Implant
Violence

Alfa Matrix Posted: Tuesday, October 05, 2010
By: Stephen Lussier
Contributing Writer

A highly engaging EP with enough creative breadth created by those who have been influenced by the band.

A remixed single release frequently possesses modest appeal for those wishing to delve more into an artist’s soundscape. Simply hearing various takes on the same song might be great for a DJ’s catalog, but those wanting more are seldom satisfied. However, Belgian recording artist Implant follows up the highly successful 2008 full-length release Implantology with a 12-track remix EP that breaks this rule enough to warrant a full-out listen. Based on the single “Violence,” the EP includes eight new and remixed alternate tracks that counter and play off of the four remixed versions of the main single. More than just a teaser or follow-up remix release, Violence veers away from a typical extended-single format with a good amount of stylistic charm.

The eclecticism in the music begins immediately with the first two tracks, both remixes of “Violence.” Studio X takes the helm with a springy and danceable version of the song, compressing beats and playing with audio tricks that push the song towards massive club appeal. The following three remixes on the EP are offerings from the top entrants from the Alfa Matrix remix contest that preceded the release of this disc. Working well at integrating or obliterating, Angelspit’s DestroyX at vocal center-stage, the remixes that ensue show a wide margin of creative diversity. Mizuh creates a darker, edgier version inclusive of a repeated “parental discretion advised” sample, which gives it a wonderfully straightforward industrial tonality. Prune Flat works more with an underlying synthed drive that ends up sounding completely electronic compared to the original. The Midnight’mare remix again returns to a more industrial vibe, capably strengthening the dark element within the music and reflecting nicely mirrored to the original. All three versions expand on the track just enough to suit the contributor’s individual style and show nicely the creative influence that Implant has had upon each artist.

An abundance of up-tempo remixes from the Implantology album from the likes of Daniel Myer, Shiv-r, Buzz, and Erector engage you securely through a continued listen. The addition of three brand new tracks are featured here as well; songs that would have easily fit well with the original album. The random integration of this additional music provides enough of a mix-up for those wishing to go beyond “Violence” and see what else Len Lemeire has helped to inspire with his music. Energetic and electric, Violence has more creative clout than the average remixed single EP and this in itself makes it worthy of the full one hour listen.

Level 2.0
Armageddon

Nilaihah Records Posted: Monday, September 20, 2010
By: Stephen Lussier
Contributing Writer

Broken apart slightly due to a lack of lyrical/musical connectivity, Armageddon is industrial dance music with all the earmarks for future success.

Adding to their lineup of electronic artists, Nilaihah Records has recently taken the electro/industrial band Level 2.0 under its wing. Level 2.0, the duo of singer/songwriter Mike Hoffman and programmer Matt Clennan, draw out of their New York roots with a solid take on the genre. Not breaking away from the typical club sound, the band manages to make its mark on the scene through flawless production skills and cleverly crafted songwriting.

The electronic component holds a primary position on Armageddon with vocals providing a close second-place in the development of the band’s sound. Lyrically, this album is perhaps the strongest of any of their previous releases. However, there are times when conflicts arise with the electronic vigor that propels each song, sometimes almost excessively. The sensitive nature of songs such as “Stolen Kiss” or “Closer” becomes lost in a muddle of beat-infused rhythms that take away from the intensity of the lyrics. The clash between the aggressive musical component and the dark sensitivity of the words might be better played upon with a softer backbeat. Toning down this danceable pace toward something more appropriately downplayed would reflect better on such tracks, highlighting Hoffman’s expressive sincerity much more adeptly. This is not to say that the pace should be brought down throughout the entire album. A great example of an upbeat number that combines the best of both artists in Level 2.0 comes through with the title track. “Armageddon” is a song that truly epitomizes what the band is striving for in the sense of creating strong, club-friendly music that delivers enough force to make you want to instantly move about. “Invincible,” “Rivet,” or any number of beat-infused tracks retain this same dynamic quality, one that delivers enough oomph to please any foot-stomper on the dance floor. This consciously created energy rises to the surface of Armageddon successfully mainly (but not solely) because of Clennan’s seamless synth/programming skills. His ear for danceable yet slightly grittier-than-normal electronic rhythm easily rivals other well respected programming artists within the genre.

As a whole, Level 2.0 manages to forge a successful united front throughout the fast-paced points on the album both lyrically and instrumentally. They prove their strengths with solid production skills and create liveliness in the music that just won’t let up. The album as a whole draws out a bit at times, but it’s the pieces that make up the whole that will easily fit in any DJ’s arsenal of upbeat, danceable industrial music. Straightforward, energetic music is what fuels Armageddon. For this reason, Level 2.0 should be marked down as one of the club-oriented industrial acts to watch out for in the near future.

Retrogramme
Season of Scars

Octofoil Records Posted: Monday, September 13, 2010
By: Stephen Lussier
Contributing Writer

An excellent placeholder for the band, Season of Scars uncovers the next step in Retrogramme’s ongoing delve into electronic darkness.

Electronic music takes on a more sophisticated industrial presence with Retrogramme’s latest entry. Following their 2008 self-titled debut, the Washington duo of Rob Early and Nikk Allen continue to explore a darker side of their music with their recent EP Season of Scars. Recently signed to Octofoil Records, the newest offering provides a casual glimpse into how this electronic band has evolved its own sound with clear-cut industrial inspiration. With music from their previous album and a total of three brand new tracks, “Shocker” instantly gives us a taste of this darker side with a brooding instrumental piece that weaves in and out of electronic non-rhythm rhythm. With shades of their old sound and a fresh splash of gloominess, this overture foretells of the direction that Retrogramme seems to be leaning towards. The title track follows with heavy fat beats and a wide assortment of industrial commotion filling the gaps. The integration of vocals reminisces of their earlier development period but with a much more edgy tone. “911 for Locals” resurfaces on this disc, providing an enjoyable revisit to the song’s fluid and almost EBM format. Another new contribution comes into play with “The Dead End,” again revealing Retrogramme’s delve into a more ominous auditory presence. Mixed with an unusually upbeat tempo, this track makes for excellent music to get you moving on and off the dance floor. “Black Magic” ends the disc on a more somber note and finishes the package that Retrogramme has set up as their pre-album taster. The emptiness that fills this song marries nicely with spoken female dialogue that simply adds to the hollowness of the track. The upheaval at the end of this track finishes the disc off cleanly, leaving you with only the anticipation of something more to come.

Season of Scars easily distinguishes Retrogramme as a band that is obviously trying to aim in one direction but exploring many others in order to get there. With this teaser EP as an indication of how well they have already advanced their sound in such a short time, the album to follow will most certainly bring that journey to a close.

 

Ashtech
One Dub

Interchill Records Posted: Monday, September 13, 2010
By: Stephen Lussier
Contributing Writer

One Dub provides an assortment of dub subgenres that hits more on reggae than a modern dub sound.

A dub compilation album can be quite subjective based on its collective content. The culmination of assorted musicians connected both tightly and loosely to the dub scene has the ability to create an enjoyable, almost psychedelic listen. The mind trip that modern dub music takes on through electronic means brings traditional dub to a new level of transcending obscurity. Without this diversity, it might reduce down to its base reggae element and possess lackluster appeal at best for those wanting more in the way of electronic input. One Dub illustrates this point in that it unfortunately ends up relying on this reggae core, employing songs that possess modern electronic qualities that still fall short of spectacular. Compiled by producer Ashtech and released through Interchill Records, One Dub weighs heavy on old-school reggae roots with an electronica backdrop that loosely ties it all together. Here, the electronica and psy-dub qualities merely weave themselves throughout the mix with little more than a faint whisper. The resulting album is a laidback mixed bag of easy-to-listen-to summer songs. Not to say that One Dub doesn’t provide an enjoyable ride, it just might not be what you are expecting when purchasing a dub album today.

Ashtech has pieced together a wide assortment of international artists on this collection that provide an almost exclusively retro reggae vibe throughout the album. Pangs of electronica surface on singular tracks, not enough to take the overall feel of the music outside of its reggae confinements. There are still defining moments felt through the characteristic echoing guitar and mind-melding sub-bass that populate today’s modern dub sound. They surface on such tracks as “Time Bomb Dub,” “Throw Some Dub,” and “Ah;” songs that heighten the sound to more modern reaches. Here, the synthetic component takes more control of the music and elevates it through a more experimental and lucid element. “Good Sensi Dub 2” bridges the gap between guitar-laden reggae dub and dub electronica with commendable efforts of vocal integration. Traditional reggae vibes revert the identity of the album back again on songs like “Take It Dub,” “What We Got To Do,” and “All of Us”, most likely due to their lyrical addition. Mainly instrumental tracks are what seem to come closest to the modern dub sound of today.

For the amount of music on this album, fans of this newer scene will easily skip to the tracks that will make them happy. The others will simply relax and enjoy the ride as they lie on the beach, close their eyes, and drift away.

Leaether Strip
Yes, I’m Limited V

Alfa Matrix Posted: Monday, August 30, 2010
By: Stephen Lussier
Contributing Writer

Leæther Strip treats fans with a massive compilation album containing some of his earliest works.

Alfa Matrix releases the fifth in the lineup of Yes, I’m Limited discs with a double-barreled double-album of Claus Larsen’s signature brand of electro/industrial music. With an apparently endless arsenal of music to present to the world, Larsen has compiled another grand collection of rare and unreleased music with this two-disc collection. The album was originally created as a tribute to the hardcore fans that made his return to the stage in 2009 as successful and well received as it was following his lengthy hiatus from live performances. The resulting 27-track release is not only a thank you to the fans, but is also homage to some of the earliest music that Larsen had ever created.

Kicking off the first disc is nine tracks that date back to the early ’80s, some of which represent some of Larsen’s first songs produced. “Compassion” begins the album and immediately epitomizes his earliest musical roots, encompassing all that we know to be his now trademark minimalist approach to song-making but with an even more straightforward methodology. “Love Me or Die” embodies this style even more so, adding to the equation the strong personal aspect that periodically straddles Leæther Strip’s lyrics even to this day. Songs from the front end of the album continue an acutely similar vibe, which longtime fans will surely embrace. Memories of the more naïve and anti-melodic charm in Larsen’s lyrical style echoes from the past in the boundaries of the first disc on Yes, I’m Limited V.

Muddling through the enormity of the collection, uninitiated listeners will surely become educated into the world of Leæther Strip from the earliest stages. There is also a selection of previously unreleased studio recordings that Larsen had only given live performances of during his recent tour. Songs such as “Kill a Fætish,” the US mix of “Æighty Æight,” and “Don’t Tame Your Soul” can at last grace the musical libraries of Larsen’s diehard followers. As well, the second disc holds highlights in the guise of remixes from such heavyweights as Project Pitchfork, Autodafeh, and Die Krupps. An anthology at first, tribute of remixes to finish, and a whole world of Claus Larsen’s legacy in the middle, Yes, I’m Limited V possesses everything you would need to either begin your love affair with the music of Leæther Strip or to simply continue along your already extensive journey with the Larsen’s seemingly endless musical supply.

