate communication with the customer. We have learned that how a musician looks at a song is very different from someone who wants to license it. Terminology is different ideas about what the music, mood or feel means is different. Sometimes they won't be able to articulate or express what they really want… you'll get the infamous "they'll know it when they hear it". 

Source & full interview at http://industrialrock.net/php-files_en/articles.php?article_id=569


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Ghost in the Machine - Broken from Binary

Ghost in the Machine - Broken from Binary |self-released, 2015| 5/5 industrial rock, metal, pop, electronic

1. To Be Zero, 2. Crazy, 3. Estranged, 4. Lost, 5. What It Is, 6. Perfection, 7. Today is the Day, 8. Memories, 9. Hammers, 10. Samurai, 11. American Hero, 12. Feedback, 13. Drive, 14. Pressure (Billy Joel cover), 15. Time to Go Gently

The people behind Broken from Binary are a duo based in Florida, using the Ghost in the Machine moniker since 1996. We know them only by their stage names: Face (bass, programming, vocals) and C4 (vocals, guitar, programming).
The newest GITM's album brings over an hour of music that should definitely be checked out by fans of catchy cutting-edge industrial rock, metal and pop - but avid video gamers, too. Purists however, need to open their minds to enjoy the surprising concept better. The arrangements don't often repeat within a composition, but veer off into unexpected directions, as if based on bridges mostly rather than a traditional rock song structure. Therefore, expect your ears and brainwaves to be challenged frequently with this release. Here comes music dripping with seriousness, intelligence, groove, and sense of humor - all mixed together.

The album opener, 'To Be Zero', brings a lot of industrial rock references (think Gravity Kills and Die Krupps thanks to groovy bass lines and slightly mean yet seductive vocals as found in PIG's music), but that’s not all. The chorus includes a complete mood change - a nostalgic pop line you'd probably never expect to hear in a track based mostly on guitars & sampling. Once the chorus passes over, the heavy drumming gets back into the limelight.

'Crazy' and 'Drive' are comparable, since not only are they the two most coherent songs on the album overall, but also very rhythmic, even danceable. The arrangements in 'Crazy' are very well written, operating within a tight space for every instrument and vocals. The mood and tempo change at times to avoid repetitive monotony. 'Drive’' brings the industrial metal feel in vein of Rob Zombie's hit songs. The bass, guitars, and drums deliver pleasant heaviness and collaborate very well. Vocals and synths bring melodious lines in the chorus. Both tracks are potential hits, great for headbanging and stomping, and thus industrial/goth radio & dancefloor-friendly.
'Hammers' makes for a good match with the two aforementioned songs, but it adds sugared pop melodies and less tense arrangements.

'Estranged' and 'Samurai' let listeners take a break from high energy tracks thanks to a much slower tempo. The guitars are still heavy in 'Estranged' but the track seems to be mostly written to underline the lyrical content of the song. It sounds truly memorable with its anthem-esque vibe.

'Samurai' brings a nostalgic yet romantic feel. The lyrics tell a short dramatic story of an iconic Japanese warrior and his beloved woman who was killed due to a stealth attack while he was winning a war. Vocals sound extremely radio-friendly but the overall arrangements are not deprived of heavier moments. When you hear the ending verse: 'Now I pray for her' - James Hetfield's characteristic accent may come to mind.
The last track, 'Time to Go Gently', also brings a more delicate, almost a lullaby-like vibe - at least at start. Since GITM excels at musical surprises, the arrangements begin getting heavier in the second, then even more intense in the third part of the song - thanks to the increased tempo, the loud drum beat, and the imposition of angry, hateful vocals.

'Lost' brings a distinctive melodic line and mixes heavy and soft tunes. The arrangements fit perfectly into the overall composition, carrying a danceable, electro-music feel at times. Despite such repetitions, there are plenty of interesting irregularities to keep the track fresh for your ears.

'Today Is The Day' shows a skillful mix of alt-metal and electro sounds, through the nicely down-tuned guitar riffs with melodic choruses. The composition is somewhat complex and offers plenty of space for many different arrangements that don't interfere with the original leitmotif.

When 'What It Is' starts off with its synth lines, experienced listeners may second-guess what’s coming next - the song is going to explode with rhythm any second now. Surely enough, it does bring a lively groove and a lot of elements straight from pop. There's a big dose of fun as well, with additional gap fillers such as rock riffs or even a flute. It sounds like a great track for an anime, for listeners of all ages, ranging from little children to grey-haired elders.

