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Factice Factory - "Lines & Parallels" - by Maxymox 2017

immage  For those interested in deepen more details regarding the biography and discography of the French-Swiss band Factice Factory, its technical sheet was treated by Vox Empirea in the section dated 2015, precisely within the review of "The White Days", the debut album released in 2014, followed next year by a second publication, the ten-track self-produced full-lenght called "Nada". By refining more professionally the compositional techniques and then relaunching its own style in the direction of a more effective waving musicality, the project returns in 2017 with two great releases: the two-songs 7" entitled "Cherry Picker", issued by the German label Holy Hour Records and the waited album "Lines & Parallels", published in its two versions CD plus digital file respectively by the Belgian Wool-E Discs - sister-label of Wool-E Tapes - and the Dutch brand Wave Tension Records. The nine episodes included in the titletrack of the new work incorporate the primary 80's cold wave / new wave / post punk matrix further darkwave / minimal / synthwave ramifications, which osmosis generates an algid sound, which is the mirror of the restlessness, of the alienation and of the darkness that resides in the soul of the three members of the line-up. The exploration of "Lines & Parallels" is an endless voyage towards a visionary, tormented inwardness, in which spatiality they twirl ghostly gloomy shapeless shadows that evoke a sense of incessant obsessiveness; all these elements are expressed at first in the short instrumental opener "Lines", composed by a gaunt sequenced filament intersected by atmospheric pads extensions. The post-punk / cold-wave scheme of the next "Leuchtturm" is built through linear midtempo drum-beats perfectly synchronized with the pulsations of bass, depressed vocals pronounced with glacial essentiality, harmonious synths and distant electric guitar reverbs. "Audran" spreads basic minimal-synthwave / cold-wave / post-punk sounds soaked of emotional desolation, erected on a skeletal drum-programming midtempo percussiveness, psychotic evanescences of keyboard, deep hatchings of bass-lines and on hallucinated electric guitar evolutions , all this embellished by an inert, apathetic chant, which gives the track an aura of solemn coldness. "Defeat" fascinates, mesmerizes, propagating infinitely melancholic vocals and dense profusions of keyboard's chords that stand out on the symmetrical arpeggios of the first electric guitar and bass, while the reflections of the second guitar resound separately, remote, intertwining passionately with the downtempo drum-programming, in a sad cold-wave to hear during the long winter nights. The interlude "Parallels", consisting in a dry midtempo segment of drum-machine, sequencing and turbid synth saturations, roars fast, anticipating the next "Hatch End", a chapter in which they predominate funereal darkwaver / cold-wave / post-punk sonances, performed with regretful, bitter vocals, slowly scanned by the oscillations of bass and drum, while the electricity expanded by the guitar turns into a turbulence of lysergidating dilations that cause bewilderment and consternation, altering the perception of reality. "Sway" livens up the musicality through electronically waveing / synthwave aestheticism, in which the graceful intonations of the vocalist are embellished by those so sensuously warm of the guest-singer Jeanne Lefebvre - protagonist with Fabrice Lefebvre of the word music duo-act called Rajna - whose chant interaction, well drummed by the midtempo pulsations of drum-programming and bass, is permeated by diaphanous synth melodies, by sequenced intermittences and by liquefied extensions of guitar. The post-punker / cold wave frenzy that drags the next "Extinguisher" penetrates into mind, shaking it obsessively, through nervous beats of drumming and bass, telegraphic vocalizations and oppressive synth coverings. The last act of the tracklist is "The Weeping Willow", in which the structures they renew again feelings of melancholic despair, of dissatisfaction, revealed above all by a chant totally deprived of light, pronounced with endless sorrow, surrounded by decadent darkwave / post-punk harmonies created by torbid guitar reverbs, which refractions rise above the air in patterns heavy such as the November sky, combining with the downtempo drumming, with faded keyboard and the bloodless punctuation of bass. Formidably filled with charismatic spleen, "Lines & Parallels" represents the eloquent example of how an album can become part of your existence, if the sensibility and temperament of the auditor tend for nature towards the true introversion. It mesmerizes the spirit, offering to those who listen to it carefully a multidimensional perspective of its inner universe, to which to abandon without conditions, thanks to the persistence of ashen modulations, strongly suggestive, at times claustrophobic, always lacerated by an inconsolable, overwhelming suffering. The artistic value of Factice Factory, like the best 80's wave heroes, is once again demonstrated by their great ability to be able to musically and intensively transmit frustrations, pessimism, non-future and all the unexpected hopes of a generation upset by ambiguous, negative times. This album must be your. Knowing that it exists is not enough.