Xentrifuge
Converting Infinity

NoiTekk Records Posted: Sunday, August 22, 2010
By: Stephen Lussier
Contributing Writer

Angry, pounding, and violently distorted, Xentrifuge’s sophomore album continues to keep the dance floor pounding.

The power-noise band comprised primarily of front man Chris X. and a small crew of contributing musicians continues the onslaught of aggressive, beat-pounding industrial mayhem that had begun with the debut album Light Extinguished. The transition between albums is almost seamless with a straightforward continuation of the music; music that barrages your ears with a boundless energy and determination that simply makes you want to hit the dance floor and thrash about. Any semblance of control that the first album might have held is completely diminished with Converting Infinity. The collection of songs that Chris X. has put together this time is pure electronic mayhem, controlled only by the steady bombardment of in-your-face beats and virtually indecipherable yet even-paced lyrics. Brutal synths fill the almost never seen gaps between distorted beats and abrasive vocals, barely giving you enough time to breathe within the confines of each song. Fans of harsh electronic music will quickly see slightly lessened parallels to the likes of Suicide Commando or Noisuf-X in Xentrifuge’s recent work. Converting Infinity is an album that without doubt rivals similar in the genre to a level of strength both in production skill as well as musical dynamism.

It’s hard to say that the musical intensity grows and develops on this album, since the energetic, frenetic storm begins immediately with the first track “Dormant.” This song is fraught with despair lyrically with words that are shoved underneath a thick blanket of relentless electronic mayhem. Each track that follows offers insight into echoes of religion, self-annihilation, and similarly dark subject matter. Without allowing any length of time for dead space to occur, Xentrifuge counters his lyrics with an equal lashing out of daunting sounds and powerful rhythms. The hard-edged electronic backbone to this album dances with the vocals as they distortedly weave in and out of the exaggerated muscular electronica. Chris X. has created a great edginess with Converting Infinity, one that flows throughout without so much as an apology for being anything but excellent fodder for any dance floor or mosh pit gathering. The one dilemma is that with such a bold homogeneity on the album, those requiring variety might be disappointed for the lack of diversity. It’s the one reason why Converting Infinity might become lost or forgotten by some. For those who are quite satisfied with a heated, bleak, angry-as-hell attitude in their music and don’t mind grinding through it nonstop, Xentrifuge will definitely not disappoint.

Der Osnec
Justicssus

Oh Just Peachy Studios Productions Posted: Sunday, August 22, 2010
By: Stephen Lussier
Contributing Writer

Der Osnec’s brand of industrial music fuses with gothic electronica and amalgamates subgenres into something that is distinctively their own.

Originally from San Francisco, Vancouver artist Der Osnec debuts with her album Justicssus. The assortment of industrial and electronica on this album is a darkly elegant entry into the underground music scene. Fronted by sole member and creator Nina Hirten, Der Osnec emits bold and mysterious industrial undertones throughout her music. Her lengthy background in music has given her the experience to produce such a substantial collection, helping to develop a musical style that is unique and distinctly her own. Though elements of standard electronica surface from time to time on the album, Der Osnec’s own musical individuality reveals itself effectively, giving us a one-woman production that holds enough genuine substance and depth that it feels as though it’s the efforts of an entire band.

The bulk of the album is identifiable as industrial; however, the brooding and deep vocal styling that Hirten possesses creates a more gothic impression. Countering the electronic backdrop, it’s this gothic/industrial quality that makes Justicssus shine just a little bit brighter. Der Osnec gives off more distinction in style than that of a conventional gothic vocalist and shows us more charisma than that of a straightforward electronic act; being somewhere in the middle is where Der Osnec succeeds, providing a nice break of both genres in an album that maintains this flow throughout without falter. Expressive, personal, and musically diverse, the album is riddled with lyrics that clearly are reflections on Hirten’s own life. Integrating acoustic percussions, strings, and a wide array of sounds both acoustic and electronic, Der Osnec offsets her own words with a creatively appropriate instrumental backdrop. Her wide vocal range stretches from the darkest realm of her register to bold, operatic movements. The down-and-dirty speak/sing that she counters her own voice with on the track “Boring” works incredibly well and fills the song with more than enough controlled disorder to make it a highlight on the album. The whispering counterpart she provides on “Stalker” verges on matching that of an early Poe or PJ Harvey, but with a wonderful retro-industrial edge. A cover of Gary Numan’s “Voix” raises the strength of the music at a pinnacle point of the album and regains the angst-filled energy that essentially finishes the latter half of the disc. Numan’s words, in a style that match Hirten’s to great length, ease into her own lyrical flow on the album superbly. The backend of the disc gradually lowers the energy and gives us more lyrically-based pieces such as “Strength” and “Broken,” both of which seem to have noticeably personal undertones to them. “Selfish” supplies one last lyrical torment, collapsing the music into itself and finishing the album on a beautifully hollow note. Justicssus is an excellent fusion of industrial music and gothic vocals, and the combination of the two is what drives Der Osnec along on her musical quest.

OB1
Behind the Wheel

Sonicult Music Posted: Tuesday, August 17, 2010
By: Stephen Lussier
Contributing Writer

Trance music takes on a new face with hard edged electric guitar influence and a fresh vocally-driven energy.

OB1 came about when Oforia (Ofer Dikovsky) had released his 2006 trance album Inner Twist. That album held the track “Return of the Machines,” which was a joint effort with longtime friend B-Wicked (Bertin Katz), who was already a familiar face in the electronic music community. The collaboration fused both of the artist’s strengths together into a musical style that superseded straightforward trance music, elevating it into something quite unique. Guitar-driven rock and magnetic vocals fuelled the song and it quickly became well received by both fans and colleagues. This fresh sound has developed even more so since then, and the new face of OB1 is revealed on the teaser single Behind the Wheel.

OB1’s hybrid of the trance element begins quickly with the single “Behind the Wheel,” a song that starts with an elegant piano intro that evolves slowly into a steady electronica pulse. Relaxed vocals interject along with the introduction of driving electric guitar riffs that firmly establish the song’s tempo. Once the pulsing synth takes over, the detachment from traditional trance by OB1 is now quite clear. “Ready to Play” continues this pace of the disc, following suit with lyrics that bounce off of guitar-led synth/rock. Reminiscent of early Frozen Plasma or Seabound, the modern electronic tone in these first two songs noticeably abandons from Oforia’s older trance vibe, securely defining OB1 as an electronic band first and trance musicians second.

However, the Rocky remix of “Free Now” returns Oforia’s talents as a trance producer/DJ with its repetitious quality as well as its overly extended duration. The song holds a more atmospheric instrumental quality and manages only to break away from the harder edged sound of the disc. The sexier, guitar-laden original of this track that preceded this remix holds more consistency with the rest of the disc, and his revamped version merely offers a blast-from-the-past effort towards Oforia’s trance roots. “The Runaway Train” closes the EP and returns again the vocally-driven electronica with a danceable yet edgy backbeat.

Behind the Wheel highlights exactly what OB1 now personifies as an electronic band. With heightened levels of synth/rock and dance, the music easily holds more allure than simple background electronica. Breaking away from the trance landscape could not have worked out better for Oforia and B-Wicked as it has provided them the opportunity to develop a stronger new sound with the formation of OB1.

Noorglo
Hard Body Music

Rustblade Posted: Tuesday, August 17, 2010
By: Stephen Lussier
Contributing Writer

Noorglo embraces IDM with a wide assortment of diversions with his appropriately named Hard Body Music.

Italy’s Noorglo is a longtime compilation album contributor, remixer, and DJ/producer who has been on the scene spanning the past 10 years. His eclectic style of electronic dance music encapsulates many loosely connected genres and over time has managed to solidify itself into the mainly harder industrial/EBM world. With this, his official debut full-length album, Noorglo now has the opportunity to show the rewards from his years of practice in the electronic music scene.

The style range on Hard Body Music remains relatively consistent throughout, ranging slightly in between harder industrial music all the way down to ambient mood-driven tracks. Beginning immediately with a stretch of industrial music, Noorglo grabs you in, holds you, and then proceeds to deliver something a little different. With a harder, straight-up dance element, the album peaks with an energetic drive that is tough to stand still to. This danceable form of harsh electronica surfaces blatantly on tracks such as “Hyerarchy” or “Bedroom Corrosion,” both pushing a fevered beat that begs you to move. Hammering percussion is the driving force to the onslaught of electronically compressed, gritty background filler on songs that can easily be described as harsh EBM. It’s this danceable form of electronic/techno that comprises most of the album, providing any club DJ with an ample amount of energy-driven dance music to work with. Next, there is a decidedly strong noise/breakcore element that fills in cleverly constructed experimental tracks on Hard Body Music as well. Tracks such as “Oph (RMX)” or “Scoz.E2” are akin to a Xotox or Aphex Twin style of song making and reveal his range into a more experimentally-driven form of electronic music. Experimental to a fairly wide margin, Noorglo lastly holds the ability to create intelligent soundscapes within some of the relatively quieter moments on the album. “Resonance” and “12” reveal his range into a more ambient, atmospheric style of music, providing a break within the album as well as finishing it off on a more serene note.

Fans of intelligent, rhythmic dance music in the club circuit should be pleased with the listen that Noorglo provides on Hard Body Music. And for those who welcome musical variety into a world of cleverly crafted experimental noise or reverb soaked industrial drive, this album also provides slight diversions to the former style that will surely appease. Diverse to a degree, Hard Body Music harnesses more than enough industrial dance energy, experimentation and melodic ambience to maintain the interest of an extensive array of music lovers.

Teleseen
Fear of the Forest

Percepts Posted: Tuesday, August 17, 2010
By: Stephen Lussier
Contributing Writer

Fear of the Forest begins as a successful dub/electronica hybrid, but obtrusively placed hip-hop vocals break the electronic flow at some unwelcome moments.

Teleseen returns with a second supply of dub/electronica since the debut 2007 album, War. Brooklyn producer/instrumentalist Gabriel Cyr blurs the definition of old-school dub music with heightened electronica placed in the foreground with a reggae element that quietly hides beneath. With strong leanings towards The Orb or similarly laidback electronic artists, this reggae element gets diffused to a point where it only allows itself as a whisper throughout most of the album. As such, the music produced inclines toward the electronica backbone a bit more than straightforward dub. One of the leading electronic producers not yet pigeonholed into any specific genre, Cyr sincerely holds great talent in creating a lounge variety of electronic music through Teleseen.

