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Aes Dana - "[Pollen]" - cd - by Maxymox 2013
In the incessant flow of underground music they distinguish personages who, through their big competence, will, intuition and love for alternative sound forms, they have been able to give physical body to their passion building valid productive structures on multiple fronts: the French Vincent Villuis, aka Aes Dana, belongs to them. In possession of a very solid experence about the music technology gained as DJ and sound designer, the artist exalts its abilities especially searching costantly new formulas that can interact perfectly with the listener combining acoustic extrapolated from multiple genres such as the British Progressive, the American Space Music, the hallucinogenic sequence of trance and the elegant step of the electronic-downtempo. But this isn't all. Vincent Villuis is moreover co-founder of Ultimae Record's, a renowned label often described with enthusiasm into the Vox Empirea's webpages and responsable since the year 2000 of many great psych-ambient, chill-out and intelligent-trance publications in which Vincent frequently implements their sleeve-image artworks. Besides this, the artist's name is also active as co-starring in some projects gravitating around the same label as Asura and H.U.V.A. Network. But the musician is as Aes Dana that he shows concretely all his creative stature debuting in 2009 with the split-promo on CD-r just entitled "Ultimae Records" in which tracklist the interpreter inserted three songs near to the names of Mahiane, aka Sandrine Gryson, Jean-Michel Blanchet, and of the Swede Magnus Birgersson aka Solar Fields, he jointly with Vincent Villuis member of aforementioned power-duo H.U.V.A. Network, whose three songs songs concluded the mentioned release. The discographic cronology by Aes Dana lists the following album "Season 5" published in 2002, followed by the mixed-releases "Aftermath" and "[Memory Shell]" released respectively in 2003 and 2004, by the single "[Manifold]" issued in 2007, by the albums "[Leylines]" of 2009 and "[Perimeters]" of 2011, as well as from the present "[Pollen]". As all the creations by Ultimae Records also this work is exteriorly embellished by a sleeve reproducing a modern photographic abstractionism, element optically anticipating what you will hear in the ten tracks entirely instrumental full of fine high-tech artifices, superior intelligence, calculation, aesthetics, and an avantgardistic vision of the world, peculiarities included within ambient sounds and fields-recordings captured by Vincent through sophisticated extraction processes in different locations
around the Planet. Atmosphere from which it disseminate perceptibly a solemn aura of modernism characterized the first episode, "Jetlag Corporation", scanned by a downtempo-IDM percussiveness supporting an hypnotic acoustic globe made of the virtual air-expansions by the keyboard and by magical electronic interludes during which the time seems to stop and then resume its endless way uniting itself to the elegance of this song. The drum-programming midtempo and the suggestive technological iridescences are the decorations that adorn the structure of "Borderline" a track full of futuristic sounds meticulously designed and inserted into an evanescent complex of sequenced micro-splits and enveloping key vaporizations. The next "Conditioned", here in "album edit" version, uses a crackling and sharp modulation to give effect initially to its midtempo drumming which, in the developement phase, accentuates the bass-line towing slow keys expansion, clicks, vocal-loops and mesmerizing cycles of programming, all interspersed by highly atmospheric moments in which the sound seems crystallized waiting for a new replication. Written by Vincent in close collaboration with Mahiane, "Tree.Some" is a dynamic electronic-uptempo fantastically dance-oriented within which the calculated energy of the rhythmic implant processes deep impulses surrounded by a galaxy of e-effects in harmony with glacial key extensions and space reverberations. The same two protagonists of the previous track contrive also the following "Carmine A Day", propelled by dinamic bpm's, by dinamic electronic-trance formulations so extremely exciting and danceable, effected echoes, pulsing intermittences, cold keys breaths and effervescent micro-fractions of programming. "101 Clouds" reduces the percussive midtempo velocity formulating precise midtempo cadences crossed by the slow exhalations generated by keys in combination with futuristic
grafts and electronic noises disseminated throughout the song structures. Tactics IDM-electronics ensure long moments of relaxation in the next "Riven", a downtempo elaborated by slender technicalities from which it diffuse a multi articulated drumming, drops of synthetic substance, micro-sonic fragments, a fleeting chorus coming from an artificial Eden and long trails of ice drawn from the key sections, all this dotted by the bass-guitar played by Vincent. The same instrument is also integrated in the following "The Meeting Point", a techno-trance/IDM scanned by precise and echoed downtempo percussions symmetrically to futuristic sounds, all atmospherically enhanced by the sphericity of the keys. The ambient-oriented introduction of "Horizontal Rain" is supplanted by a trance-electronics register of amazing beauty within which the robotic drum-programming architectures transmit downtempo pulsations, the sequencer calibrates replications similar to microscopic fractures along with as many segmentations to which is entrusted the construction of the futuristic melody that accompanies the murmurs of the key and the reverberated arpeggios listenable during the interspaces. "Low Tide Explorations" closes the album providing to increase the value of content heard so far through a fascinating blending of ambient-sound and advanced electronics the result of which, saturated of modern sophistications, diffuses field-recordings made of distant vociferations and sea waves crashing romantically on the sand, details to which it add a enchanting aggregate of long keys suspensions, water noises, dry midtempo drumming compartments and harsh-tone pads. Once again Aes Dana proposes to his devoted an unmissable music affiche demonstrating how is considerable the mental capacity and of this artist who develops to their best the most actual electronic canons interpreting them according to rational logics but they not completely aseptic, allowing so the possibility to falling in love passionately with his music. "[Pollen]" is a release that reaffirms Vincent Villuis which an excellent experimenter, imprinted itself indelibly in the memory of the modern-listener through formulas technologically evolved, expositive purity and dreamlike atmospheres: the realistic and sonic-figurative anticipation of world that will be.