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Huron - "Inside Information" - by Maxymox 2017

immage  An Huron's detailed biographical and discographic description is available in the review of his Extended Play entitled "Fissure", published on Vox Empirea in the section of the year 2015. By updating and completing today the full list of the works of this German one-man act personified by Steffen Schröder, he fired in 2016 "The Other Side Of Reality (The Remixes)", a fundamental self-produced compilation of twenty tracks created with the contributions of some of the most important projects from the international IDM / ambient / electronics scene: Waldrick, Flaque, Tineidae, Hotaru Bay, Headdreamer, Roel Funcken, Structural Fault, Avsense, Randomform, And Exile, DNN, MikTek, Noyaux Aitken, 3.14, The Empath, Metalogue, Tineidae, Undermathic and Polarlicht Transistor. Experimenting more and more advanced sounds, Huron finalizes simultaneously in 2017 the self-released digital single "Fragile" and the great new album now analyzed by Vox Empirea, "Inside Information", issued by the Dutch label Mindtrick Records, in which tracklist we perceived a further improvement in the compositional capacity of the artist, who develops thirteen executions characterized by a very seductive Intelligent Dance Music / glitch / ambient model, strongly atmospheric, obscure, enigmatically "mental", full of sophistication, intricacy in the textures and geometric perfection attributable to the qualitatively superior braindance. The first track is the brief intro "HumanTZ05550X", built by diaphanous, long suspensions of pads, between a background of rainfall soundscapes and rarefied vociferation, anticipating the next chapter "Time To Wait", made of cold, oscillating numeric symphonies with dispersions of sequenced microparticles and basic downtempo drum-programming, on which they blow cryptic whisperings coming from a parallel dimension. The structural essentiality of "Waterside" is expressed in the form of a placid, metallized ambient / glitch / formulas, derived from subsonic keyboard emissions and from synthetic rumbling, as well as the following "Forest Lover" is driven by the quantized percussiveness of drum programming, whose downtempo cyclic cadences design an asymmetric trajectory combined with hypnotic keyboard expansions - progressively in gradual intensity - and with the millimetric fragmentations of sequencer. "Mind Reader" darkens the sound, irradiating it by inorganic, fluctuating, minimal refractions of laptop, so similar to the vibration of an alien device, which gloomy modulations interweave with synthetic reverbs of keyboard, identical to a bell tolling located at an infinitely distant point in the Cosmos. "Wrong Information" spreads obscure and prolonged pads, among which they replicate futurist melodies, mechanical grooves downtempo of drum-machine, hispid sequenced segments and, at the end, fascinating touches of piano. The title-track goes on with the following "The End Is The Beginning" and with its dreamlike paradigm, in which the dehumanized logic of machines actively interacts with our neural circuits: wide pads algid as mercury, rhythmical downtempo start-stops, swishing interferences in the background and electronic pulverizations, they alternate at regular intervals, propagating a supernatural enchantment. The discontinuous downtempo lines of drumming and sequencer that tow "Hunting The Morning Light" scan dark chords, echoed piano luminances and concise vocal sampling, all in a track - like all the previous and the subsequent ones - abstract, evocative of utopian visions and highly meditative. "Ghost In The Mirror" expresses all the intrinsic spectrality of its title through an agglomerate of artificial acrid noises, in which we perceived vocal fractions completely transfigured by filtrations, interchanged with spherical pads light such air and hyper-processed effervescences. Mathematical downtempo drumming breaks, rhythmically saturated by distortions, sidereal keyboard harmonies, surreal piano intersections: here's the architecture of "Blank Cities", a sonically rigorous track but at the same time intensely ecstatic, which hypothesizes sinisterly deserted urban scenarios in complete abandonment status and post-apocalyptic skylines. The bewitching calm sounds of "Grow With Him" crystallises the surrounding space, giving physicality to elegiac pads, unreal white-noises, to evanescent sub-percussive signals, transversal reverberations and to microscopic streams of electronic signals, while the immersive consonances interiorized in the following "Rainy And I Love It" are generated by the convergence among incorporeal keyboards, creeping micro-frequencies, nostalgic piano notes and by complex, non-linear percussive downtempo transmissions, timbrically perturbed, like a rhythmic subdivision of glassy detritus. The final song is "Concede", wholly originated through aeroform, vaporous and obscure key elaborations, pierced by tiny sequenced fragments, whose sonorities, rising from the abyss toward infinity as in a pindaric flight, they instantly condense, transmuting them into sonic frozen masses. Conceived prevalently as listening music, that of Huron is at the same time the interface among sensory excitement, cerebralism, sophistication and transcendence. It reveals its technologically psychedelic, finely melancholic, ethereal, crepuscular nature, capable of materializing the perception of suggestiveness, extremizing it, making it truly tangible. Electronic fade-outs, copious overflows of destructured corpuscles, desolate and unpredictable downbeats, solicit actively both encephalic hemispheres, which react by producing an uninterrupted sequence of chimeric images and feelings, so indescribably extraordinary that you will remember even after many years. Masterpieces of avant-garde sound such as this release are reserved to a 'top culturally' evolved auditorium, endowed with introspection, precursor of future generations of listeners. "Inside Information" is an album of upsetting beauty and the world needs to know it.