The first four instrumental tracks on the disc take you on a journey of trancelike proportions; carrying you along through waves of synthetic beats, leafy snares, and a delicate mix of rhythmic bass lines. Jah Sight’s vocal on “Black Monday” obliquely transforms the course of the album with its induction. After returning to the instrumental electronic vibe for one more track, “Crown” again breaks the instrumental current just as you begin to relax into it once again. The second contributing vocals are from Abena Koomson who combines her own unique a cappella warbling with the experimental backdrop of Teleseen’s electronic labyrinth. Mildly interesting but exceedingly auto-tune processed, the synthed vocals provide nothing more than an odd diversion from the continuum of electronica that Teleseen had aptly put together up until this point. The electronic journey of space and mind returns once again with “Eastwind Unification” but quickly cuts off again with the rap-infused “Chikurubi.” Billy Woods bungs things up with an obtrusive rap/hip-hop element that cuts the earthy flow of the album in half with more abruption than this style of electronic album should warrant. The dub reggae influence is evident in both of his associated tracks, emphasizing the echoing bass line-driven sound that marks true dub. However, the addition of rap as an overpowering vocal causes confusion as to what the album is all about. The atmospheric electronica and subtle reggae-based rhythms warmly had the album moving along, but this pace is quickly stopped short once Woods diversifies the sound and style of the disc to the nth degree.

It’s unfortunate that the purely instrumental highpoints on the album become forgotten once the lyrically grounded tracks begin to take over. What might have been an excellently produced fusion of dub and modern electronica regrettably develops into something deflated and confused. As a technical producer with a great allowance of creativity, Teleseen shows unlimited promise and talent for what will undoubtedly surface on a third album. Fear of the Forest tries too hard to break away from traditional dub music, and it’s this detachment that hurts the album as a whole.

Nommo Ogo
Across Time and Space

Record Label Records Posted: Tuesday, August 03, 2010
By: Stephen Lussier
Contributing Writer

Nommo Ogo’s latest electronic psychedelic odyssey gets to its point immediately, but unfortunately, that’s where the music should have ended.

Obscure, lengthy, and mildly entertaining is the best way to describe Nommo Ogo’s latest entry from their Alaskan psychedelic/noise library. Ambient music leans towards subjectivity for the most part and artists that rely on an exclusively electronic sound really have to strive for a sense of uniqueness. Nommo Ogo is one of those entries that manage to only come in with a whisper, showing us nothing truly extraordinary through their audio explorations. The band continues on with their same musical style since their emergence on the scene in 1996. Their latest entry, Across Time and Space disappoints as an entire album, and the presence that they make with the music is only loosely understood. Experimental soundscapes are crafted through an almost solely electronic element, only enough to carry enough momentum to keep one’s attention for a limited amount of time. The first song “Induction” clocks in at over 15 minutes in length, which might have been an innovative move for the band if the atmospheres created had held more depth or intrigue. What could have been a quite novel introduction to the album falls short and becomes a repetitious movement of electronic gobbledygook instead. The first five minutes alone would have easily sufficed for this track to introduce the listener to the album and the journey that it might have held. But sadly, the duration and repetitive quality of the song is not enough to maintain one’s attention for more than a couple of minutes. The remainder of the album holds mass lackluster appeal, possibly likable to those who might simply enjoy a mind-trip of extended time so as to escape. Other than that, Nommo Ogo only manages to sustain a very extended spectrum of experimental sound and nothing more. There are indistinct moments of heightened creativity, all of which appear too few and too infrequent throughout the album. For the most part, the music holds a consistent drawn out persona of lackluster creativity, harnessing no real momentum to help you along to listen full-length. Highly regarded for their live performances, perhaps then the music from Across Time and Space might appeal to a more “detached” audience.

Drained of its staying power, Across Time and Space could easily entertain those who wish to delve into a numb sense of audio detachment. Other than that, this experimental warbling manages nothing more than to deliver a mundane separation from reality for those who are able to sustain over one hour of electronic reverberation.

SITD
Rot

Metropolis Records Posted: Tuesday, August 03, 2010
By: Stephen Lussier
Contributing Writer

German electro/industrial is illuminated once again from one of the genres most significant bands.

Longtime forerunners of the industrial club scene, [:SITD:] - a.k.a. Shadows In The Dark - again provide us with another incomparable delve into the dark side of electronic music. The Metropolis-signed band with its now steady lineup of Carsten Jacek, Tom Lesczenski, and Frank D’Angelo remain among one of the top electronic club projects today. Rot (or translated from German to “Red”) marks the band’s fourth official full-length album, carrying on their trademark formula of saturated electronic distortion, heavy beats, and an always brooding vocal presence. The two year hiatus since the release of Bestie:Mench has noticeably helped the music to mature and thrive on this latest album. Hollowness and bleak atmospheres are what the band conjures up with Rot, providing a body of electronic music that parallels previous efforts and goes beyond with much more elegance and style than before.

The ominous entry of “The Insanity of Normality” sets a wonderfully dreary tone to Rot with its slowly developing synth background heightening to a barrage of fat beats. Bleak spoken dialogue breaks the rhythm and introduces the rest of the album with an aura of sweet desolation and remoteness. The despairing text that introduces the record indicates a morbid hopelessness that nonetheless makes you want to continue on listening. Infectious and melodic club character quickly follows within the first few beats of “Catharsis,” creating a spectral energy of club proportions. Here, the mood of the album officially begins; haunting and rhythmically engrossing, it never lets up throughout the front end of the album. This bleak energy fulfills what [:SITD:] is already renowned for, pulsing the music steadily and again defining the band’s electric energy. “Zodiac” with its albeit more predictable and cliché approach to both music and lyric still manages to return the electronic intensity of the album. “Pride” amplifies this momentum, providing an almost solely instrumental number in the middle of the album. The break is a welcome one and allows the following “Redemption” to pick up the lyrical pace anew. The song steers the music into an almost Rotersand vein, using heavy hitting beats but still countering the more aggressive music with somberness and bittersweet pessimism. The back end of the album provides more of [:SITD:]’s relentless force with music that could easily fill any dance floor as well as satisfy audiophiles with a need for calculated, head-pounding obscurity. With a serenity that defies any of the preceding tracks, “Destination” descends the tone of the album to a final close and allows you to exhale at the end of it all.

Rot represents the established formula to dark industrial that [:SITD:] has perfected as their own. With studio skills that are always evolving and a talented knack for creating a steady torrent of memorable music they have genuinely earned their position as one of the more significant electronic artists out today.

Lokai
Transition

Thrill Jockey Posted: Thursday, July 08, 2010
By: Stephen Lussier
Contributing Writer

Austria’s Lokai effectively create an intricate web of dark atmospheres and melodic obscurity with their latest offering.

Experimental artists Lokai have composed a modern electronic journey of sound with their album Transition. Since their 2005 debut release 7 Million, the duo of Florian Kmet and Stefan Németh has continued on with their exploration of non-rhythmic composition and atmospheric blends. The culmination of work that the two have composed and put together finally finds a home on this new full-length collection. Though broken up into a series of nine individual songs, the overall minimalist flow and downplayed melodies on the album fuse together and combine nicely as one distinctively cohesive piece. Electronically infused, the album maintains a bold acoustic quality that brings you to a point where the line between electronica and acoustic rhythm fades away almost completely. A series of broken synthetic chimes, acoustic guitar plucks, and randomly placed percussive elements persist throughout and easily drift the music along. Mysterious vibrations, eerie creaking, and an assortment of background melodies provide a firm backbone to the electronica and help to define a consistency throughout the album.

Fans of experimental music will most likely enjoy Transition for its well delivered atmospheric strength and anti-rhythmic pace. The ride that Lokai has produced is roughly stitched together at moments but not enough to make you lose interest. Introducing and finishing the album are “Roads” and “Roads (Reprise),” two tracks that both set the stage for the album as well as end it on a familiar note. The remaining songs that are sandwiched in between capture a focused tonal theme that begs a persistent listen. Similar experimental artists have a tendency to lean toward muddling their own concept beyond any recognition with an overdose of arbitrary elements shoved together all at once. The resulting work can become so saturated with random electronica that a listen of two or three songs will typically suffice, leaving the remainder of the music to simply become ignored. Lokai effectively manages to curtail the electronic elements that make up each song on the album. They maintain the singularity and integrity of each track through a structured and minimalist approach, yet manage to create a tempo that combines the music together into one single body of work.

Gentle, dreamlike, and sensitive to the senses, Lokai delivers what some experimental artists might fall short of with the production of such a wide collection. Diverse to a degree but always consistent and moving, the electro/acoustic sounds on the album triumph greatly, presenting a more-is-less attitude to the final product. Lokai’s ability to fabricate a wonderfully forlorn atmosphere with Transition will certainly make it a welcome addition to the narrow lineup of consummate experimental albums out there today.

The M.E.M.O.R.Y. Lab
The M.E.M.O.R.Y. Lab

D-Trash Records Posted: Thursday, July 08, 2010
By: Stephen Lussier
Contributing Writer

“Modern Expressing Machines of Revolutionary Youth” possesses nothing truly revolutionary or cutting edge, but that’s mainly because it took over 10 years to finally surface.

Canada’s D-Trash Records has jumped at the opportunity to release The M.E.M.O.R.Y. Lab’s first and last full-length self-titled compilation, Modern Expressing Machines of Revolutionary Youth. The long delayed amalgamation of music spanning The M.E.M.O.R.Y. Lab’s catalogue of music from 1994-1999 gives us a look at their somewhat unique take on the industrial metal sound of the time. Highlighting the talents of present day three-time Grammy award winner Marc Urselli as well as those of vocalist Nicola “the Old Nick” Curri, Modern Expressing Machines of Revolutionary Youth merely scratches the surface of what the genre holds today.

The general flow of the album is consistent, remaining confidently obscure with a hollow reverberation that loosely baits you as you listen. This hollowness is mainly attributed to the fact that the recordings were originally created through analog recording methods. Having said this, revitalization and modern remastering techniques unfortunately remain limited and the music becomes a strangely claustrophobic abundance of sound. From the menacing siren and dialogue riddled “Cambia,” there is an immediate brooding attitude that unravels. It’s a sound that openly screams early ’90s industrial music with its almost trying-too-hard approach to dark, foreboding song making. Imagine an early Front Line Assembly or a mid-career Ministry and you will immediately hear comparable electronic/metal-infused industrial methods paralleled. The then-modern electronic injection into the metal sound comes forward in tracks such as “Another Nail into the Cross” or “To Go All the Way,” offering a glimpse into the genre fusion that bands of that time were widely experimenting with. Retro sounding industrial rock tracks such as “Divine Eating” or “My Little World” ground the sound to a much more raw electric state, exposing Urselli’s capabilities as an anarchistic sound engineer and musician. Offsetting this, Curri’s vocal styling ranges on the disc widely from that of a haunting, anti-melodic whisper to gut-wrenching screams of angst and passion. The culmination of music that results is as much broken as it is united and creates a collection of music that comes across a bit muddled yet somehow vaguely connected. Through some clever sampling, proficient musicianship, and an oddly electric dynamism, many hidden gem moments are exposed in one shape or another on Modern Expressing Machines of Revolutionary Youth. Modern industrial music listeners should still consider an auditory walk down memory lane by way of The M.E.M.O.R.Y. Lab. Even though the group had officially disbanded over 10 years ago, it never hurts to be reminded of the bands from earlier eras that have helped to shape the modern industrial sound of today. Modern Expressing Machines of Revolutionary Youth might not ooze with pure originality, but this debut/final release from The M.E.M.O.R.Y. Lab deserves acknowledgment for illuminating the band’s position in the ever developing industrial music scene.