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Antikatechon - "Chrisma Crucifixorum" - cd - by Maxymox 2013
Antikathecon is currently considerable as one of the best expressions of the Italian dark-ambient underground. The creator of this important solo-project is Davide Del Col, multi-articulated interpreter of identities which, from 1999 to 2003, the initial death-industrial-minimal-ambient platform known as Ornament with which he completed an interesting discography with the first mini-album on cassette "Strychninlovenectar", published by the label Ossarium, followed by the album: "Adorers" released by the brand named Oktagön in the same year 1999, "Unicorn Lullaby" issued by Ossarium in the 2000, "Yzaniaveis" of the 2002 released by Blade Records, and finally "Effortless", six tracks made in 2003 and published in digital version in 2006 by the netlabel Benekkea. There was a second livery, O Diabo de Vila Velha, on this occasion contemplating formulations cosmic-80's electronics integrated in the album "Zodiack Flenner Torpedo". The compositional inspiration and innate desire to design new schemes favored the construction of a third module called Nimeton Geist, through which the artist explored the concept gravitating around the the label The MGS, dimension within which he met the mastermind Fabio Volpi and Accursio Graffeo, performers in 2003 with Davide of the experimental abstract-ambient structure called Echran and of the album from it resulted: the eponymous "Echran" of 2005 issued by the labels Smallvoices / Ebria Records, and "In Offret" built in 2009 for the label A Silent Place. The collaborative activity of the protagonist then continued in 2007 building with Andrea Marutti the ambient-glitch project called Molnija Aura, an association from which flowed in 2010 through the label Topheth Prophet the splendid album "Utopian Suns" that will soon be reviewed by Vox Empirea. The versatility of Davide Del Col has spread within scenarios diametrically opposed to the ambient matrix and therefore its own ramifications, in fact is with the design Rhetra, embarked with the guitarist-vocalist Sophia Anna Pezzali, that the artist, at the bass and drums sections, scours in 2012 the occult angles of the black-metal with the album "Ego Sum Mors Vestra" published by Heder Music. At completion of the author's biography, we mention two other nebulae and undetected experimentations: the duo-project 30 Seconds Over Teheran finalized with Paolo Romano, a member of the electroacoustic-jazzy-rock band named I/O, and a hidden tape-release of 2011 devised under the explicit name Davide Del Col, including four untitled epidodes and briefly entitled "H", a chapter issued in limited edition incorporated in the "Collezione Del Silenzio", a series of twenty-six tape cassettes belonging to the sub-division of the label Silentes, the Silentes Tapestry. The unitary element that characterizes and interrelates conceptually large part of the Davide's production regime is a majestic, corrupt and impure aura of sacredness strongly expressed both in the music than in the titles: Antikatechon probably represents the deepest investigation addressed in this sense, a parallel figure by which the interpreter goes beyond the conventional non-musicality that distinguishes the dark-ambient genre, until the attainment of a vivid, pulsating sub-dimension, full of solemn formulas, mystery and symbolism, a slow representation of sounds and ideal scenographies of religious feature intertwined with an implicit martiality, with the introduction of melodic and industrial-elettronics elements constructed by drones and noises, in addition to a massive use of the key apparatus. The album "Chrisma Crucifixorum," published in 2012 on digipak format by a special label that has long honored my pages, the Polish home Rage In Eden, comes posteriorly the excellent debut "Privilegium Martyrii" issued in 2011 by the Silentes Minimal Editions, interpreting in six tracks the aspects of Christianity as antique as mournful, humid, sepulchral, in which the fear and the gloominess generated by the human ignorance distort and obscure the immaculate brightness of the otherworldly cult revealing the essence of what that for centuries was feared and it is feared, rather than What you would have loved. The sound and the immensity that Antikatechon externals concede to the listener a long time to reflect on his own spiritual condition, highlighting the cryptic and obscurantist side of a millennial belief without necessarily force any of its own dogmas, but, on the contrary, consenting to the mind the freedom to give due place to intrinsic meaning contained in this valuable work. The opening of the tracklist is by "Altaria Expiationis" and its icy dark-ambient volatilisation like the prolonged breathing of a mythological creature, reverb and amplification blown into the shady corridors of an endless underground cavity, modulations that are gradually diluted till extinction into the unexpected arpeggios of a crystal guitar wrapped by the melancholy and solemn trails traced by the keyboard. Oceanic amount of neutron matter flow from "Delubra Vexatorum", an obscure-ambient track with industrial venaure in which its echoed noises and in which its dark expansions you feel a powerful emotional charge next to the anguish, while the subsequent "violatio Sigillorum" the sound creates hypnotic rhythmical-programmed mechanisms over which hovers a distorted phrasing and a iced symphony forged by the key. "Convivium Vulturum" obscures the ambient modules through regular keyboard elevations haul by the opaque, three-dimensional energy produced by machines and by the slow chillness of a synthetic beat. The listening of the following "Cunabula Improbitatis" spreads feelings of anxiety and alienation generated by dark-ambient spirals and unstructured vocals, similar to the merciless interlayer of an inquisitor, transmitted in the first segment of the song and then supplanted by shuffling steps in a crescendo of night-coloured key pads, electronic abysses and ascending murmurs