In a similar fashion, 'Perfection' includes a plentiful dose of techno & EBM dynamics. Fans of KMFDM will feel at home thanks to a well known vocal effect and the method of aligning vocals with the beat. There's a great balance between verses and choruses - each appear at the right moment. This purely electronic song is another potential hit on the album.

'American Hero' also qualifies for that, thanks to its pop-disco rhythm and sound effects. It is a '2-in-1' composition though, built upon two matching parts which are then separated with a bit of silence halfway through the track. It may turn out to be popular in the movie or gaming industries thanks to its beat driven, memorable choruses.

GITM's original music is perhaps best represented by 'Memories'. It's a guitar driven track which is built upon a fast but not monotonous rhythm, melodious arrangements, and a dominating drum beat. On top of that, it clearly proves that not only can these musicians write twisted yet mature compositions but also apply a specific instrumentation through their craft. Vocals, bass and drums are such as mostly heard in metal music. The rhythm guitars match rock, whereas background synths are usually heard in pop and electro.

With so many songs on the tracklist it’s obvious that any smart band in a similar situation would challenge themselves to come up with a stand-out composition. Thus, the standard and the modern meet in 'Feedback'. At first, a classic hard rock reference (think Led Zeppelin or Pink Floyd) may come to mind - GITM may have even used a Hammond organ in this one. Then, all of a sudden, a digitally beefed-up drum beat and modern rock/alt-metal vocals arrive. Fans of Nine Inch Nails won't go wrong with this track either, when they hear the unexpectedly fitting lines: 'Nothing, nothing, nothing will get me to testify / No way, no way, no way that you'll get me to lie'. This, along with characteristic guitar riffs and bass lines make for an unmistakable tribute to Trent Reznor's 90s music. The instrumental versatility, slow but still rocking tempo, and overall professional production make 'Feedback' an extremely memorable track.

Finally, a cover song. GITM have chosen 'Pressure' by Billy Joel, however their version is rather a close cousin of Joel's original despite the addition of a digitally improved beat, a bit of sampling and heavier guitars. It would be awesome to watch a smart video single accompanying this cover, that pointed out contemporary social pressures resulting in fear and frantic overreaction.

Broken from Binary is a well-thought out, masterfully executed, and highly entertaining cross-genre mash-up. Face and C4, blend several and typical sound effects or arrangements borrowed from trivial urban pop, chunky industrial dynamics, or vintage hard rock like true alchemists. The duo don't let themselves go astray in spite of utilizing a wide variety of different musical options, because their compositions are based on steady motifs. This technique remains the band's 'specialty of the house', whether it is an attempt to challenge their own song-writing skills, to please multi-subculture listeners, or to have ready-made arrangements for various commercial uses (ads, jingles, TV shows, video games, etc.) In fact, GITM have already successfully submitted music for a variety of major TV networks, brands and independent films.
The album's excellent audio production and mastering indicate that these musicians not only write and sell their music successfully, but can also provide other professional, studio-related services.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, December 22nd, 2015. Proofreading: Mike 'Vesper' Dziewoński)

Source: http://industrialrock.net/php-files_en/articles.php?article_id=568

Interview with GITM - read here




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Larry Leadfoot - Hellxotica

Larry Leadfoot - Hellxotica |self-released, 2015| 4/5

1. Leviathan, 2. Discarnate (War Planet), 3. Psychological Warfare, 4. SWAB, 5. Hellxotica

In Australia, where the band comes from, seasonal wildfires are hard to control. And such is Larry Leadfoot's music on their debut EP - once ignited, the musicians try to suppress the flames through dousing them with more fuel. The audible influences stretch between djent, prog, death metal, and grindcore, since the musicians are fans of Strapping Young Lad, Meshuggah, Mr. Bungle, Death, King Diamond, Slayer, and John Zorn amongst many other established names. Tension and thrills are dominant in most of the five songs present on this EP - expect a lot of excitement.

'Leviathan' opens the EP with darkness and gravity. Knotty and down-tuned guitar riffs are skillfully mixed with drum beats. Growled vocals sound murky, and are a bit on the noisy side, but are actually not present too much throughout the track. By the end of this song (and the whole release), it becomes clear that the material has been written to smash listeners to pieces with instrumentation rather than vocal parts. The arrangements sound steady, somewhat hypnotic when the tempo slows down and guitars start rattling in the background, yet they do not repeat often. All this diversity and additional sound effects here intrigue the ear to discover what’s next.