The Medication Generation will hit the streets on July 6, 2010 - the day the band embarks on the 2010 Detox Tour with Unter Null and Rabbit Junk/The Named on select dates. For more information on the album and the tour, go to The Medication Generation Website.

From the staff:

The new collection offers up a barrage of intelligent, genre-fusing and genre-breaking style; point-blank, each song possesses introspect into the band’s position in a world of technologically controlled disarray and mind-bent uncertainty as seen through their eyes. The chaotic approach in tracks such as “The Static Screens [in Syndication]” or “f@5h10n v1k+um5” helps to epitomize this sense of harnessed uncontrollability. Cyanotic’s rediscovery of excess through technology, media and pharmaceutical substances is a steady constant throughout the album and presents a boldly threaded storyline. The Medication Generation provides a narrative based on managing oneself in a technology-driven society - be it through becoming one with the machine or by escaping from it through other means. Musically, the band’s coldwave drive remains prominent, mixing well with an alluring torrent of drum & bass, electric guitar riffs, and cleverly programmed electronica. Shrewdly spliced and positioned audio samples widely saturate the album, providing even more connectivity to the music and the conceptual motion that drives the record. This album has been crafted in a design that will surely span target audiences from those in the hardcore club circuit all the way down to earphone audiophiles. The long wait has been validated with release of The Medication Generation, and Cyanotic again demonstrates that they are both accomplished as well as progressive in the modern industrial music scene. - Stephen Lussier, Contributing Writer

Cyanotic: The Medication Generation
Bit Riot Records / Glitch Mode Recordings

01. Med_Gen
02. Dose Responsive
03. Alt Machine [Edit]
04. Dissonant Dissident
05. The Static Screens [in Syndication]
06. Efficacy
07. f@5h10n v1k+um5
08. The Same
09. Programmed
10. Monochrome Skies
11. Brutal Deluxe
12. Drek Kick [feat. Rabbit Junk]
13. Comadose
14. Sentient

C/A/T
We Are Still Alive

Crunch Pod Posted: Monday, June 21, 2010
By: Stephen Lussier
Contributing Writer

C/A/T again pulls no punches with a teaser EP filled with fat beats, distorted synths, and a political consciousness that educates as much as it entertains.

C/A/T’s latest teaser EP, We Are Still Alive is charged with an abundance of the electric energy that Ben Arp and company are already renowned for, pushing the creative limits of electronic/industrial music with a heartfelt grasp on lyrically infused songwriting. Injecting elements of IDM, EBM, and industrial dance music, Arp manages to once again re-identify himself as a musician while at the same time creating a complex catalog of music that really escapes any specific genre definition. Grinding synths, aggressive beats, piercing electronic backgrounds, and beautifully distorted vocals help envelope the six songs on the EP into a nicely amalgamated body of work - not too shabby considering this EP holds obvious potential for the full-length album that will surely follow.

With We Are Still Alive, Arp delves into a more danceable industrial sound from that of his earlier more power noise orientated work with its mix of moody, atmospheric entries with an onslaught of powerhouse, club-friendly songs. Examples of this structured diversity materialize almost immediately. Sandwiched between two dark atmospheric instrumental tracks are four progressively harder foot-stomping songs, the catchiest of which, “Still Dead to Me” appears to have been designed for instant club rotation from its inception. The title track, “Live with Myself,” and “Left for Dead” hold a very similar vibe, which personifies exactly the current sound that C/A/T has been working towards. The music is filled with intelligible (although wonderfully distorted) lyrics that elevate the band above similar sounding artists who lack any personal connection to the listener. Going beyond simple shock tactics and pageantry, Arp successfully offers us his interpretation of the next step in industrial/electronic music.

There are not a lot of industrial artists today that can even come close to matching the style of music that Arp so capably puts out, and it’s a testament to the man behind the band that the heart of industrial music still remains today, making the title of We Are Still Alive all the more apropos.

X-Fusion
Ultima Ratio

Scanner Records Posted: Saturday, May 08, 2010
By: Stephen Lussier
Contributing Writer

An uncluttered gothic-industrial experience, Ultima Ratio is well composed, cleverly crafted, and houses some rather unique moments.

Ultima Ratio, translated loosely from Latin as “last resort,” is the latest offering from German dark electro project X-Fusion, and with this last resort, front man Jan L. puts all of his effort into creating an album that stands out. His attention to this project has recently given way to facilitate nurturing his successful, more industrial themed project Noisuf-X. As a result of this undertaking, he has taken away some of the breadth that had originally given life to his main venture. Ultima Ratio comes out hitting the ground running with the sole purpose of contradicting the dispute that X-Fusion has all but lost its distinctiveness, as much of the individuality that X-Fusion has typically been recognized for has waned as a result of band juggling. With this newest release, X-Fusion remerges from this stagnation with a wonderfully produced delve back into a world of darkness and complex, merciless dance rhythms that would satisfy any skeptic.

The dominating force behind much of the music on Ultima Ratio possesses a great deal of club appeal. Brooding gothic lyrical undertones provide a wonderfully ominous grounding element that consistently appeals throughout. From the instrumental introduction “The Calm Before the Storm,” X-Fusion instantly eases you into preparedness for the turmoil that it foreshadows. Heavy hitting danceable numbers emerge with such tracks as “Leave No Seed,” “House of Mirrors”, and “Follow Your Leader;” songs destined to be in constant rotation in any club DJ’s arsenal. Recognizable with the band’s own unique twist on the sometimes flattened harsh electro sound, X-Fusion elevates itself above similar electronic acts. By all appearances, this album seems to be a calculated effort to rejuvenate the sound back into something more memorable and it appears to be working. The limitations that accompany such a straightforward genre are always going to be evident, but Jan L. has managed to make the music his own again with a distinctiveness brought on by removing stylistic clichés and adding his own signatures to the music.

X-Fusion’s deliberate effort to break away from convention with this album proves that atmospherically bleak, foot-stomping music can still possess elements of individuality. Ultima Ratio breaks the rules of the norm by providing us with one of the few surprising darker club albums of recent times. It’s refreshing to see that the brainchild band of over 10 years is back on track with its younger brother act Noisuf-X. Let’s hope that it stays that way.

Poordream
Immaterial Monarch

Spectraliquid Records / 33 Recordings Posted: Tuesday, April 20, 2010
By: Stephen Lussier
Contributing Writer

This creative, conceptually driven collection of remixes rises more times than it falls.

Producer/sound designer John Valasis comes to the foreground with his debut album Immaterial Monarch under the newly adapted moniker Poordream. Not simply a collection of remixed singles, the disc holds a more tangible sense of creativity than the average EP single. The Zeitgeist inspired disc holds three tracks by Poordream as well as seven variations and interpretations of the song by artists from the 33 Recordings musician assemblage, a music consortium and net label originally created to highlight independent and up-and-coming musical acts expressively and creatively. With this particular release, it’s refreshing to see such a strong sense of musical community coming together on one single project.

The original version of “Immaterial Monarch” introduces the disc with raw, dreamlike quality, managing to evolve an ambient dreamscape with music that blends together elaborate electronic programming, dialogue samples, and field recordings. The culmination of this lot help to create a dreamy character that is saturated with conceptualization based on the abstract tone of the Zeitgeist movie series. The idea behind the music weighs in quite heavy, almost more than the success of the song itself. But as an introduction to the EP, it seems fitting that the simplest and most elegant version should be the first to start things off. Poordream immediately then takes the reigns with the Grandma version of the song, incorporating a slap-down of beat to the minimalist original and breathing new life into it. The dialogue is brought down and the upbeat tempo plays a more major role with this first remix. This version is mirrored later on in the disc with the Monotumus remix highlighting stronger tempo and incorporating sharp synths into the mix, as well as the Mahos Paterakis Riot mix with its strong yet generic electronic dance element. The intermittent diversity of pace on this disc is testament to the musical variance that each of the 33 Recording artists have brought to the table. Possibly the most abstract alteration to the original is brought out with the Broken Tempo remix. The evolution of Peter Finch’s sociologically strained “Network” speech into actual female lyrics is as inspired as it is out of place. It is an interesting take on the original that easily slips into the realm of pop rock and thus stands out on the disc as a bit of a question mark. Remixes such as Nadsat’s or Tape 86’s ground us back to the original more than any others on the album, acquiring and enhancing the simplicity of melody, anti-melody, and atmospheric experimentation. The Mr. F remix holds these same qualities as well but also adds an incredible amount of broken beats and sliced dialogue samples to make it distinct from the rest. The Dama remix provides a chaotic drum & bass drive that, although inspired as a take on the original, lacks production value when the beat overpowers the basis of the song itself.

Lastly, Poordream brings us back to the sociological ground zero that they had instigated originally by finishing off with “Sounds of Consciousness.” Being the only completely different song on the disc it fittingly lapses us back to the dreamlike sounds that began the project, a project that through such varying styles and approaches has made it significantly more than just a typical remix disc. The culmination of so many different artists and their take on a peer’s original creation helps to enforce the camaraderie within the 33 Recordings community. The collaboration on Immaterial Monarch has managed to produce a remix EP that holds the more unique identity of a full-length album; it just happens to have only two songs on it.

DJ Narcotic vs. Lenny Dee
Ring Around the Pit

Industrial Strength Records Posted: Tuesday, April 20, 2010
By: Stephen Lussier
Contributing Writer

Industrial hardcore remains strong with a deservedly proud New York personality.

Issued as both a picture-disc 12-inch single as well as a digital download file, Industrial Strength Records launches DJ Narotic vs. Lenny Dee’s “Ring Around the Pit” in three exceedingly in-your-face versions. The two powerhouse New York DJ/producers lash out an onslaught of kick drums, breakbeats, and distorted screaming vocals that will literally pummel your eardrums. Best described as abrasive hard-as-nails music, “Ring Around the Pit” demonstrates the raw, unadulterated New York underground hardcore sound to a superb degree. No punches are pulled with this track - it is to be listened at an exceedingly high volume by those in the know of speedcore/noise music. The technical production and musical drive highlight the talents of Narotic and Dee both as DJs as well as producers, pushing the envelope with music matching and beating well over 200 beats per minute. The New York hardcore scene shines brightly with an honest passion for both the music as well as the city, reminiscent of a Jon Spencer mentality, but with an enormous amount of speed and a much, much bolder attitude.