transfixed by intangible computerized guts. The eponymous "Chrisma Crucifixorum" closes the tracks sequence propagating in a dark-ambient a lot of resonances pregnant of martiality and also the perceptible sense of something indescribably nostalgic, suggestions imprinted in the cold and ascending keyboard orchestrations, in the microparticles rhythmically disseminated along the structures, and in the electro-waves that touch their edges. Antikatechon fathoms the abysmal depressions and the valley of the ambient-sound in search of a balance, perfectly reached, between atavistic evocation, dark executions and avantgarde, originating a release that whispers with sibylline voice unknown mysteries and afflicted memories, tormented by the persistence of atmospheres full of emotional oppression. "Chrisma Crucifixorum" is an eminent album, bruising, fundamental for the audiophile devoted to the dark-ambient of high-quality, an experience to live with absolute participation venturing into remote caves of the sound more desolate. Those who decide to approach to the music belonging to this project with conscious predisposition will meet frequencies superbly cultured, rational and ethereal at the same time: every single moment spent immersed in this tracklist will mean to advance of many lengths in our evolutionary path.
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Arkane - "Mesmeric Masquerade Seduction" - cd - by Maxymox 2013
The subtle game of masked seduction conducted by the Athenian ArkanumX returns again: this mysterious artist, inspired by dark/neoclassical/symphonic, is the interpreter of a new act on album, the third one, the present "Mesmeric Masquerade Seduction". Everything about the biographical appearance of the protagonist is readable in the interview published on Vox Empirea, while, when it'll be available in our upcoming online "archive", the reader will be able to take any other specific information regarding the compositional print of Arkane in a review published in 2011 in these webpages concerning "Enraptured Serene Mesmerism", the second full-length published in 2008 by the label Seduction Prod as worthy sequel to the debut "Arcane Etilism" issued in 2002 by the U.S. The Fossil Dungeon. Also on this occasion Arkane celebrates the symphonic sound emphasizing it elegantly by that romanticism and that deep melancholy which has always characterized his style, elements which interact perfectly with the refined scenery and the erotic symbolism associated to the project, but also with the the regal sophistication of the imaginary dances evoked in the listener's fantasy and with the decadent, dark atmospheres that blow gently on the musics. The preciousness of the voice is an important and indispensable factor in the composer's creations: in fact, identically to the earlier two executions, the nostalgic airs and the poignant afflictions that reside in the Arkane's repertoire are entrusted to the great expressive power of a vocalist whose identity has always been hidden, but whose lyrics extensions know well how enrapture the thoughts mesmerizing them with regal grace and faded charm. As in the past, we find once again the winning line-up that places ArkanumX (art/music/propaganda/aesthetics/concept) in synergy with Drg (orchestration/audio concept) and Stephen John Svanholm (recitation), him holder of the modern-classical/darkwave solo-project called Sibelian: they are the authors of this digipak format-release licensed in 2013 by the dual collaboration between the American label The Fossil Dungeon and the Argentine Twilight Records. The tracklist included in "Mesmeric Masquerade Seduction" presents seven episodes whose concepts are exclusively aimed to the mask's cult and to the mesmerism: the first of them is entitled "Masquerade Memeric Seduction," a composition full of penumbra and sadness, connotations perceptible in the chant infinitely melancholy intoned by the vocalist and into the touching piano/key notes similar to those of a soundtrack. The evocative narratives spoken by Stephen embellish further the nobility and the features of the next "Mesmersed Seductrise" which, through the dark poetry created by the keyboard sections and by the decadent Opera's arias raise by the singer, polarizes the listening turning it into a direct connection between reality and dream. "Mesmerising Masquerade" follows voice shades, acting and key symphonies inclined toward the exaltation of the drama and beauty, as well as the subsequent "Masqueara Mesmerised" decorates the sound by key orchestrations and a lyric chant very captivating around which we heard the succinct phrasing by Stephen and, only for few moments, an underground drumbeat. "Mesmerism Seductiva", like every other track on the album, internalizes into an unique module the sense of dejection and the scenic reproduction of a courtship between two lovers, tacit, ritual, externalized by elegant gestuality and imperceptible touches, all this, again, in a theme adorned with bewitching vocal liturgies and enigmatic keys concerts. Then it comes "Mascarada Sedition" and its acute voice diffusion joined to keyboard finishing which, similar to night breezes perceived on naked skin, they propagate ethereal, insinuating below the physical dimension thrusting them more and more internally reaching that one next to the soul, while "La Masquerada Mystique", the closing song, is considerable as a dark-neoclassical poem grandiosely attractive based on the vocal-instrumental archetype so far expressed, or rather vibrant, nostalgic singing emanations supported by pads and key evolutions perpetually circumscribed within princely chords but at the same time overflowing of sadness and a weighted sumptuousness. Arkane fits out with great effectiveness a particular deployment of harmonies that imprison the emotions bewitching them by the mesmerizing power of the chant and of the orchestra inspired to the depressed classicism, all in a seductive album performance made by crystal looks, velvety movements, hypnotism, eros and atmospheres from archaic masked dances. As declared by ArkanumX interviewed by Vox Empirea, the sound of the project doesn't aim at all to a capillary listening among the masses: on the contrary, it imposing itself by its extreme importance, recalling to it that selected élite of auditors provided of aesthetics propensities and an adequate receptivity towards to the sensually dark erotic-Opera. Anyone who feels be part of this privileged caste will be ensnared by the sounds of "Mesmeric Masquerade Seduction", keeping indelibly in the spirit and in the body the mark of its charm.