The only entirely instrumental composition, 'Discarnate (War Planet)' starts on a buzzy, heavy and slowly note. Think of Godflesh with its weariness but also everything else that sludge can offer. The song brings a very dark, cinematic atmosphere, so it instantly triggers one’s imagination. Upon reaching the middle of the song, the music goes for a 'binary' flavor, as if becoming further disintegrated digitally. This, in turn, leads to a sudden end.

The intro to 'Psychological Warfare' uses a slow blend of bass, down-tuned guitar and contrasting high-pitched riffage, while the accompanying drum beat is distinctive and fast. Think of arrangements heard in canon black or death metal tracks where darkness and fire prevail. The vocals sound as if coming from the deep pits down below - hidden, growled, tormented, and screamy at times. The wall of sound assaults the ears though a tightly packed guitars-drums cannonade. The band surely know how to control the mood through slowing down or speeding up.

'SWAB' is like a raging fiery tornado on the brink of releasing its compressed tension. The expertly chosen diversity of arrangements plays a significant role here. Drumming and down-tuned, chunky guitars are accented first, while a contrasting rhythm guitar riff along with soloing are enriching the background. There are high-speed flights and stopovers, as well. The vocals are based on a steady leitmotif utilizing deep growls and screams - but again, sound as if coming from beneath the surface. The tempo changes are quite unexpected but they allow you to adjust to them comfortably. And just when you expect all that diabolical atmosphere to end, the arrangements and rhythm take a different turn, pushing into another hell-gate. The band add more sonic fuel in parts where the flames need to be ignited - to suck in and then purge your soul through your ears. The trio make the most of their instruments here and perhaps reach the maximum power possible. This track, along with 'Psychological Warfare' may be the best representation of Larry Leadfoot's song writing and performance skills at this stage.

'Hellxotica' begins noisily, a manifest of the in-your-face method. The song takes you to a battlefield where instruments fight one another. Mad drumming meets unpredictable arrangements brought by guitars and bass - faster, louder, more intense each time. A bit of the pent-up tension is released by the end of the EP, finishing on a slower, droning, and fading-out note.

Larry Leadfoot’s crew are very skilled and cooperate dynamically. It's a pure joy to hear them play together, but also let your ear follow individual instrumentation paths. The band was formed in Sydney in 2011, but Aaron White (guitars, bass) and Nick Parkinson (drums) have been friends since their childhood years. They met Tama Makiiti (vocals) at an audio college several years later. Larry Leadfoot plays shows in Australia, making the best of their hard-hitting music through live application.

On the technical side, instrumental parts have definitely been prioritised - they are produced and mastered very well. Vocals seem to have secondary focus, yet they could have benefitted from improved loudness and depth to complement overall production quality. It is worth noting that Hellxotica was mixed and mastered by Jocke Skog who is best known for his involvement with Clawfinger.

For the purpose of this review, the music was streamed directly from Bandcamp. Hopefully the high quality downloads you can purchase through the band's online store sound better.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, December 23rd, 2015. Proofreading: Mike 'Vesper' Dziewoński)
Source: http://industrialrock.net/php-files_en/articles.php?article_id=570


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Interview with Ghost Embrace (2015)

NINa: You own Hyperthreat Sound - a professional recording studio in Denver, CO. Nevertheless, you've decided to travel to NYC and then Vancouver to seek other professionals’ (Ten Jenson's and Randy Staub's, respectively) experience on the matter of mastering and production. Was it a smooth cooperation? What technical and interpersonal requirements did you have? Finally, what new things have you learned in the process?

One of my engineers suggest Randy Staub, and when I looked up his discography, I noticed he had mixed one of my favorite records. Evanescence latest release, was one of my musical addictions. I worked out to it every day for a year, and I am madly in love with that production. So it was a no brainer that I wanted Randy to mix the record. I had my lawyer contact him to see if it was even within the scope of my budget and if he would be interested. Randy only works on independent projects he personally likes, so when we got the thumbs up, I was very excited.