Prominent speedcore producer Bobby Tense rehashes the track with his own insanely amplified bass-driven techno/industrial touches. The differences between the three tracks may seem slight at best, but no matter what version, fans of hardcore/techno music will not be disappointed. It is pure adrenaline pumped, beat-driven musical mayhem that does not allow any timeouts for a gasp of air. Delta 9 next takes a stab at further distorting the chaos with an up-and-down lyrical and dialogue driven version (if you can believe it) whose repeats and loops are as broken as they are rhythmic. It may very well be the most obscure take on the track, smashing it down even further than the original into an almost Rotterdam/noise vibe.

Uncontrollable and addictive, “Ring Around the Pit” will appease those who require a good dose of controlled havoc in their musical library. The frenzied mess throughout all three versions of “Ring Around the Pit” may not be to all tastes, but it’s a strong testimony to the still alive and ever forceful New York underground hardcore music scene.

Urceus Exit
The Worst that We’ve Become

Artoffact Records Posted: Tuesday, April 20, 2010
By: Stephen Lussier
Contributing Writer

Weighed against the likes of Depeche Mode, Leftfield, and Underworld, Urceus Exit demonstrates distinctiveness beyond comparison.

Canadian electronic band Urceus Exit returns to the music scene with the introduction EP to their eagerly anticipated full-length album Compensation for the Sound of Silence. The EP holds the band’s most recent offering “The Worst that We’ve Become” and two alternate versions of new tracks taken from the album.

Urceus Exit has consistently advanced creatively and technically since its early days of development; always elevating their level of production skills, they have successfully veered away from the emulation that has usually dogged them. Front man Richard Duggen first conceived the band in the early ’90s and the band has since managed to establish its own fresh electronic style. To question whether elements of Underworld or Leftfield exist in Urceus Exit’s music is valid, but only to a point. Although byproducts of related bands might show face at times, the signature twist that Duggen and band mates Paul Hermann and Kyle Workman put on the music make it something that is undeniably their own. It’s catchy, danceable music with a defined key of intelligence and this is what defines it as being essential in today’s electronic music library.

Duggen’s lyrics on “The Worst that We’ve Become” grant us more than what most simple electro-pop or synthpop bands might offer as an initial single release. The marriage of words to music seems effortless, maintaining a catchiness that will have almost anyone humming or singing along once the chorus comes around. The song is a prime example of the newer, almost radio-friendly approach to the music that Urceus Exit is now making. It is also evidence of how their musical direction is once again forging away from the comparables of the past. “Drifting” continues the flow of the EP with its alternate version stretching out at a full seven minutes. Arguably the strongest song on the disc, it will most assuredly continue to resonate in your head long after you finish listening to it. “Pretend” with its again remodeled version rounds off the EP warmly but with a firm techno vibe that leaves you wanting to hear more. This three-track teaser EP will leave most with an anticipation to hear the band’s full album, which is sure to come through without disappointment.

Since their 2005 debut Contra, their music has shown that they have the capability to help draw away from basic style comparisons. This EP is an excellent example of what is to be expected from Urceus Exit at their next step.

Third Realm
Love is the Devil

Radio.Active.Music Posted: Tuesday, April 06, 2010
By: Stephen Lussier
Contributing Writer

A world of musical diversity brought together to create an inexplicable semblance of order.

Take a good measure of Psyclon Nine’s electronic angst plus a calculated amount of gothic bleakness, and finally plug in a bit of Marilyn Manson’s menacing trademark ballads, and you have the latest offering from goth/industrial act Third Realm, Love is the Devil. The Buffalo based electronic band returns with its follow-up to 2007’s Under the Black Light and the wait has allowed for some wonderfully dark imagination to surface on the part of creator and sole-member Nathan Reiner. Love is the Devil marks his second full-length release since the band’s debut EP Renfield’s Syndrome in 2005 and the level of strength both in creativity of song structure and album concept has shown clear signs of progression. Though the definite sound of the band fails to surface as its own unique style, the varied elements that make up this album somehow work well together, classifying Third Realm’s latest release as an unconventionally scattered “perfect storm.” There are strong and clear influences from the likes of such bands as Amduscia, Hocico, or Psyclon Nine that surface on this disc. By adding a strong gothic element into the electronic bedlam, it nicely complements and grounds it in a way that provides an excellent combination of both. Evidence of inspiration from many similar bands shows through the many facets of Third Realm’s music, highlighting various different genres in a way that creates a harmonized and consistent final product.

The album sets in motion a strong and aggressive industrial base. Breaking this bold electronic/industrial element after the first three tracks, Third Realm unexpectedly switches both vocal styling and musical mood with the hauntingly elegant “Sleeping Beauty.” A wonderfully gothic, semi-upbeat track, it lays the groundwork for the title track with its clearly Manson-influenced minimalist approach to a gothic ballad; very separate from the first three songs, yet not at all out of place in its position on the album. “Bleeding in Her Nightmare” continues the lyrical darkwave mood, while “The Horror Within You” bounds back the fierce electronic vibe once again, only to be cut back once more with the somber gothic qualities enhanced by “My Tortured Soul.” It’s a “peak and valley” scenario for the latter portion of the disc, bouncing electronic and gothic styles off of each other in an unsystematic dance of tortured, aggressive musical arrangements and melancholic journeys. The remaining tracks on Love is the Devil seem to absolve from any sense of harsh industrial arrangement, solely relying on a softer and considerably more emotional sound. The lyrics that parallel these downplayed songs incorporate bittersweet touches of bleakness and romanticized gloom. It’s a welcome finish to the up-and-down ride of musical and lyrical uncertainty, bringing to a close a veiled storyline that begs a listen right through to the final note.

Although indefinable within any single restricted genre Third Realm has given us an exemplified sample of what can be produced by using the many influences that have brought them to this point. Production-wise and creatively speaking, Third Realm holds nothing back with Love is the Devil. It’s a solid listen that is sure to broaden its listening audience with its wide range of musical diversity.

Suicide Commando
Die Motherfucker Die

Metropolis Records / Out of Line Records Posted: Tuesday, March 16, 2010
By: Stephen Lussier
Contributing Writer

Suicide Commando brings uninhibited aggression back to the dance floor.

If Suicide Commando’s position as frontrunner in the industrial/terror genre was ever up for debate, the second single from the band’s 2010 release Implements from Hell once again alleviates any possible doubt. Quick on the coattails of the Until We Die/Severed Head single, ringleader Johan Van Roy again provides another signature assault of his unique and instantly recognizable industrial angst - and it’s a welcome onslaught to fans of overtly written lyrics and pulse-pounding electro dance beats. “Die Motherfucker Die” embodies what the Suicide Commando of today is all about: dark, angry, and wracked with wonderfully corrosive vocals and synths; it’s everything that we could have hoped to receive as a follow-up to 2006’s Bind, Torture, Kill.

Holding no punches Van Roy unleashes his trademark style on us with a power and command that fans have now come to expect from any Suicide Commando song. “Die Motherfucker Die” is a slap in the face of electronic malevolence that makes no apologies. The disc itself includes two brand new tracks as well as two remixed versions of the title track by the likes of Kombat Unit collaborator Jan L. as well as Mexican cohorts C-Lekktor, the latter of which apply a tremendous symphonic dance drive to the already body-moving single.

“Die Motherfucker Die” provides a violent lash out, which at first listen may appear irrationally vicious but beneath the lyrical surface bubbles a clever understanding of the reasoning behind the statement. Van Roy makes no mistakes when trying to convey lyrics that not only hold strong sociological importance but also manage to marry skillfully to the intensity of his music. There is, of course, tremendous club appeal to both “Die Motherfucker Die” and its alternate “Come Down With Me” - one would expect no less from one of the most noteworthy electronic musicians in the industrial underground scene. But beyond the obvious club appeal that both songs hold, there is clearly a great deal of lyrical deliberation and polished production evident. This is more than can be said from some of the more current electro/industrial bands out there today. After coming back from a three year hiatus with Die Motherfucker Die, Suicide Commando again reminds us of its significance in today’s darker underground music scene.

Suicide Commando
Until We Die/Severed Head

Metropolis Records Posted: Tuesday, March 09, 2010
By: Stephen Lussier
Contributing Writer

Suicide Commando preludes its latest album with the beat-soaked “Until We Die” offset equally with the droning, almost anti-melodic “Severed Head.”

2010’s release of Suicide Commando’s seventh full-length album is preceded by a limited vinyl release of Until We Die/Severed Head. Wrought with the same angst-filled aggression that highlighted 2006’s Bind, Torture, Kill album, “Until We Die” once again demonstrates Johan Van Roy’s progression into the beat-laden darkness. His straightforward approach to the industrial/terror genre has consistently distinguished Suicide Commando above most through an ever-developing signature sound. As a prime example of this development, “Until We Die” practically assaults your ears with exaggerated, overshadowing beats that parallel obscured lyrics innocently begging the question “Why?” throughout the duration of the track. Almost optimistic through its innocence, “Until We Die” proves Suicide Commando’s ability to combine unsettling rhythm with effective, thought-provoking lyrics.

Countering the A-side of this single, we are granted a much darker experience with another of Von Roy’s delves into the mind of a serial-killer. However, this time instead of alluding to the BTK killer, the dialogue this time speaks of Edmund Kemper (The Co-Ed Killer) towards the last stage of his 1972 - 1973 killing spree. The spoken word sample tells the tale of Kemp’s last actions after killing his mother, keeping pace with an almost unending powered-down beat that is easy to get lost in. The uniquely sinister quality of Van Roy’s music coupled with this horrific dialogue ends the experience of the single on a hollow note, but somehow it still leaves you wanting more.

Although restricted to 500 copies of the red-vinyl release fans are still able to access the single as a digital-only release.

Mobthrow
Mutant Dubstep - Vol. 3

Spectraliquid Posted: Tuesday, March 09, 2010
By: Stephen Lussier
Contributing Writer

Traditional dubstep takes a back seat with this self-proclaimed “mutation.”

Anhel Liaros - a.k.a. Mobthrow - highlights his debut work in this third installment of the Greek label Spectraliquid’s Mutant Dubstep trilogy. The series began in 2008 with similar artists Ebola and Cardopusher casting their mix of the dubstep phenomenon at us with clear influences of IDM, drum & bass, and fluid breaks of industrial music. The collections are an amalgamation of sounds indirectly related to the true dubstep genre that have been put together by all three. These albums, Mobthrow’s in particular, are not for diehard fans longing to hear the characteristic “wub-wub-wub” dubstep pulsing rhythm that they are accustomed to. Instead, the music exemplifies modern subgenres that are continuously being created and expanded upon in today’s electronic music scene.

Mobthrow’s unconventional approach to the genre incorporates elements of cinematic ambience, digital melodic changeups, and modest industrial breaks. Dubstep is scarcely the foundation of the music. The overhauling of so many incorporated styles washes it down, thus creating music with an entirely new identity. Having said this, Mobthrow remains successful in producing a revamped version of the dub sound with some great productive talent and an interesting assemblage of obscure sounds within the music. Only having five tracks to work with on the album, (one being a dubstep version of the Future Sound of London’s “My Kingdom” and another being a remix of the first track on the disc), he is able to culminate his own sound with a fair amount of charm and reverence.