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[basementgrrr] – "Arrival/Departure" - cd - by Maxymox 2013
The concise biography available about the German one-man-project [basementgrrr] describes the interpreter Ralf as a lone alchemist committed to experimentation of new convergences between the intricacy of electronic/IDM /industrial/noise and the ambient's atmospheric suspensions, a peculiarity that the artist transforms into a kind of sound which only functions are to entertain, mesmerize, and create scenarios that abducted the imagination of the listener. Artificial trajectories alternately linear but together unforeseeable with a sense of structural modification of reality, are the first effects arising from the imagination of the protagonist, active from 2011 with the excellent "Skull", a digital-self-produced EP of seven tracks containing also "Until I Am Rotten", the cornerstone of the entire construction. The tactics employed by [basementgrrr] in that release included an electronic musicality exclusively instrumental, with total absence of vocals, within which prevailed low hatching of drum-programming as a supporting base followed by the evocative melodies processed by the key's platform: we can notice the same coordinates also within the waited "Arrival/Departure", the official debut-album issued in 2013 by the famous Raumklang Music, an home records of Rottenburg founded in 2003 as sub-label of Format Noise, as well as publisher of some important albums of projects as Pandora's Black Book, Exosphere, Dirk Geiger, Tapage and Klangstabil. Worthy of note is also the participation of [basementgrrr] to a significant compilation published in 2012 again by the same Raumklang Music entitled "Snowflakes III", by which the musician showed his style with a particularly catchy track, "Room 173", the same song included in two different versions in the album "Arrival/Departure" now analyzed by Vox Empirea: the first one of them, the original version, atmospherically opens the list of nine episodes by slow keys evaporations, feminine phrasing in the background and, more later, by ethereal pads and icy downtempo percussive asymmetries. "24 Hours Sleepless In New York City" begins proposing a mixture of urban voices-noises unitedly with the hypnotic minimal downtempo scans of the drum-programming and the futuristic synth's insertions. The introductory segment of the following "Gothenburg" looks like an extended ambient-minded period that seems immobilize all the space around the listener, until the arrival of the materiality expressed by a robotic rhythmic implant which cadences, at first at the liquefied state, thicken progressively their timbers, as the perfect completion of the slow-pulsing reticulum mantled by a dense, beautiful key wrapping, all this in a track which I consider as one of the most seductive of the album. "Down Brixton Road With Dub In My Head" starts its process exhaling inorganic dissonances syllabized by a thin electro-percussive midtempo alphabet which, after a radical transformation, expands grainy bpm's surrounded by multi-effects, vocal samples and by the harsh breaths of synths. Recalls of techno-trance culture now for the next song, "Subhuman Station", rhythmically settled up on slim midtempo beats on which it floods the misty corrosion actived by the keys and by the complicated plots of programming, while in "Transit" we hear initially and for a long time a cloud of pulses and complex electronic trajectories, followed by a development in which it predominates the centrality of the rhythm machine and the cold industrial-oriented beats chased by impure tampering and key's intangibility. The ambient-electronics extensions that form the configuration of "Illuminated Skylines" initiate an avantgarde sound particularly danceable using the fluid current by drum-programming and combining harmoniously celestial synth notes with reverberated breaths played by instruments. The second edition of "Room 173" is now on -Behind Closed Doors- format by the rhythmic-noise/IDM/ambient project called Mind.Divided, who rewritten the track's core exposing it to a caustic percussive industrial automation and to dark echoes that transfigure the original sonic's shape making it even more intense and penetrating. Victor Popescu alias Brazda Lui Novac, Romanian musician devoted to the electro/IDM genre, concludes the album's course beautifully remixing the body of "Gothenburg" by futuristic injections of ambient, rarefied noises and by an increasing key's spurt supported by the geometric drum-sequencing. "Arrival/Departure" is a full-lenght which, without subverting the principles of the ultra-alternative music to which he belongs, interprets beautifully the rules that characterize it, being able to set up very sophisticated melodies of unalterable solidity. [basementgrrr] is an artist that will amaze a big multitude of electro conoisseurs: they will be immediately conquered and they will show their complete admiration and their deep respect. The technologic melodism of which is full the tracklist possess the same flacial charm of an ice sculpture, lumping together into a single modulus the disembodiment of the keys fluctuations and the concreteness of the percussive planning, building with them sounds especially "mental", a great number of formulations able to insinuate them into the listener reaching the vibrations of unconscious, the area in which they reside the most intense sensations. I wish [basementgrrr] and his album an eternal resonance.