Full interview at http://industrialrock.net/php-files_en/articles.php?article_id=567

Interview by Fabryka Music Magazine

Ghost Embrace - Quantum Heart

Ghost Embrace - Quantum Heart |self-released, 2015| 5/5 metal, rock, jazz

1. Alone Again, 2. Neon, 3. Heartbeat, 4. Closing In, 5. Catch Me, 6. Remember, 7. People, 8. Still Here, 9. Quantum Theory, 10. Question of Faith, 11. Pirates, 12. School Yard

After a year in the making and getting together the best matching line-up, the latest (second) album of Colorado based Ghost Embrace has finally arrived.

The band is led by multi-talented vocalist, song writer and producer Annette Freeman. Morgan Rose who is best known as the founding member of Sevendust played drums. The bass player, Mario Pagliarulo, has toured and recorded with Serj Tankian (System of a Down) and Larry LaLonde (Primus) amongst others. There are also two skilled guitar players - Nema Sobhani and Chance Gallagher. Orchestration and piano arrangements were created by virtuoso Eric Moon who also worked with Victor Wooten, Nina Hagen, and Bjork. A line-up like this definitely helps with delivering a massive final result, so let's take a closer look at what this collaboration brings.

'Alone Again', the album opener, already suggests a possibility that Quantum Heart's essence relies on rhythmic melodies. There's the symphonic metal feel thanks to juicy orchestration, but also heavy textures brought by the guitar-bass-drums trio. Annette demonstrates a strong, brassy vocal and great interpretative skills. Her lyrics match with the arrangements and overall composition very well. A distinctive symphonic part which can be associated with movies set in The Middle Ages remains in the memory long after the song is over, but it's worth noting that the track ends on a heavier note.

In contrast, 'Neon' brings groovy, smooth jazz warmth with faster metal drumming, a pulsing bass line and lively rock soloing. Annette thrills with a predatory aggression in her voice, then it washes all away like an ocean wave leaving a beach. The instrumental parts and backup singers' voices play an important role here although the main vocals stand out - regardless of that, the songs keeps its balance perfectly.

A distinctive groove begins 'Heartbeat', along with a short lyrical verse, quickly followed by a chorus. This motif may suggest that the song is either short and repetitive or that its structural complexity may develop further. You'll discover the truth after a bit of listening. The melody is crucial here, making 'Heartbeat' a highly memorable, radio-orientated track.

'Closing In' sounds like a song to spend an evening with, thanks to its peaceful, repeating patterns. This is yet another jazz & soul based composition on this album, with medium tempo, a warm rhythm and a harmonious melodic flow. The arrangements here should let listeners relax in any environment, but perhaps are best experienced during a rainy night.

Ghost Embrace won't let you fall asleep yet, however. 'Catch Me' obviously sounds like a catchy hit thanks to its graded melodies and uplifting energy, making it another song on this album strongly recommended for radio play. It provides a tight, proportional mix between symphonic metal and pop/rock - definitely something for fans of Lacuna Coil, who may feel delighted upon discovering this particular track. Annette's voice is used here as an additional instrument, giving the composition a comprehensive and balanced sound.

Gentle, peaceful piano sounds in the intro of 'Remember' bring up a fairy tale image of delicate snowflakes falling during a winter evening. The entire instrumentation here deserves applause thanks to the compositional maturity, offering Annette's voice a desirable background. The song is pleasing to the ear, and its dynamics don't distract. An additional solo guitar makes for a classy enhancement, and is placed in the right spot. The mood is nostalgic and romantic, already indicating the song's message - a romance is over but it's alive in the lovers' memories.

'People' brings a social vibe since its title and introductory motif already suggest the best venue to play it. Imagine a Friday's night spent in a stylish music club, drifts of cigarette smoke coming from the shady corners, subdued conversations with individual bursts of low masculine or high feminine laughs - flirt and relaxation in the air. A pianist soloing on a small, intimately looking stage, eventually joined by the full band, fronted by the singer and supported by backup singers who gently swing to the rhythm of the song. People come out to dance once they are encouraged by the dynamics of the unfolding rock'n'roll tune. The drummer and bassist have steady parts to perform here, while the guitarist adds a quick solo on the side.

Contrary to its predecessor on the album, 'Still Here' opens with metal heaviness along with a progressive melodic line. Bass and drums are emphasized and rise up to the level of the vocals. The lively tone of the guitar may enchant you, together with the overall tight dynamic range. 'Still Here' could also be considered for use in advertising or media (for vehicles, travelling, music-related gadgets etc.) thanks to its strong, positive vibe and a memorable melody.