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Principe Valiente - "Oceans" - by Maxymox 2017

immage  Once again Sweden is a land that generating talented artists to be discover and consider. Vox Empirea's attention is now focused on a steadily rising band called Principe Valiente, whose accomplishment are conquering an ever bigger number of fans. The present project, born in Stockholm in 2005, after some changes of line-up made in the past, predisposes the four founding members: Fernando Honorato ( lead vox, bass, grand piano ), with the musician and music producer Jimmy Ottosson ( electric guitar), Rebecka Johansson ( keyboards / backing vox ) and Joakim Janthe ( drums ). The meaning of the Spanish name of the ensemble can be interpreted in different forms, beginning from its literal translation 'valiant prince', or in an idiomatic fairy sense, the savior hero-knight of the legends, or, more ostensibly, the utopistic protagonist drawn from romance books like "The Little Prince", or, again, the princely figure inspired by the fantasy cinematography. The music of Principe Valiente is a lush set of styles played and sung with fervent, mournful passion, expressed discographically during the years by progressive combinations and orientations that range from the primary post-punk / indie / shoegaze trends listenable in the first self-produced four-track namesake EP release of 2007, followed by the eleven shoegaze / indie rock songs included in the official debut album "Principe Valiente" - published in 2011 by the German brand afmusic, the sub-label of Ionium Records - and afterwards in 2014 by the second full-length "Choirs Of Blessed Youth" of eleven tracks - as well edited by the same afmusic - in which the band obscured its initial sonic matrix through darkwave / indie pop / new wave elements. "Oceans", the album released in 2017 - licensed by afmusic and in limited edition vinyl format by the French home Manic Depression Records - contains eight episodes structurally progressed, resulting by the increased compositional maturity acquired today by Principe Valiente, joined with a perpetual experimentation aimed at seeking new sound shapes, ever in equilibrium between the original music cliché and dynamic schemes that give the band no static identity. With these prerequisites was conceived this recent work, filled with nostalgic romanticism and subtle introspection, which essential post-punk / indie pop-rock / shoegaze foundations combine with goth rock / new wave / darkwave sonances and with profoundly significant lyrics. The guitarist Jimmy Ottoson is also the author of the recording / mixing process, of the production and of the artwork of this third album, while the drumming set of the entire tracklist was recorded separately in Stockholm at Studio Cobra by Martin "Konie" Ehrencrona, component of the Swedish psychedelic rock / kraut-punk band Les Big Byrd. The opener "Wildest Flowers" anticipates uncompromisingly the executive greatness that will be hear throughout the full tracklist: to the triumphal intro of guitar riff, drumming and keyboard, it follows the voice of Fernando, whose splendid extensions, always characterized by intense poetry, capture you instantly, penetrating into mind and blood, as well as musicality paints wonderful shoegaze / new waver / indie rock soundscapes, beaten by midtempo rhythm, on which the synergy between the entrancing flows of synths, the sparkling luminescences of the guitar and the perfect bass-lines, gives an unmistakable continuity of emotions within the listener, that they will dissolve only at the end of the song, into the evanescent notes of the grand piano. "When I Learned To Crawl" is an harmonious, melancholic indie rock-pop / new wave / shoegaze that cheers up the soul, through the impeccable interplay among the electric guitar's clearness, the pleasing warmth of keyboards, the circularity of bass, the midtempo drumming and the atmospheric singing hits of Fernando, embellished by the caressing lead vocals of Rebecka. The next track, "Strangers In The Night" - also published both as single and in as video - tends towards a nervous and prospectively shady 80's new wave / post-punk / indie pop melodism, in which is always present an aura of nostalgia, accentuated above all in the nice chant: its beautiful vocalizations, especially in refrain, create a sense of infinite spatiality, while the instrumental support, equally representative, reflects lights and dark of keyboards, arpeggiated electric guitar synchronies, linear bass and midtempo percussion, all this in a song full of visceral sentimentalism, that will abduct you at the first listening. The "Untouchable"'s preliminary played by suggestive voice and by piano rarefactions is later developed into a slow and decadent indie-rock / gothic / new wave / shoegaze sad-song marked by fascinating romance, in which the voice of Fernando spreads with naturalness ardent euphonies surrounded by soft pads, gradually joined with bass, guitar counterpoints and drumming downtempo. "Running