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BloodSoil - "Domination" - cd - by Maxymox 2013
Vox Empirea has selected for its readers BloodSoil, a valid representative of the martial/industrial/neoclassic/military/dark-ambient movement. The solo project, coming
from Spain, is personified since 2010 by Aeon (words/musics/grapgic art), a character radically opposed to the current social-economic planetary configuration and convinced
upholder of the morality, Tradition and Spirituality as the only remedies to counteract the current state of decline and self-destruction that dominates the World.
The artist's intent is to shake the minds instilling in them the awareness of the existence of a subtle, unchallenged system that progressively destroys the
dogmas on which are based our origins, eroding every day the pillars that hold up the European civilization making it succubus by the depravity, corruption and
all that is in obvious disagreement with the discipline and righteousness. In the mind of the musician this perpetual state of chaos will inevitably drag the western peoples to a progressive dissolution after which it will impose the providential remediation feasible not by a fallible exponent of the Humanity, but rather by a superior Entity, powerful, indomitable, bestower of Order and Sacredness, a solution viewed by BloodSoil as the only and last way for the redemption of Man and the
salvation of our Mother Europe, of its descendants, of its Élite. And it is at this juncture that it takes over the hardihood, the awakening of the individual and collective boldness, animated by the desire of Liberation from all the conspiracies, concepts strongly imprinted in the spirit of the project and musically externalised by compositions having as their main denominators the martiality and the sense of anguish, or rather the two opposing forces present in the eventual dispute indispensable for change. In the music-concept devised by Aeon, therefore, the first element must prevails on the second one, so his sound embodies the will to communicate, fight, instill Faith in the final Victory, while preserving perceptually inside an obvious condition of torment, foundations these placed in the discography published by the musician which include the self-realized three-track demo of 2010 entitled "Willpower", followed in 2011 by the excellent debut-album "Svvm Cviqve", licensed by the label War Doctrine, and in 2012 by the split "Civis Europaeus Sum" issued by the prestigious Russian home UFA Muzak and the Germanic SkullLine, a release within which BloodSoil shared its extension with the projects Striider, Legionarii and TSIDMZ. The last work published by the artist in the year 2013 is "Domination", ever published by the abovementioned two labels: it's an album comprising eight dark, restless tracks full of militaristic sounds and leaden atmospheres, as demonstrated in the opener "The End Of An Era", a song traversed by orchestral, oppressive keyboard sections on which they alternate sampled-phrases rotations, sounds exceeded by those belonging to "Ouroboros", a martial/symphonic theme laden of tension, erected on severe drumming, vocal-loops and keys executions that ideally recall the Audacity and the moments preceding the Battle. An austere, warlike hymn, taken from a vintage repertoire, rises from "Interludium I", a track in which the majesty of the choir and the sumptuous orchestral maneuvers are faithfully reproduced with the imperfections of the old vinyl, a detail that makes the sound opaque, punctuated by "clicks" and then characterized by a strong authenticity. "God Is Dead" is a dark-martial symphony that incorporates a parade drumming, pads similar to Northern disturbances disturbances, and segments narrated by a suggestive male voice, while the following "Decay Of The West" diffuses slow soldierly beats whose disciplined cadences dictate the rhythm to the gloom and the rigor evoked by the keyboards. Another sonic relic dating back to past Epoch of War is listenable in "Interludium II", a song divided into two acts: the first one severe nostalgic, consisting in rhythmic accordion fractionations and military chorality. The second one takes up the same notes into a piano version. The homonymous "Domination" is a martial high-relief carved by steel hand and a lofty spirit, a song that invokes greatness, heroism, all this played by inflexible rolled through inflexible rataplans, a shadowy keys solemnity and vocals on narrated mode, as well as the final "The World Is Sick, We Are The Cure" offers an elegiac dark-ambient/martial style exhibited by a rigorous drum bursts, noises of stray bullets, explosions and pads overflowing of suggestion whose timbrics seem to disgregate, worned down by the torments that afflict our Age. "Domination" is a cultured album, significant from every point of view, musically or it intended as popularizing means finalized at alerting all the contemporary minds receptive to this special recall: Aeon dispenses shadow and hope, poison and antidote, eviscerating lucidly the causes of the afflictions of the modern World and proclaiming the universal Remedy to neutralize its current disorder. The release also is able to keep constant the listener's attention making him emotionally involved by the dramatic melodies and leading his imagination back in a time dimension viewable in black & white frames regarding war efforts, fragments of History exceptionally symbolic and all the magnificence expressed by the ivory beauty of epic sculptures. BloodSoil inflicts yet another saber cut to falsehood responsible of any matter which obscures the Earth and its western Civilization, exposing with great courage the sound of a "tomorrow" we'd all like to see realized.