'Quantum Theory' is the only entirely instrumental composition on the album. Delicate electronica meets almost ambient-esque arrangements here, with traces of a rhythm that could make a ballerina dance. The song was written by Chance Gallagher who also played on a single guitar.

The founder of Ghost Embrace's must have an awesome musical empathy, since it let's her adjust own songs to the general vibe of certain genres along with types of instruments used. 'Question of Faith' is entirely based on an acoustic guitar along with the ethereal sounds of a keyboard, both often heard in Christian music, even though the song doesn't necessarily refer to religion but rather faith overall. Vocals are equally matching through their tender yet distant tone.

When you see a title such as 'Pirates' you may suspect the song is going to sound dark, intense or at least very dynamic. Instead, you get a lot of sweetness and a positive impression. Judging by the melody, it is a good follow up to 'Question of Faith' but when compared, 'Pirates' sounds more epic thanks to its running tempo and arrangements spread within the composition. The instruments build the song's steady core, but then vocals and guitar riffs reach higher tones, dispersing the melody beyond the beat delineated by the rhythm section.

According to Annette, 'School Yard' was the most difficult song to finish due to her busy schedule - vocals were put together with music on the plane to Vancouver. Nevertheless, the song sounds solid and energetic. It also has a dominating yet easy-going feel thanks to jazz fusion elements such as repetitive background choirs which support boldly performed vocals, a bit of guitar soloing, then lots of cymbals and piano play, too. Moreover, Annette's joyful laugh finishing the song may suggest that making 'School Yard' was actually fun.

There's evident stability and maturity found in the music of Ghost Embrace. Each of these twelve relatively short songs brings a different yet coherent vibe, mostly thanks to Annette Freeman's voice. Their sound is strong, distinctive, recognizable, and can bring both nostalgic and rapacious tones with equal agility. If you are familiar with the band's self-titled debut however, also recorded with a different line-up, you'll have some idea what to expect - Ghost Embrace loves jazzy groove but doesn't shy away from rock and metal heaviness. It doesn't mean that the band have already established their 'sound', considering the various guest musicians on each of the albums. Therefore, it will be interesting to track the direction of the band's future endeavors.

On the engineering side, Quantum Heart was mixed by Randy Staub (Warehouse Studio, Vancouver) who worked with all-star bands like U2, Motley Crew, or Alice in Chains. Mastering was provided by Ted Jensen (Sterling Sound, New York), whose name also rings a bell when you look up albums by The Alan Parsons Project, Billy Joel, Foreigner, and RATT, amongst others.

Clearly, lots of hard work and financial investment have been put into the making of this album, so send your positive feedback the band's way once you get it, to make sure you gratify these professional musicians' effort. A must-have 2015 release.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, December 15th, 2015. Proofreading: Mike 'Vesper' Dziewoński)

Source: http://industrialrock.net/php-files_en/articles.php?article_id=486

Interview with Ghost Embrace - read here


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Reviewed by Fabryka Music Magazine

Gus McArthur EP review

Gus McArthur - Gus McArthur |Evolution Square Records, 2015| 5/5 metal/hard rock

1. Good Evening, 2. Overlord, 3. Slaves Of The North Sea, 4. Succubus

It seems that Gus McArthur belongs to the group of recently created metal bands joining the music scene with proper preparation. They have met all known requirements that help a reliable artist become noticed in the sea of new bands quickly. Firstly, they have a great acoustic potential created by successful song writing and high performance skills. Secondly, they rely on a well established belief in their sound and talents alone for the initiation of their career, instead of super-duper outfits or an army of stylists hired for promotional purposes. Such a natural, organic band can be trusted much more easily than something more akin to a "product".

There is a diversity of moods and melodies brought by this self-titled EP, so the chances are low that you could get bored during its running time of 22 minutes. These tunes bring novelty to the fold of well known, mostly metal subgenres. Their refreshing new style is based on an intelligent mix of various influences together with a solid carving of the band's own sound definition.