Juveniles" leaves behind an attractive wake of voice, connected with suggestive indie pop / darkwave orchestrations, built through melodious guitar scales, long keyboard chords, midtempo drum-beats and regular bass sections. "No Time" features a post-punk / darkwave / indie pop / shoegaze in which we can hear some 'post-Ian Curtis' similarities, that underlining the contrast between the severe mood of the instrumental register and the temperament variations of singing, these latter harmonized in alternated phases by Fernando and Rebecka, whom subdivide their respective vocals into obscure cycles, into melancholic tones and into flaming choral apertures, while fluid keyboards branch out into the roughness of bass and into the density of midtempo drumming. "The Reason Why" is a track for dreamers: it permeates the air of sorrowful, languid abandonment, evoking memories and projecting into our mind a world of elegiac fantasies, all in an indie pop-rock / darkwave / shoegaze where the singer propagates his enchanting voice, adorned after a short time by the graceful chorus of Rebecka, the guitar strings and by the bass scan rhythmically staccato patterns, the drummer formulates downtempo beats and keyboards interweave sensually themselves to the sound architectures. "Monsters Of The Sea" closes the titletrack, setting up as intro a wide, minimal segment of voice, bass and keyboard of seductive power, innervated subsequently by downtempo drum, by other vibrant keyboard ornaments and by enrapture chant calligraphism full of melancholic passion. Principe Valiente possess the innate ability to bring out the more abysmal and tormented states of mind, transcribing them musically with instinctive clarity, giving them the physicality of a face to look at and the appropriate words that reach our spirits. The extraordinary nobility that distinguishes Fernando's vocal foreground plus the great technical preparation of instrumentalists, gives this Swedish band an high prestige and a supremacy such as considering this band as a sort of phenomenon constantly growing in the international underground music scene. The new album is made with admirable ability: it incorporates a complex of sounds into which it triumphs the strict relationship among different styles with an unique, indefinable transversality, that is synonymous of enterprise. Your imagination will fly more and more above, overstepping the iridescent white of clouds, reaching the immensity of Firmament, then descending slowly on Earth, transported by invisible sound vortexes, until you diving into the indigo blue waters of "Oceans".

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She Pleasures Herself - "Fetish" - CD - by Maxymox 2017

immage  Portuguese from Lisbon, She Pleasures Herself can be considered among the most accredited descendants of the modern 'oldschool wave' scene, still today a point of reference, phenomenon in perpetual evolution and inexhaustible source of inspiration from which the new generations of artists devoted to it draw their resources. The official line-up, founded and consolidated in the year 2016, consists of David Wolf ( production / synths / guitars ), Nuno Francisco / Exploding Boy D.J. ( drums / programming ) and Nuno Varudo ( lead vox / bass ). All the three components come in turn from other Portuguese underground projects: David Wolf militates in the dark-indie rock / post-punk band called Uni_form and in that post-rock / ambient / noise When The Angels Breathe, forming moreover with Marisa da Anunciação the indie / psychedelic / shoegaze / dream-pop duo Sweet Nico, while Nuno Francisco, in addition to the mentioned Uni_form, is part of the darkwave / indie-rock / post-punk band Alma Mater Society, as well as Nuno Varudo is a member of the darkwave / new Wave / synthpop band Persona Project and the protagonist of his post-punk / darkwave / indie solo-act The Paper Road. She Pleasures Herself are born with the intent to interpret fully and therefore to continue the glorious 80's waver tradition, incorporating at the same time into their music the alienating emotional tensions of post-punk, the melancholic absence of light of darkwave, the decadent romanticism of gothic-rock and the avant-gardism of industrial-electro, elements whose combination generates a superbly obscure musicality, so lustful, intimidating and danceable, tormented by unhappiness and by a bitter sense of disappointment. The discographic career of She Pleasures Herself consisting of thirteen self-produced singles, eleven edited in 2016 and two in 2017. The list of creations belonging to 2016, basically the entire tracklist of the debut album "Fetish", mentions the following titles: "Oceans Of Pleasure", "Fake", "Dance With Her", "Ghost", "Trust", "Time", "End", "Crime", the cover of the Belgian new wave / punk-rock band Red Zebra entitled "I Can not Live In A Livingroom", "Touch" and "Use You In Pogo", while the inedited "Heroes" - cover of the immortal David Bowie's song - with "Visions", this latter always taken