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Blume - "Autumn Ruins" - cd - by Maxymox 2013
Enrico Filisetti ( vox ), Ivan Savino ( synths/programming) and Daniele De Fabritiis (guitars) formed the band called Blume, born in Milan in 2008. The elements that compose the musical style of the project incorporate mainly synthpopish modulations, darkwave shades and toning 80's wave/electro rock having as their fundamental principle a strong melancholy and the rare ability to instantly polarize the listener's attention by elegant chords beautifully combined with melodic vocal formulas, all this characterized by compositional intuitions studied in detail and by a sound quality well above the average. Throughout all the year 2008, as an introductory period, Blume obtained encouraging encomiuns from both the followers and the alternative press, until in 2009 they signed a record agreement with the famous U.S. label A Different Drum, founded and directed by the mastermind Todd Durrant, through which they released in 2010 the successful debut-album entitled "Rise From Grey", a great work which value was promptly caught by the devotes of this music genre and by the most important independent media platforms, contributing in this way to the ascension of the trio towards important positions on the Europeans and Americans alternative-charts. After three years from the completion of the first full-length and after a following, long period around live concerts, Blume return in 2013 with a new album, "Autumn Ruins", resulted by signing the contract with the Chicagoan label WTII Records, parent label of Bitriot Records and established by the WaxTrax! General Manager Bare Pfanenstiel in partnership with David Schock: the ten song tracklist of the release is a further, decisive confirmation of the artistic highness that distinguishes this talented ensemble. In the newest album's sleeve, the leaden colors, chosen by the art-worker Michal Karcz to portray a sky ominously darkened by clouds, they are melted with the more blackened tones below an horizon which delimits a ruined and almost lunar landscape, among whose rubbles stands out the disturbing presence of a crow that observing the scenary perched on a big stone, illustrative details that lead the listener into a sound dimension marked by sadness and by decadent atmospheres. "Ruins And Despair" is the opener episode that introduces to the tracklist, a dark, atonic and short expansion of keyboard matter combined with rustling of unknown origin and animated by an only single act of filtered voice. The essence of the release is developed by the following "Western Rust", a song proposed in 2013 by the same label WTII Records also as a digital Maxi-single including the remixes elaborated by the projects Technoir, Blank, Interface, Wade Alin and I:Scintilla. This track is perfect balance between the nostalgic introversions of darkwave and the dynamics of synthpop, characteristics foundable in the poignant lyrics sung with passion by Henry, owner of a warm and gracefully modulated vocal tones, and also in the faded key's harmonies as well as in the percussive midtempo linearity. "Alone" has the unique ability to abduct permanently the listener since the first playing time, an effect resulting by its irresistible melodic vocal fluidity and by the fascinating synth chords, all this rhythmed by a pulsing and danceable midtempo scannings. "To The Night" prefers electronic downtempo solutions even more inclined to reflection and sadness, particulars highlighted especially in the singer's chant, softly laid on the suggestive key register played by Ivan. It follows "The Chosen", a midtempo episode that can be proposed with success in the best alternative dancefloors, a song stylistically circumscribed into the synthpop/wave genres, full of catchy vocal-keyboard melodies and of electro-rock ornaments represented by the cyclic accompaniment of electric guitar, all this sinuosly transported by a metronomic programmed sequence. "Arclight" is a dark-technopop track completely instrumental: it increases the rhythmic speed by few bpm's structuring a precise and invariable drum-sequencing straight over which they gravitate ecstatic pads, as well as the following "Plutonian Shores" shows a downtempo percussiveness caressed by melancholy, within its procedures the drum-system calculates mechanically soft beats which symmetrically run into the programming circuit, while the Enrico's voice propagates harmonies full of anguish, joining them to the warm synth orchestrations and to the guitar reverbs forged by Daniel. The sampled perturbation audible in the first section of "Freia" fades into the oblivion evolving then as a sad-downtempo electropop elegantly nostalgic, within which the afflicted vocal euphonies, the keyboard geometries, the sequenced filaments and the dry drum-programming lines combining among them until culminating in a highly sentimental refrain that will move the more sensitive souls. Always according to schemes dominated by bitterness, the next "It's Your Turn" renews one more time the sound formulations typically 80's piecing them together to the current synthpop conceptions, a precept from which it results a song enhanced by the melodious and heartfelt Enrico's singing so beautifully arranged on the precise midtempo drum-sequencing beats and on the warm winds generated by the keyboard, sonorities to which are combined the reverberated