“Jazz Monsta” and the Mad EP remix of the same open and close the album without much innovation. A fair mix-up of digital synth blends with modulating bass throughout both tracks, but beyond this, there is no true development of the mutated dubstep sound. Mobthrow proves himself a proficiently talented electronic musician with this song and nothing really more. Just as your guard goes down, “Breakstar” punches back with breakbeats that demand your attention. The underlying ambience and synths soften underneath and almost get lost. However, the eeriness of the richly padded background maintains interest enough to realize why this album still belongs in the dubstep category. The third and final original track, “Deathstep” brings to the table an upbeat bass and unwavering beat sequence that balances the undulating harmonies throughout. It provides a faster pace than typical dubstep, but at almost a whopping seven minutes long, the repetitious beat could use something that might break up the rhythm a bit and make the song more remarkable. As a whole though, the original songs that Mobthrow has put together on Mutant Dubstep certainly exemplify where the dub scene is slowly progressing.

Dubstep is persistently surfacing from within the electronic music scene, and artists such as Mobthrow who look outside of convention are the ones who are pioneering new subgenres. Fans of the old-school dub sound might disagree but those who welcome change will likely enjoy the revolution.

Frozen Plasma
Monumentum

Metropolis Records Posted: Wednesday, February 17, 2010
By: Stephen Lussier
Contributing Writer

Never actually reinventing the wheel, Frozen Plasma still manages to keep the futurepop sound rolling forward evenly and seamlessly.

Frozen Plasma finally grants the waiting fans a second full-length collection of music and the evidence confirms that the product has arguably surpassed the wait. Monumentum, the band’s first release since the 2006 EP Emphasize and their 2008 teaser single “Tanz Die Revolution” is sure to appeal to fans of modern-day electronic music. The coupling of Diorama’s Felix Marc with Reaper-based Vasi Vallis prove Frozen Plasma to be one of the most dynamic electronic bands of today and most definitely one to watch for in the modern underground electronic music scene.

Body-moving futurepop breathes stronger than ever, and albums such as Monumentum or their earlier 2006 debut Artificial are excellent examples of how the genre is far from hollow or strictly pop/dance oriented. Not allowing itself to be pigeonholed simply as a club album, the body of work on Monumentum elevates itself above most by including characteristics such as a strong songwriting ability, unique vocal styling, and excellent post-production studio work.

Elegantly introducing the album is the suitably named “Open,” rich with symphonic melody and electronic string arrangements. An overture for the album more than a simple introduction, the waves of sound eventually give way and diminish to a close, allowing “The End - Deliverance” to again slowly pick up where the first track had left off. Vasi Vallis’ billowing electronic introduction takes its time and eventually gives life to the somber yet somehow uplifting vocals of Felix Marc. The song soon builds itself into an infectious beat matching the vocals faultlessly, reminding us again of Frozen Plasma’s unique sound. This combination of danceable rhythm and warm, inviting vocals resonates vibrantly throughout the 14 tracks on the album - never faltering and always in one way or another quite engaging.

As should be expected on any futurepop album, there are definite club oriented, beat driven dance songs on Monumentum. Tracks such as “Phoenix,” “Tanz Die Revolution,” and “Murderous Trap” highlight the genre’s contagious, upbeat characteristics, all of which are excellently represented on the album. Conversely, atmospheric and melodic elements are also exposed, as is evident through such emotionally driven tracks as “The Speed of Life” or “Earthling.” Frozen Plasma demonstrates a vast array of musical styles throughout the album, inundating the futurepop genre with a spectrum of talent that ranges from hit-sensitive lyric based songs right down to purely electronic synth driven compositions. Regarding the latter, “Natural Born Liars” and “Forgotten Earth” draw direct attention to Vallis’ noticeable ability to create cleverly crafted and overtly calculated electronic arrangements. These instrumental breaks help to tie together much of the extensive collection of music on Monumentum, cutting the flow subtly and not in an impetuous manner by any means.

Closing the album, the band grants us the most danceable track in the guise of an eight-and-a-half-minute extended dance mix of “The Speed of Life,” followed by the after-climax of the album, “Close.” Acting as a synopsis of the preceding tracks, these oddly coupled closing songs still manage to sustain the flow of the rest of album right to the finish.

There are definitely ghosts of Frozen Plasma’s earlier Artificial that shine through at times when listening to Monumentum. However, there is a distinctly more polished and calculated pace coming together that the band was never really able to truly achieve at such an early stage in its development. Now, less than four years in the works, Frozen Plasma has proven through their recent development that they undeniably belong in the list of top artists in the modern electro/futurepop scene.

A.D.A.C. 8286
Love, Hate ‘n’ Rage

Electric Tremor Dessau Posted: Saturday, January 09, 2010
By: Stephen Lussier
Contributing Writer

A.D.A.C. 8286 is a band dedicated to producing tried-and-true classic EBM music.

For those who wish to reminisce with sounds that parallel the work of early Nitzer Ebb or Front 242, this is definitely the band to listen to. With a strong commitment to reproducing simple yet engrossing electronic body music, A.D.A.C. 8286’s minimalist approach to the genre comes through without falter. Love, Hate ‘n’ Rage is technically the German band’s second album since its formation in 2007 (the first being 2008’s limited CDR album Straight On), and the music produced on both discs definitely offers an even level of solid, aggressive mechanical mayhem. This album in particular is a prime example of the band’s dedication to adhering to the old school, angst-filled mechanical sound that helped to evolve the modern EBM scene.

The heated, angry combination of vocals from two very different lead singers combines equally with the straightforward synth-infused rhythmic beats. Sung in both German and English (the former somehow seeming to work better for some reason), their lyrics play on simple themes such as life, girls, industrial work, etc. A.D.A.C. 8286 creates music that holds no actual political agenda - they simply wish to put out entertaining EBM music with their own subtle splash of humor. It’s a healthy balance that doesn’t allow the music to become repetitious and also manages to steer itself away from becoming something outlandish.

Live drums provide most of the backbone to the music; sequenced in with retro-fashioned electronically produced keyboard riffs and metallic clangs that occur here and there. There is also a distinct punk infusion interjected into the music - a little more than one might expect to hear when listening to an EBM album. But the hybrid sound that results manages to sustain itself for the length of the album without tedium. The in-your-face, at times shouting vocals reverberate alongside analog beats and may not always seem particularly inspired. But inspired or not, they still manage to emit a vibe of genuineness. It is this genuine quality that makes for an entertaining listen, never allowing the music to become too calculated or mundane.

Arguably, some of the tracks on this album could be improved upon production-wise. But for the most part this 14 track disc holds strong its concentration on hard-hitting synth-driven electro music. Perhaps the raw quality of the music remains its strongest feature, for without this quality, the music might just miss the target. Either way, this album is definitely worth a listen for fans of the EBM genre, particularly for those who wish to rekindle their earlier love of the music.

Solarcade
Songs for the Gathering

A&I Records Posted: Saturday, January 09, 2010
By: Stephen Lussier
Contributing Writer

Solarcade once again muddles the line between contemporary alternative rock and underground music.

Following two somewhat successful studio albums since emerging out of Los Angeles in 2005, Solarcade’s new Songs for the Gathering helps to define the band’s mainstream alternative sound much more than previous efforts. The music on this disc has a strong connection to a contemporary pop/alternative genre with subtle dance/rock elements that surface from time to time. It’s quite clear that Solarcade wishes more success on a mainstream level and they are certainly working to define their sound in this direction.

From the opening beat and rhythmic guitar of “Rise,” Solarcade instantly demonstrate their ability to create radio friendly alternative music through well thought out captivating riffs and memorable repeats. It’s a guilty pleasure to listen to this song, and the infectious melody will undoubtedly leave you with a sugary taste in your mouth. The pop element that saturates this and the majority of the disc is evidence of how their recent collaboration with new producer Brian Reeves has noticeably given way to his contemporary influences. Reeves has worked in connection with some of the biggest soft-rock/contemporary alternative music of today and now it seems that their design is to use his skills to immerse themselves into this mainstream community.

Solarcade’s previous sound has been compared to such bands as U2, Coldplay, and even Radiohead for any great number of reasons, be they vocal or instrument related. Also notable, Paul Van’s singing technique balances almost note-for-note to that of Peter Gabriel’s authoritative yet emotional style. Pomilla’s guitars mix well with Van’s voice - as well as his competent programming abilities - producing a record that’s not particularly exceptional but holds considerable promise from a band committed to evolving itself. It is the combination of their musical influences as well as their desire to merge into a more mainstream pop/alternative position that helps to provide their new framework.

All of this having been said, something surprisingly unique still remains of the band, even though they seem to be opting away from more unconventional sounds. There lies an almost hidden electronic element behind parts of this EP that effectively ties together much of the music without much prominence. It’s a subtle yet essential addition to Solarcade’s music, and without it, some of the tracks might simply fall flat. The curiously added electronic instrumental track “Artshow” gives us some added evidence of their programming abilities. Breaking the EP in the middle as a one minute vignette, it confirms that the band still has something to offer the electronic/rock music community. As if to again enforce this “non-conformist conformity,” the EP finishes with a remix of the first track, an electronically infused dance version of “Rise” that teeters Solarcade’s musical style once again over an ever graying line between pop and alternative.

Songs for the Gathering is an EP worth listening to, even if only to see how effectively a band can juggle itself in between two constantly adapting music communities.

Retrogramme
Retrogramme

Posted: Thursday, December 10, 2009
By: Stephen Lussier
Contributing Writer

Retrogramme demonstrates that it is undeniably more than just another laptop electronic band.

Retrogramme’s self-titled debut album uses an array of unique background rhythms combined with beats with a capacity to develop the music into strong industrial/pop. The band has managed to forge a sound that bypasses any specific genre but touches on many - not an easy task to complete successfully for any band. Created by Rob Early and Nikk Allen, Retrogramme had popped on the radar of electronic music in 2007 from a suburb outside of Washington, DC with a desire to produce music that not only propels a beat but also holds artistic and thought-provoking properties. Through Retrogramme, they have succeeded rather effectively in doing this by creating an electronic album that blends strong programming capabilities with live studio instruments.

The content ranges from ambient atmospheric techno to danceable electronica to borderline modern industrial music. It is, in a sense, a very controlled mixed bag of musical diversity. From the first electronic chimes of “Emma Says No” overlaid with its synthesized bass line and percussion, you know immediately that you are in for an interesting ride. And even though most of the album provides instrumental music, there are also engaging original samples and spotlighted vocals that fuse seamlessly into the mix. Once Retrogramme gets you comfortable with one type of music, the band can easily jump into another at the drop of a hat.