from the debut full-length, represent the two singles dated 2017, the same year of publication of "Fetish", the release edited by the French label Manic Depression Records and now analyzed by Vox Empirea. Its tracklist includes eleven awesome songs performed with remarkable art, many of which can be viewed on the web even as video versions, made with exquisite aesthetic criterion and professionalism: "Time" is the opener, a great darkwave / electro dance-oriented, driven by regular drum-programming beats, on which linearity the powerful and obscure voice of the singer spreads minimal euphonies that punctuate the sound, shading the electric guitar riffs, the squared bass-lines and the suggestive geometries of synths. The next song "Crime" is a darkwave / gothic-rock / post-punk track innervated by eight repetitive electric guitar notes, flanked by robust midtempo drumming, bass scansions and by the harsh turbulences created by the interaction between the second guitar and the keyboard, while the gloomy Nuno Varudo's chant overshadows threateningly all the context, giving the musics a dramatic aura. "Trust" is strongly characterized by the grim, disturbing atmospheres of post-punk and by the downcast modulations of darkwave, in a track capable of transmitting true anxiety through persistent uptempo drum set, fast bass pulsations, feverish vibrations of guitars, claustrophobic Keyboard dissonances and obscure vocal litanies. "Fake" is pervaded by post-punk / darkwave / electro melodies in which we can hear a perverse sensuality: the penetrating, cold singing sections, vocalized by ebony coloured words, gravitate like a thunderstorm on solemn synth partitures, reverberating sinisterly on the ordinates trajectories drawn by the bass and by the electric guitar. The schematic midtempo rhythm of the following "Dance With Her" runs parallely to the straight fractionations of bass, placing it with millimetric precision within an hazy post-punker played through guitar arpeggios, livid synths and vocalizations sing with fascinating charm. "Ghost" is a darkwave / post-punk / industrial territory perturbed by the overwhelming spectrality of vocals, which strophes are dragged by the uptempo drumming, while suffocating, neurotic scales of guitar and bass contribute to the evocation of a lugubly destabilizing climax. "I Can't Live In A Livingroom" relaunches the song of Red Zebra preserving many aspects of its original structure, such as the prevalent guitar riff replicated during all the track, the basic horizontality of bass, the dry midtempo percussiveness and the cynically dark voice, all in one schizophrenic, catching post-punk considerable as a potential floorfiller in the alternative clubs. The subsequent "Oceans Of Pleasure" recalls classic dark-waver / post-punk / gothic sonorities full of desolation and nostalgia, noticeable above all by the low, disillusioned, elegiac accents of the singing, molded with concise midtempo partitures which support the hatchings of guitar and bass, embellished with heavy keyboard orchestrations. "Touch" propagates feelings of agitation, created predominantly by the dismal severity of vocalism and by the convulsive progressions of guitar, for a claustrophobic, obscure and very danceable post-punk, divided by systematic uptempo allocations and symmetrical bass rotations. "Use You In Pogo" seduces with its indefinable, exciting beauty; the perfect syncrony between drum-programming, sequencer, guitar and bass-lines, translate the rhythm into a continuity of arithmetic midtempo counterpoints, enveloped by the abysmal and sectional voice of Nuno Varudo, while the synth disseminates inexpressive chords and micrometric, algid harmonies, all in a dance-oriented electro - darkwave / post-punk song. The sonic obscurity culminates with the conclusive "The End", lustful, carnal, sung obsessively by dark, deep vocals, harmonized rhythmically with the glacial midtempo drum-programming, flanked by the mechanical arpeggios of the guitar, of the bass and by the subterranean flows of synth, in a whole of desire, eros and provocation, symbolized in this darkwave / dark-electro / industrial / post-punk episode. Full-length that will remain long in our memory, "Fetish" is the annihilation of innocence, of purity. It's instead a bold metaphor of concupiscence, of fetishism, the intimate veneration of forbidden, the sonic celebration of unmentionable, a document of considerable workmanship, which concept and musics express without pause a refined, inebriating debauchery. The didascalic Nuno Varudo's chant abduces, surrounding coldly and completely an enchanting sound, so perturbed, totalizing, bleak, in which they dominate turbulent and surreal melodies, ambiguous as the thoughts of a bondage master. She Pleasures Herself are objective, sensory image, not abstraction, as well as the emotions that arise from their songs are percetibly physical, not mental. Create an album intensively 'alive' like this isn't just synonymous with creative ability, but with incomparable supremacy.