guitar seductions. The unexpected sad-folk entitled "For My Lorraine" it charms, it mesmerizing by its atmospheric voice calligraphy, abandoning gently itself to the guitar plectrum arpeggios, this time built by Enrico, and to the melancholic symphonies raised by the keyboard, for final track magically poetic whose musicality differs diametrically from the original matrix heard so far, showing sonic openings ever oriented towards the depressed emotions that are able to interpret with intensity the meaning of heartache and the inner desolation. The protagonists exhibiting for the second time very attractive modulations and a technologic standard undoubtedly high: the album "Autumn Ruins" denotes, in addition to an appreciable aesthetic finesse in the assignment of the lyric's words, sound shapes and specific characteristics such as to give the band an own specific style instantly recognizable. The rare refinement of the ten compositions included in this full-lenght have the same elegance and distinction that Blume parade with unembarrassment since the beginning of their foundation, proving also to have exceeded the ordinary canons that force to the anonymity many projects from the same scene. Irresistible Vocals, capturing drum-programming formulations and keyboard architectures of high class are only waiting to be introduced into the listener's imagination to seduce it by nostalgic grace: you will be overwhelmed by such prodigious sonic beauty.
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Cinemascape - "Cold Heaven" - cd - by Maxymox 2013
Another valid publication by Conzoom Records is this regarding Cinemascape, a synthpop foursome from Stockholm consisting in Johan Jarl (lead vox/composer/co-producer), Sebastian Milo (lead-vox/composer/co-producer), Marcus Johansson (keys/sound engineer/composer/producer) and Katie de Bourgh (keys). The performers, all ones very young, started the project in 2005 dedicating great attention to the aesthetic factor enhancing their image with a look always aristocratically refined inspired by models from art, from the cinematographic's world and from literary works, by associating to the own exteriority a sound harmoniously electronic with glamrock and cabaret elements. However, the band doesn't like being confined into a specific music genre or described by specific categorizations: from here the choice of expanding their avantgarde pop canon-style customizing it with intelligent registers never abstruse that radiate in the vocal sections a tasteful background of derision, together with melodies strongly connected to schemes in vogue in the minimal-electronic universe dating back to the 80's decade. On this basis Cinemascape began their lucky musical journey performing them frequently on stage picking up an increasing popularity among fans, capturing them with a bright set of visuals, elegance and acoustics technologically advanced: the experiment received a very promising welcome, a detail that stimulated the desire to work on a more ambitious project, the construction of an album that would confirm the Cinemascape as exponents of a synthpop which would bring back instinctively the listener to their specific style, using sounds and vocals of unmistakable imprint. On these intention it was conceived then in 2010 the self-produced album "The Falling Impossible", republished in 2012 by Conzoom Records as Expanded Format version with the addition of two bonus tracks. A year later it came the release "Bodily Harm", an extended play which tracklist of five episodes, initially minded as remixes of the song "Night Vision", instead introducing sonic material created in the past, here professionally remastered, in addition of some tracks belonging to more recent times, in a kind of first test aimed at spreading among the public of unreleased songs to which the ensemble was particularly fond. The new album "Cold Heaven", released in 2013 by the same German label Conzoom Records, has characteristics largely different from those heard previously, offering pop-electronic glimpses more shadowy, sometimes introspective and markedly atmospheric, although in certain occasions they're supported by a pulsing and lively musicality. Guest of honor within the tracklist is Henrik Palm, guitarist of the Swedish heavy metal band called In Solitude, whom acts as a support unit to six of the twelve songs included on the album: the opening title is "Second Coming" a successful synergy between pop modernism and deep nostalgia: by their conjunction it originates a downtempo synthpop lulled by an intense and melancholically sad chant, cherished by warm keyboards irradiations, programming at low bpm's and sparse Henrik's guitar arpeggios. "Private Property" is a lovely midtempo pop electronic song with notes pure as well as crystals, enclosed especially into the melodious vocalizations of Johan and Sebastian beyond which they rise fascinatingly the key's embellishments, all this punctuated by a drumming little more than minimal. Then comes the gentle syntheticism that adorn the electropopish movements of "Frantic", which structures are configured by midtempo dry replications of programming, rainbows of voice and light keyboard fantasies, while in "Silhouettes" revive formulas vividly curved towards a certain aura of melancholy and corresponding to the 80's electropop descendants, aspects detectable in the simplicity with which they are set the vocal