The upbeat drive of “911 for Locals” swiftly changes the tempo of the album, introducing a more industrial/pop or EBM element akin to XP8 or Apoptygma Berzerk. The electronically softened vocals of Dima on this track as well as “Where the Heart Is” (and an apparent non-credited performance on “The Autumn Winds”) confirm this stronger upbeat change in sound on the album - and it’s a welcome one. “Black Magic” brings back the element of an ambient soundscape, providing sampled female dialogue, which nicely balances the subtle rhythm and hollowness of the track. This pace of gentle rhythmic flow within waves of electronically reproduced strings and guitar comes back toward the last three tracks on the album; not overbearing, yet certainly not tedious to any degree. Finishing off the album is the optimistic orchestral strings of “Everything is Fine,” which completes the collection effectively with its bubbly charm and up-tempo beat.

Retrogramme is relatively new on the scene, but the distinct sound and studio production skill will soon put this band in the know of fans of electronic music within a wide spectrum. The recent release of a new EP entitled Season of Scars possesses an even darker industrial element - just another example of the band’s capable genre-breaking ability that will most likely lead them toward a second even more successful album.

Uberbyte
DOS

Crunch Pod Posted: Sunday, November 29, 2009
By: Stephen Lussier
Contributing Writer

Uberbyte continues to embrace the tried-and-true formula for producing heated electro/industrial music with humorous eccentricity.

UK heavy-hitters Uberbyte lash out another solid audio assault of aggressive techno/industrial beat and hook-driven songwriting with the follow-up to 2008’s Sic. The electro power band keeps at it with the second full-length album, DOS, giving us a strong sense that they were never really finished with their first. In the words of lead vocalist Uberman, the band’s debut record was used to “announce” the band to the world, and that is exactly what it did to much critical and commercial acclaim, putting the band in demand touring with such heavyweights as Combichrist, Grendel, Hocico, and the like. With 2009’s DOS, the band has sustained, or perhaps even improved upon its formula for success that has already won over club-goers and audiophiles alike.

Not pulling any punches, “Under the Cross” begins the album unabashedly, entering into your head with Uberman’s menacing vocals merged seamlessly with an abundance of head-pounding percussion and electronic mayhem. It is another prime example of how the band’s noted comparison to Combichrist still remains, albeit with Uberbyte’s slight refinement of the sound. This time around, the music seems to contain a bit more “immature maturity;” a natural development that any accomplished band should see as it continues to grow. This cynical yet amusing component surfaces in tracks such as “Say What” with its likeable pop element and Samuel L. Jackson audio sample, “(Let’s Put the Fun in) Fundamentalist” with its South Park sound bites, or “Industrial Bitch,” which is destined to be a club favorite with its infectious female vocal repeats and hammering beats.

Uberman is not limited to the tongue-in-cheek humor that saturates the album though, and he and the band remain quite skilled at punching out incredible electro/industrial anthems such as “Last Human” or “Soma,” both of which shine brightly and definitely highlight the record as pillars. There are no real filler tracks on this album; it was designed to be a dance album with penetrating force and acumen. The band seems to simply have an ample supply of cleverly crafted, catchy songs to allow for any wasted tracks to take up space. The resulting collection flows equally strong throughout, requiring nothing of you but to turn up the volume and let each pulse-pounding track take you to the next.

Uberbyte has a wonderful knack for applying twisted humor into its music to a degree that doesn’t impede on the gritty, beat-manifested attack that they are quite capable of turning out. With this record, they again prove their ability to balance this hybrid of anger and humor quite well, and in just over a small two year span, they have managed to solidify themselves as one of the more relevant underground club bands of today. DOS is quite simply a superbly produced studio album that captures the band’s energy and enthusiasm significantly. It will definitely be difficult for anyone not to get caught up in the excitement of Uberbyte’s organized mayhem when listening to this album.

Ego and the Ids
Almost Masons

Posted: Sunday, November 29, 2009
By: Stephen Lussier
Contributing Writer

Difficult to classify into any particular genre, Ego and the Ids use their experimental oddities to lure you in with their melodic charm.

Portland band Ego and the Ids manage to build up and break down confining labels with their music all at the same time. The band’s music incorporates mysterious synthesized elements, traces of gothic rock, acoustic experimental lulls, and a wide number of additional obscure ingredients; all of which come together in the collection Almost Masons. Ego and the Ids is in actual fact a collection of musicians fronted by ringleaders Delonde Bell and Gerald del Camp, the latter of which is no stranger to the experimental alt. rock music scene. Notable influence can be heard from such bands as Dead Can Dance, Clan of Xymox, or even the Cocteau Twins when listening to the ambient sounds that they are quite proficient at generating. The Almost Masons EP offers a taste of what the project - as opposed to “band” - is currently producing as far as unique, shadowy, melodic music. The six song collection gives us an unadulterated glimpse into the experimentation and examination of sound that this collaboration, now in its early stage, is attempting to fashion as its own distinctive style.

The initial introduction of bass and underlying synthesizer of “The Silver Key” opens up a world of soothing and enticing wave-like sound, which continues to build upon itself with layers of bittersweet complexity. “Out of Time” maintains this flow of temperance and simplicity, combining beautifully arranged synthesized and acoustic melodies. At times on the disc, there exist crescendos of music that begin quite basically but manage to upsurge with an assemblage of instruments that heighten the emotion within each song. By the time the satirical sampling of former President Bush’s State of the Union speech comes into play on “March of the Woodland Fairies,” the music begins to downplay into an orchestral, somber flow. For the remainder of the EP, the same general atmosphere maintains itself with an in-and-out stream of instrumental placidity that would seem more fit finishing a much larger full-length album. There is a distinct mysticism fraught with inspiration brought forth through these songs, but in such a small dose that it can’t help but feel as though the music is still being explored - not finalized.

Almost Masons accomplishes what it had most likely set out to do: allow the music to develop. It also gives us as listeners a hint of not only what Ego and the Ids have to offer, but also what they are capable of delivering once a more complete collection is ready for the masses.

Flux
Safe + Sound

Electric Fantastic Sound Posted: Monday, November 16, 2009
By: Stephen Lussier
Contributing Writer

Finland’s Flux establishes with its ‘classic new-wave sound’ that Swedish synthpop isn’t the only game in town anymore.

Emerging on the scene originally in 2006 with the independent release of two singles, Protected and Electric Woman, Flux at last comes forth with its first full-length studio album, Safe + Sound. As the title hints, there is nothing truthfully ground-breaking or innovative about what Flux produces in modern electronic music. However, the group’s hybrid of retro analog synthesizers, mechanical rhythm, and enchanting vocals provide an indisputably captivating sound that is quite true to the synthpop genre. Offered is an impression of electronica origins with sounds reminiscent of the ’80s converging with modern-day chic. It’s a welcome reminder of the past that is heightened only more so with these added modern electro nuances.

“Revelation” immediately sets the pace of the album - it’s a steady pace that doesn’t weaken at any point throughout the 10 tracks in this collection. Relaxing but with clear hints of a dance element, Safe + Sound engages without pushing itself into a pop-music element. The seamless layering of electronic beats and synthesized keyboards remain very calculated and allow for lead vocalist Asta to shine in her own right. Traces of Ladytron, Björk, or to a lesser extreme, 2raumwohnung manifest throughout her delicate, melodic tone as her voice overlaps effortlessly over the electronic rhythm. Her tranquil quality allows for the lyrics to rebound off of the music in an equal and flattering manner, creating a solid yet gentle sound that holds you from one moment to the next.

With the inclusion of the aforementioned singles from two years ago, Safe + Sound establishes Flux’s style as not only consistent but also fairly engrossing. The band provides an enjoyable ride straight through that fortunately doesn’t develop itself into a dull and repetitious muddle; no small feat for any electronic band when putting together a complete collection of works.

Sensor
Naked

Intuition Records Posted: Friday, September 11, 2009
By: Stephen Lussier
Contributing Writer

Sensor fuses a revival of early ’80s new wave with contemporary synthpop, giving us a familiar yet unique take on some celebrated old styles.

Who would have considered that a Russian band hooked on capturing the finest elements of ’80s British music would succeed in today’s modern music scene? Sensor’s debut full-length album, Naked manages to captivate us nicely with hints of the past mixed with modern flair. This relatively new-on-the-scene band rejuvenates retro new wave vibes within its own form of electronic rock and adapts the results into some pretty memorable music.

Considering Sensor’s Russian background, it is quite significant to note the band’s authenticity of the post-punk movement sound, right down to the fact that the lyrics are sung in near-flawless English. Lead singer Ilya Pavlov’s vocals hold genuine similarities to FGTH’s Holly Johnson, tying much of the album together tightly with an almost pop-like quality. But not to be taken to a mainstream level, it’s important to note that the pieces are definitely what make up the sum in Naked; elements of rock, synthpop, and techno manifest individually throughout the album. Memorable tracks with catchy beats are key here, and a good number of songs will definitely satisfy fans of the genre as well as those who wish to relive vintage new wave with a modern twist. Strong bass guitar elevates the pace for the majority of the tracks, washing in waves of analog synthesizers and drums to complete the sound. Sensor relies on authenticity and only makes use of modern technology when putting already recorded studio tracks through post-production. Consequently the band has succeeded in helping us to relive the sounds of the past and remind us of the roots of what we consider to be new wave or synthpop today. Each song bounces easily into the next, creating a fluid collection that’s easy to get enjoyably lost in. Capping off the disc is an 11-minute funky-bass remix of the track “Static,” an interesting choice that somehow works to enforce the persistent rhythm and flow of the previous tracks.

New wave and synthpop are surely not dead, but it has taken a band from Russia with a passion for an old British sound to show us what we might have forgotten about their beginnings.

Mystery of Dawn
Augenlicht

Posted: Monday, September 07, 2009
By: Stephen Lussier
Contributing Writer

Mystery of Dawn boasts the ability to juggle a great number of musical styles to cover a wider sound spectrum - but juggle too many balls and you might just drop a few.

To describe Mystery of Dawn as an electro-rock band is something that the band members themselves have difficulty with. Here is a band that self-proclaims that it won’t pigeonhole itself into one distinct musical genre. By doing so, the third official full-length studio album, Augenlicht ends up being an oversized and obscure collection - 19 songs in total - that seems almost arbitrarily slapped together.

Infectious riffs and catchy vocal repeats are abundant in this collection, but with the vast amount of music on this disc, the band’s identity begins to vanish. First-time listeners of Mystery of Dawn will immediately be pleased with the mash-up of electronica, EBM, industrial, and darkwave - among the many varied styles the band has incorporated. But the staying power of such a cluttered mix of music might be doubtful to longtime listeners. Some songs lash out at you with pounding electro beats and grinding bass lines while other moments in the album seem flattened with synthpop nuances. The vocals - in English, German, and a mix of both - hit both hard and soft depending on the song style, again ranging the diversity of music further. There appears to be a bit too much going on within Mystery of Dawn’s many waves of sound, and although the studio work and post-production levels are solid, the album as a whole creates almost as many misses as it does hits.