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Telekon - "Hope For Believers"- by Maxymox 2017

immage  Spanish electro-duo founded in 2016 as Raul Muñoz-Torrero Gálvez's side-project ( vox / lyrics ), aka the synthpopish solo-act called Insight, in collaboration with Juan Perez Grande ( music ), alias the synthpop one-man venture Techni-ka, also known as producer, recorder and remixer from the electronic music / electroclash / electropop scene. By the professional meeting between these two artists, aimed at making Insight remixes, they had the idea to creating an hybrid sound that merged both their stylistic tendencies: the result of this sideline is Telekon, a charismatic electro pop-rock design that incorporates into its musics 70's - 80's synthpop / synthwave reminiscences, characterized by pleasant, immediate and vaguely obscure melodies, rhythmically variable and without any superstructure, in which Raul sings the texts with his limpid vocalism, amalgamating the words sombrely to the analogic instrumentations. The discography of Telekon enumerates initially two self-produced singles: the first one is "In The Darkness", released in 2016, featuring six tracks, including the remixes of the Mexican synthpop / futurepop / new wave solo-project Nórdika, of the Spanish music producer VictorM - member of the electropop / new wave band Conmutadores - of the electronic Hungarian solo-act ALexis Voice, of the the Polish techno / EBM / dub-techno one-man project Kromproom and of the electronic music producer Jamick, who also coming from Poland. The second single, "Lost For The First Time", edited in 2017, contains five tracks embellished by the remixes by the Russian electropop band WANT/ed, by Davide Colella - a member of the Italian synthpop duo Telegraph - by the Argentine synthpop band Reflection and by the Spanish electro-rock solo-act Dieddro. This debut album entitled "Hope For Believers", fired in 2017 by the super productive Moscow label ScentAir Records, is the functional convergence of the music peculiarities of Insight and Techni-ka, whom apply their best sound tactics, demonstrating remarkable levels of competence and a perfect artistical cohesion between them. The work predisposes ten tracks exclusively played by the two protagonists, followed by five remixes developed by as many electro-platforms; the opening episode is "Restless Days", a potential hit-chart song impeccably performed with high scenic effects: it's a melodic and danceable synthpop / electropop full of freshness, where Raúl's bright voice magnetizes our listening, modeling harmoniously its modulations with the stupendous evolutions of synths and with the pulsing midtempo drum-programming. The synthpopish configuration of "Promise Of Radio" is built through regular cycles of sequencers synchronized to the midtempo drum-machine, all within structures in which the vocalist incorporates his precious chant, adorned with simple keyboard counterpoints. The next "Shining Lights" is a modern, seductive synthpop / synthwave picture, painted by Raul's melancholic accents supported by a lively and enthralling technological musicality, performed by coding uptempo bpm's of drum-programming and melodic flows of synth. The nostalgic lyricism through which is sung the subsequent "Time" follows elegant synthpop geometries, marked by the midtempo drum-programming and decorated by wraparound keyboards, all in a song characterized by refinement and sentimentalism. The crepuscular synthpop of "In The Darkness" emanates melancholy and introspection, particularly sublimated by the vocal expositions, while Juan's instrumental flooring accompanies the well-cadenced strophes, pouring on them artificial euphones of synth, mechanically scanned by the slow-midtempo drum-machine. Further on we can hear the shapely, mesmerizing synthpop / electropop sounds of "Lost For The First Time", propagated all around atmospheric emissions of keyboards, punctuated by sequencers and midtempo drumming. The "My Sorrows" synthpop / electropop musicality is subdivided neatly by shady, cyclical compartments of synth and downtempo drum-programming, on which Raúl plasmas his chant beautified of depressed romance, as well as the synthpop / electropop tracts of the next "King Of Nothing" are rhythmed by an energetic, danceable midtempo percussiveness, surrounded by exciting synths and melodically nostalgic vocals. "Be Grateful For What You Have" offers as many technological suggestions, enclosed in a charming synthpopish dynamism played with sobriety and harmony, in which the singer intonates lyrics always constellated of spleen, while the radiant keyboard and midtempo percussions complete this adorable synthpop / electropop episode. Wistfulness and passion constitute the following "Turn Around", a sad-synthpop track similar to a succession of tormented emotions, expressed through decadent vocal melodies, intensely melancholic pads and slow drum-programming symmetries. The first of the five rebuild-versions is remixed by the project Nórdika, who re-elaborates the new form of "In The Darkness", making it more sophisticated by the addition of intriguing electronic arrangements, wide keyboards and by a dance-oriented drumming, while the Swedish synthpop solo-act Uncreated also re-invents the same "In The Darkness" into a nice dancefloor version, intensifying the percussions through harsh sequenced forcing and completely renovating the original melodies of synth. In turn, WANT/ed remix "Lost For The First Time", transcribing it in 'TransWerk' mode, streamlining its drum-programming configuration, also introducing renewed keyboard sonorities and synthetic frequencies, as well as Cyborgdrive - aka Paco Butrón, a Spanish electronics / IDM solo-venture - transforms "Lost For The First Time" into an example of advanced sound science, by processing robotic bpm's in a dilated context of synth and sequencing extensions. The final segment of the tracklist is the great reinterpretation Of "Lost For The First Time", remixed by Dieddro as 'Pop Commercial Mix', through enjoyable modifications at the instrumental schemes of the track, now enriched with different keyboard sounds and further sequenced arpeggios, the same ones that give largest linearity to the drumming. A debut album excellently conceived, so charismatic and full of verve: it definitely reflects the exact perspective space where Telekon's electronic musicality is generated; the entire title-track is minded with good aesthetic taste and it's integrable in an easy-listening context. The interaction between the two artists follows the principles of the classical electronic pop, in which they always triumph harmonious and soft melodies, communicated vocally with true sentiment and human warmth, for songs able to be understood with extreme simplicity, combined with magically captivating instrumental formulas. All these positivities will allow Telekon to reach soon, very soon, the popularity they deserve. Important announcement reserved to all synthpop 'believers' in the World: this release is for you and just for you!