The EP opens with "Good Evening", presenting sweet and innocent melodies from the beginning, in contrast to what metal music usually offers. Initially, the track is kept in a lyrical pop-rock style, but don't let yourself be fooled. The vocals along with increased riff and drum dynamics announce that something edgy may be coming next. There are strong hard rock influences in the choruses and a return to the opening, sugary style in verses. You'll stay with the band when you hear their evergreen, Santana-esque guitar riffs at the end here.
Gus McArthur have released a video for this track and possibly destroyed all expectations. If you had already visualised the audio on your own, you could be forgiven for placing these guys on a big stage, covered by blasting lights, in typical shredding poses reminiscent of Van Halen or Megadeth. In reality, you get a deep green cornfield under a blue sky and you'll watch Gus McArthur's musicians passing through, wearing totally ordinary clothes (there’s even a Star Wars T-shirt!) and black & white masks. You'll then realize that besides the band's ironical sense of humor, their musical talent shines through on its own, so they need no fireworks or masquerades to attract listeners to their music.

"Overlord" starts off as an in-your-face cannonade of sounds which also sticks closely to the style of hard rock through fast paced guitar riffs, drums, and bass. Vocals take on a classical hard rock and power metal direction, then switch to a more modern tuning. This song is about WWII soldiers who fought and died during the D-Day (also known as Operation Overlord). Indeed, said riffs stitch the composition like bullets released from a machine gun. The rhythm section works very nicely together, always in position to enrich the listening experience, instead of sabotaging each other. The band doesn't shy away from borrowing from hip-hop music, either. Since there are two vocalists in the band, this time you'll hear Gus performing spoken word during a part of the track where arrangements go to the background and serve to highlight lyrics. And again, everything fits together very well, thanks to the overpowering rhythm.

A victorious, cinematic theme opens "Slaves Of The North Sea" with a classical feel. It is then followed by fast paced, tight guitar riffs, a thrilling drum beat and a muezzin's prayer mixed together. It gives the impression that Gus McArthur might have been inspired by some of Ministry's music here, though a careful listener will also spot acoustic influences derived from progressive rock later on in the song. The tempo accelerates and the composition evolves into maturity by taking various, sometimes unexpected turns, surprising listeners on many occasions. Honan's vocals sound expressive and well controlled. The extensive skill of all musicians (Honan "The Destroyer" - guitar and vocals, Gus "The Hater" - vocals/spoken words, Jake "The Duke" - bass) can be heard in this track. Not only do they showcase an excellent collaboration within the collective, but also their own individual skills. "Slaves Of The North Sea" is another song on this EP with a 'military' background, and the theme is carried by accompanying SFX (the whizzing of falling bombs and people's screams) at the end of the composition.

The last song, "Succubus", opens with another thought-provoking and moody intro. It is then followed by arrangements which thematically oscillate between 70's progressive rock and 80's metal. The chorus sounds as if dedicated to Megadeth, due to melodious vocals - but there's no cheesiness about that, since it's performed very skillfully. Honan's riffs sound vital, clean and are performed extremely well technically. Drums and bass kick each other to run faster, or stop for the moment when the guitar wants to talk solo. "Succubus" is a potential hit waiting for all those listeners who enjoy both harmony and gradation of said arrangements. Other metal fans will definitely enjoy headbanging to an irresistible rhythm.

It should be noted that these Californian musicians keep a strong grip on the song writing process so neither do arrangements slip away nor are any of the elements misplaced. Even if the instrumental parts leave a bit of a space, the vocals fit in the gaps as smoothly as the only matching piece of a puzzle. Moreover, the trio's work is enriched by Alex Venders' excellent drumming - he's an Italian session & touring musician, who has worked with many other bands.

Finally, the audio quality of this EP (mastering and production) is exceptional. You can clearly hear every separate instrumental track along with the vocals, so you can easily switch your focus between them while listening to any of the songs present on the release. If you listen even closer, you'll soon discover that these compositions should work extremely well also as 'instrumental only' versions. Still Honan’s memorable and well-employed vocals complete these songs in their entirety by tying all and any loose ends.

Overall, true talent in connection with hard work pays off sooner or later - so Gus McArthur should continue sticking to their goals and never feel discouraged. Their live performances should be powerful enough to carry the vibe of the songs they recorded in the studio. Hopefully they will not make us wait for another EP or full album too long.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, November 18th, 2015. Proofreading: Mike 'Vesper' Dziewoński)

Source: http://industrialrock.net/php-files_en/articles.php?article_id=566
Testimonials: http://industrialrock.net/php-files_en/articles.php?article_id=414

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Reviewed by Fabryka Music Magazine