Prepare to be entertained, though. There are several excellent tracks on Augenlicht, which is what is bound to happen when you offer this much selection to choose from. Some songs seem to get lost through the album’s track-to-track inconsistencies. Songs such as “Waves” or “Krumel” end up falling through the cracks of the overall vibe of upbeat, danceable electronic chaos. Perhaps it’s the ride of ups and downs that Mystery of Dawn is hoping to capture the attention of the fans with. Either way, it remains said that by obscuring its own sound to such a large scope, the music lacks the structure and uniformity that it needs to maintain a full album.

In its abundance, Augenlicht delivers a great deal of music that will appease in one way or another; just weed through the masses to find what you like.

Novalis Deux
Ghosts Over Europe

Ars Musica Diffundére / Black Rain Records Posted: Monday, September 07, 2009
By: Stephen Lussier
Contributing Writer

Melancholy, moody, and romantic, a newly formed Novalis Deux creates a calm and mysterious mood that inspires and arouses emotion.

Germany’s Novalis Deux is far from being new on the scene with its distinctive brand of gothic folk music. Ghosts Over Europe marks the group’s third full-length album since the 2002 debut EP First Cadence and the band has since grown from two original members to its new lineup of seven. Demonstrating musical diversity coupled with a seemingly limitless amount of creativity, the band has continued to evolve and reinvent itself time and time again. This time, the sounds that are fashioned pull away from the previous, more simplistic approach to neo-folk to incorporate waves of violins, keyboards, and pleasing, haunting female vocals. This overhaul of a more traditional neo-folk/darkwave sound is a welcome departure from the norm.

“Put on Your Shoes” smoothly opens the album, highlighting the evocative vocals of lead-singer Stev Schumann harmonizing with keyboardist/vocalist Marcel Hinkel. One of the cleanest songs on the album, it immediately demonstrates the band’s talents and proficient studio work through the signature crisp acoustic guitar sound matched with a competent violin underscore. It’s a defined sound that flows evenly throughout the majority of the album; sweet and somber at times, but never dull.

Two of the most memorable tracks on the album, “Homecoming” and the title song “Ghosts Over Europe” provide captivating lyrics and engaging composition. The latter demonstrates the band’s ability to start with elements of simplistic, controlled acoustic beginnings that gradually build into an overture of electricity and tuneful richness. This is clearly a band that takes control of the music that it creates and knows very well the tools to use. The band’s engaging acoustic flow falters only once with the obscure and oddly composed “The Clown,” designed possibly with dark humor overtones, but failing to provide anything but a confusing break in an otherwise elegant album. This is merely a minor setback on the album.

“Passing By” brings us back once more; spotlighting Stev’s commanding vocals in a returning soothing manner, this time integrated with soulful piano and violin backing. Again, the music revisits a more comprehensive sound than the band has shown in earlier years. Novalis Deux seems to improve with the addition of multiple musicians when comparing the music from this album to the band’s previous work. As with any band, the potential to create a messy and cluttered sound is always a possibility when this happens, but somehow, the additions are easily accepted and immediately established, allowing the music to flourish.

Ghosts Over Europe exhibits great promise, delivering wonderfully brooding soul with unusual appeal. Excluding a small number of cracks in an otherwise smooth surface of music, the album as a whole has more than enough to reward the listener. It is definitely worth the effort to give it an opportunity to fully reveal Novalis Deux as a band with an undeniable ability to compose and create.

Plastic Noise Experience
Reiz und Reaktion

Alfa Matrix Posted: Friday, August 21, 2009
By: Stephen Lussier
Contributing Writer

Plastic Noise Experience blurs the line between gloomy rhythm and electronic dance music once again.

Germany’s Claus Kruse hits us again after a four-year hiatus with a fresh new assault of his dark electro/EBM - this time with arguably more success than ever before. Reiz und Reaktion marks the band’s seventh album since its debut almost 20 years ago, and the music still hits hard with classic, old school electronic punch. 2006’s Maschinemusik had left fans hungering for more with its modest commercial success; so much, though, that the record label had put out a “best of” release quite soon afterward. This long wait to hear new studio music should definitely reward true hardcore followers of PNE.

Devotees know the band for its impetuous electronic tempo, exaggerated basslines, and forbidding German vocals. What PNE has consistently offered over the years is simply time-honored EBM at it’s finest with a “more is less” ideology, eliminating all of the superfluous add-ons and extras that some EBM bands of today have incorporated into the genre. The purity of the sound seems to live on through PNE, reminding diehards of early electronica or electro/industrial beginnings brought forth from such bands as Kraftwerk or early Front Line Assembly. Here marks a band that remains strong to its musical roots and the fans have clearly shown their support of this over the years.

Reiz und Reaktion adheres to this style successfully, providing a straightforward yet engaging and lively audio journey. Although Kruse’s menacing vocal presence diminishes somewhat when electro-dance rhythms overtake in several songs, this does not in any way take away from the hybrid of dark electro and EBM that the band is well known for. It does, however, remove some of the effectiveness of the gloom that PNE has revealed more successfully through previous offerings. Generally speaking, the album is solid from front to finish for fans of the band and new listeners alike. Plus, closing the disc are five remixes off the album from the likes of Suicide Commando and Leæther Strip, both of which provide an excellent take on the album’s opening track, “Zu Nah,” in their own unique and distinctive style. True fans will also be attracted to the limited box edition of the album, adding an exclusive harsh-electro five-track EP as well as recordings from Kruse’s side-project Sonic Unit to their collection. They also provide us with yet another obscure retro remake with a brooding version of Donna Summer’s “I Feel Love” - possibly in an attempt to relive the success of their 1992 remake of Bronski Beat’s “Smalltown Boy.” But being a past supporter of PNE is not a requirement in order to fully appreciate and enjoy Reiz und Reaktion to its fullest. Enthusiasts of traditional minimalist EBM music will definitely be entertained amid uncomplicated rhythm and straightforward melodies, reminding us all that the music’s true heart still exists.

Intervenus
Trilogik EP

Posted: Monday, August 17, 2009
By: Stephen Lussier
Contributing Writer

Independent artist Intervenus offers up his second small dose of trancelike electronica and introduces us to a world of old tools incorporating new personality.

It’s difficult to fully determine the caliber of any new artist when basing this judgment on only a select amount of songs. Such is the case with Intervenus, a fairly recent introduction to the electronica scene. His most recent EP, Trilogik offers up a pleasing journey of atmospheric melody and recurring harmonies, though the maturity of both the sound and its production definitely remain in their early stages. Nonetheless, throughout this three-song collection, distinct musical influences immediately begin to emerge. Echoing analog percussion mixes with wavering synthetic streams, helping to produce sounds that parallel music from Front 242’s earlier years merged with the washed over synths of a more modern Seabound or Client. It is with this element of imitation that Intervenus reveals that he is an unquestionably talented musician who continues the process of developing his own sound. Sometimes following in the footsteps of others can help forge an artist’s own individuality, and Intervenus is definitely using the tools of others in order to make this happen. Each song on the disc takes you on three separate mini-voyages of in-and-out synthetic space-like sounds combined with a steady yet simplistic backing beat. It’s a ride that you can easily get lost in - that is, until each next track abruptly hits you once again. The tracks are far from uneventful in their own right; however, they certainly don’t strike any dramatic punch or rhythmic flow as a compilation. It’s somewhat obvious that Intervenus is working toward something bigger - possibly a future full-length album in the works. But between this EP and the previous offering, 2007’s Spiral Codec, the music still shows itself with a need to be cultivated a bit more. Again, perhaps this EP is simply a predecessor to a more complete final full album to be released in the near future. It should be interesting to listen to the final identity that all of Intervenus’ influences will have helped to create.

Cryogenica
Redux

Posted: Saturday, May 30, 2009
By: Stephen Lussier
Contributing Writer

Cryogenica revisits four of their songs with a determination to revise their sound outside of the conventional alternative realm toward a darker gothic vibe.

Occasionally, a remix EP may offer improved adaptations of the originals, but more often than not, they end up being far worse. Here is one of those rare instances where the remixes create completely new works that deserve to be judged on their own. Cryogenica has made an effort through the reworks on this EP to evolve its previous sound into something with more substance and distinctiveness.

Cryogenica had been described as an electro/industrial band with gothic elements, and upon hearing the original versions that are included in this Redux, one would have believed this to be true. However, after listening to the reworked translations of these four songs, we can now see a distinct evolution of the band’s uniqueness beginning to surface. The edginess and grit that periodically surfaced throughout their previous efforts emanates more vibrantly now. This is a band still developing and they seem to be finding their sound quite nicely.

The revisited “She (An Ode to Helena),” originally a single from their 2007 debut album I Have No Name, immediately gives a taste of what the band has begun to fashion as a darker, more mysterious sound compared to their original more conventional version. This overall bleakness maintains throughout the remaining tracks, though the production levels might possibly have been improved upon. Having said this, the resulting sounds that develop are rougher, stronger versions of their originals. Cryogenica, it appears, has regressed back to a rawer, unadulterated version of what it once was. If this EP is a taste of things to come, then it should prove to be something to look forward to when the band releases its next full album. Sometimes a band has to step backwards and rework what they thought was already a finished piece - and this time it appears to be working.

Vladislav Buben
Selector

Urbcom Records Posted: Saturday, May 23, 2009
By: Stephen Lussier
Contributing Writer

Vladislav Buben initially opens up an electronic ‘puzzle,’ not knowing how all the pieces are supposed to fit together.

Vladislav Buben’s most recent solo endeavor may seem a bit hit-and-miss upon first listen. From its opening blare of horns pulsing alongside sharp retro breakbeats, he introduces you to a world of beat-driven oddities. Somehow though, it sets in motion a fairly steady pace that gradually becomes audibly satisfying.

While there are a few somewhat ambient sounding tracks on the album, the majority of the music produced is a danceable form of techno that seems to want to incorporate elements of industrial roughness. This aggressive industrial component gradually creeps in as layers of distorted background noise combine with pulsing electronic rhythm. By the time you get through the first six tracks, you slowly begin to appreciate how this seemingly random album begins to take shape albeit in a slightly obscure way.

With “Azores,” Vladislav unexpectedly transforms the tempo again, altering the mood of the album with a somewhat flat drum & bass/powernoise drive devoid of the in-and-out obscurity that the preceding songs held. This repetitious wave continues without much innovation throughout the next few tracks. But just as you seem lost in a wave of simplistic speed-beats, he again wins you over at the end of the album. “Ordain” and “Miscarriage” bring back the driving combination of beat versus distortion that we had a taste of in the beginning.

As a whole, Selector may leave you somewhat puzzled with its unpredictability leading you from track to track. But it is the pieces that make up the whole that help to produce an enjoyable mix of music.