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Ten After Dawn - "Best Of Both Words - EP" - CD - by Maxymox 2017

immage  Active since 2009 initially in the heavy-rock / metal / grunge panorama, the Finnish multi-instrumentalist Teemu Salo and Toni Viholainen acquired during the years many substantial compositive attitudes and a good sound control for the live-sessions of the bands with which they collaborated, developing simultaneously a parallel interest towards the experimentation of minimal, distorted and obscure electronic modulations, creating then a solid basement for the following Ten After Dawn. Promising and encouraging, the first fan's support constituted the presuppositions to begin some propitious concerts in Finland; the early cold and alchemical sounds became more harmonious and intelligible, reaching in 2012 to the release of the two self-produced singles, "Protest Song" and "Red Carpet Fever", songs circumscribable into an industrial-rock context. After radical changes in the musical style of the beginning, the band recruited Erkka Pynnönen in 2014, with the primary purpose of completing and further enhancing the sound system during the live-performances; the ensemble finalized in 2015 the single "Visions", published by the Finnish label Macaroni Penguin Music, remixed and edited in 2016 as self-produced release by the famous German electro / synthpop / EBM / industrial / wave duo Solar Fake. The individual competences of the three members within the line-up are today: Teemu Salo ( vox / lyrics ), Toni Viholainen ( keyboards ) and Erkka Pynnönen ( live bassist ). Currently, the music played by Ten After Dawn is a wonderful mixture of electro / dark-pop, with rarefied industrial-rock modulations and vocal curvatures often tending to a sad, shady sentimentalism, the elements through which were conceived in 2017 the four tracks included into the Extended Play "Best Of Both Words", a release licensed by Macaroni Penguin Music now analyzed by Vox Empirea, in which Teemu and Toni show off their excellent qualities of performers. "Melody", opener song and stratospheric clubby floorfiller single - available on the web also in video - is mixed by Teemu in cooperation with the Finnish sound engineer / producer / composer / recordist Daniel Hagström; its electro-synthpop scheme is created through danceable pulsing midtempo drum-programming and sequencers, which propel catchy synth partitures and high-tech arrangements, while Teemu's voice, well-endowed of innate charm, beautifully enriches the sound structures, giving them a real dragging force. The next "Gone" is a synthpop mainly focused on melancholic vocalism and on introspective instrumental atmospheres generated by the keyboard and by downtempo beats of drum-machine, in a whole of romanticism, meditative harmonies and advanced electronic art. "Scarlett" spreads in the chant a vague darkness combined with sad accents, which, projecting their shadows on a linear midtempo drum-programming and sequenced hatches, mold them perfectly with the suggestive synthpop climax propagated by the keyboard, as well as the final episode "Tell Me" instill in the listener vivid sensations of harmonic purity and synthpopish nostalgia, all this thanks in particular to the fascinating accents of singing, articulated with grace among mechanical scans of drumming and peaceful keyboard luminances. Today's Ten After Dawn are inclined towards an absolutely contemporary pop model of great effect, in which the transit of electronic formulas is characterized by a refined technicality and by an immediate feeling. The short tracklist of "Best Of Both Words", intensely inspired by classic synthpop stylemes, is an uninterrupted stream of emotions, ballability and listening pleasure; it anticipates a forthcoming debut-album Which will surely arouse the interest and ferment of the entire international scene, always excited to welcome valid, representative phenomena such as this North-European project. Ten After Dawn. Ten meters above the conventional electro music average.

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Zynic - "Neon Oblivion" - cd - by Maxymox 2017

immage  The detailed biography and discography about Zynic is available by consulting the review of the album "Fire Walk With Me", published on Vox Empirea in the section of the year 2011. Continuing the chronological order of releases fired from that year until today, we find the EP "Clubsided" containing four tracks edited in 2013 by the German home Conzoom Records, come out just before the full-lenght "Blindsided" of ten episodes, including the song "Dead End" republished in 2016 in a two-songs self-released digital single. Zynic - aka H. P. Siemandel, from Nuremberg, Germany, was also with Boris Fakoff the member of the oldschool EBM duo called Kälteidiotie - is back in 2017 with the third awaited album entitled "Neon Oblivion", proposing again his unique, extraordinary, multi-facetted sonic combination of dance electropop-retro-pop / futurepop / electro-wave markedly 'post-80's / post-Depeche Mode' oriented, offering as always to the listeners a spectacular effusions of synthetic musicality and dancing-energy. Issued by the German label Zedsdead Records and mastered ever in Germany at the Railroad Tracks Studio in Kerpen / Buir by John Cremer - autoharp player of the German folk-rock progressive band Gurnemanz - "Neon Oblivion" incorporates ten new episodes technically impeccable and qualitatively higher than average; the tracklist opens with the namesake song "Neon Oblivion", exposed through 'very catchy' vocalizations and instrumentality, in which the beautiful intonations of singing, especially in the refrain, spread vaguely melancholic arias full of , punctuated with millimetric midtempo precision by the drum-programming, while wonderful synth harmonies completes this amazing and danceable electropop / wave chapter. "Fear My Love" is a electropop within which they are well imprinted 80's reminescences: it's spelled by midtempo sections of drum-machine and sequencer, where clear melodies of vocals combine with the fascinating hits of the keyboard, all in a mixture of electronic verve and seductive euphonies. "Would" slows slightly the bpm's, spreading intensely atmospheric electropop breezes smelling of nostalgic romanticism, further embellished with luminous synth and rhythmed by midtempo drumming symmetries, on which floats the passionate singing of the guest-singer Stefan Netschio, vocalist of the famous German synthpop / electropop project Beborn Beton. The next "Powered By Death" re-enlivens the electropop sound through dynamic midtempo drum-programming, surrounded by exciting synth flows, by ordered sequencer trajectories and by polarizing voice. "Say Just Words" - a Zynic's electropop / futurepop reinterpretation of the song originally belonging to the English metal / gothic-metal band called Paradise Lost - has all the features of an excellent dancefloor track: vigorous uptempo percussiveness, arithmetically calculated by the drum machine and super bass-lines, combined with a vibrant circuits of synth and vocals that conquest you instantly. Another very danceable track is the following "Slice Of Life", with its electropop / futurepop procedures expertly performed: pulsing midtempo drum-beats and segments of sequencing create an exhilarating rhythmic scheme, while the rationally modulated chant, the vocal-loops and the melodic wakes of keyboard are the complements to this 'clubby' song very suitable as floorfiller. The mechanical futurepop structures of "Truemmer" - the only album's track sung in German language - reveal also some indirect similarities with the techno-pop of Kraftwerk: hypnotic down-midtempo rhythm, filtered human / robotic voice alternations, sequenced filaments plus minimal synth harmonies, create a suggestively futuristic electro-climax. More sunny, the next "Free To Decide" resumes the rhythmical process by a strong, danceable midtempo drumming, on which they evolve regular sequenced subdivisions, overwhelming keyboards and a limpid chant, absolutely exhilarating, that magnetizes you since the beginning until its last lyric, all in an electropop / synthpop characterised by a great immediacy. Exuberant midtempo drum-programming, together with handsome vocal-instrumental form, generate "Distance", which trajectories are planned using the most functional, intelligent electropop / futurepop aestheticisms, through fluid drumming and sequencing that stimulate the desire to dance, a sadly eurhythmic chant and graceful synth extensions. The caressing vocal paradigm of "Side Effects", the ending track, evokes in its synthpop expressions many similarities with the more sentimental Erasure, detail that, together with downtempo drum-programming and sweet symphonies of keyboard, transforms this song in a sonic projection capable of abducting your imagination. As widely demonstrated with the previous two album releases, also on this occasion the supremacy of Zynic is indisputable, evident since the first listening. In his the new album H. P. Siemandel takes full advantage of all its potentialities of good composer, achieving higher levels of entertainment, reconfirming brightly himself as one of the most authoritative European electro institutions and picking up more deserved acknowledgments both from the alternative music opinion makers and from a growing number of international fans. Ten tracks, ten delightful examples of modern sound-tech architecture. Now try to amplify endlessly your personal concept of the word 'fantastic'. What you will perceive by this mental vision is the intrinsic meaning, the true matrix of "Neon Oblivion".