sections, in the particular midtempo walk and in timbre of the drum-programming, simultaneously with the finesse that embellishes the concise touch of synths. The subsequent "Frozen Ground" aligns the uptempo danceable pulses generated by the programming putting them side by side symmetrically to the dynamics keys buildings, to the fleeting guitar punctuations by Henrik, and to the catchy vocals, all this in a futuristic-pop track also of obvious of 80's derivation. "Nuclear Skies" propose synthpop theorems wrapped by gloom and languor, around which fluctuate with poetic lightness downtempo e-percussions, minimal keys orchestrations and the chant wthat the vocalist expresses with graceful tonality. The tracklist now includes "Trespassing", an episode rhythmically speeded up and in possession of a melodic fluidity applied to the chant that the vocalist vocalist sings with melancholic passion extending it with softness on the midtempo drumming and on the elegant micro-symphonies of piano listenable in the background. "High Hopes" is a futurepop characterized by sensitive voice's euphonies introduced within a dynamic electro-percussive gear which midtempo cadences segment thickly the rhythm towing the efflorescence of synths, as well as in the following "Deep Ravine" we perceive a pop-electronic sophistication and spring vocal-keys harmonies driven by mechanical segments of drum-programming. The rhythmical-key's axis of "In The Company Of Strangers" is shaded by a certain severity that darkens the synthpopish modulations making so them more rigid without depriving them of their nostalgic poetry exalted mainly in the chant. Almost at the end we find "Ran", a technologic-poo constructed by robotic percussive scans on which dry midtempo bpm's they germinate sporadically the electric textures arising from the Henrik's guitar, allowing to the keyboards to complete the sound-system integrating it with discretion to the musicality and the usual tonal attractiveness that distinguishes the vocalist's accents. "Artifacts" concludes the list permeating the song of emotion through a downtempo sad-synthpop essentially based on depressed singing evolutions which reverberations are atmospherically combined with the tearful piano's sheet music that twirls on the tunes and with the Henrik's guitar embroideries, succeeding in emerging from these elements a perceptible sensation of elegiac romanticism. The most striking thing in Cinemascape is their innate ability to make aristocratic even the simplest sound, surrounding it gently and then channeling it into a sober technological system. "Cold Heaven" is an album full of innocence and sentiment that sanctions the admirable state of art reached by the band during these two years, a prerequisite for crossing the golden gate of Conzoom Records. Music that communicates the sense of beauty, music for the last, irreducible dreamers.
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Comaduster - "Hollow Worlds" - cd - by Maxymox 2013
Officially founded in 2009, Comaduster is the rhythmic-noise/IDM/EDM/industrial/dubstep solo project interpreted by the Canadian Réal Cardinal. Big fan of electronic music, the protagonist developed his creativity working in 2008 as a game sound designer at the Canada based BioWare software house, further improving in the early periods his sound techniques and his ideas through a short path as a drummer and then experimenting avant-garde sonorities initially generated, as for many other pioneers of the genre, by a basic equipement. When Réal Cardinal perceived within itself an adequate preparation, it born the project Comaduster in conjunction with the EP self-released in the year 2009 called "Slip Through", seven IDM/ambient/industrial tracks taken and rebuilt from a repertoire perfected between 2002 and 2007, among which we can distinguish "Foam Abattoir", realized in collaboration with the singer and friend Cecil Frena. This discographic product revealed an artist well above the standards, universally accepting a multitude of positive feedbacks and ensuring to Réal an high quotation from the opinion- makers. After that debut, Comaduster also demonstrated excellent qualities of sonic alchemist remixing "Wachsmuth", one of the fourteen episodes included on the first volume of "Upload Select Remix" published in 2011 by Hymen Records, a selection of tracks extracted from the archive belonging to Architect aka Daniel Myer, songs therefore entrusted to the significant processing capacity of professionals around the breakbeat/techno/dubstep/IDM such as, quoting the best examples, Stendeck, Subheim, David Partido, For A Space, André Winter and Hecq. Worthy of evidence is also the Comaduster's live-performance in the role of audio-visual compositor in "Scrape", an opera created in 2011 at the Mutek, an event organized since 2000 in Montréal aimed at promoting electronic music: during this long session, the artist revealed a fine compositional art and a particular acuteness contriving a great mass of atmospheric dark-ambient/soundscapes expansions. The 2013 was the year in which the obvious potential of Réal was received by the legendary mastermind of Tympanik Audio Paul Nielsen, who agreed to publish, in addition to the five-tracks digital single "Winter Eyes" Winter Eyes" which includes the remixed versions by Access To Arasaka, iVardensphere and Aliceffekt, the present album "Hollow Worlds". This release contemplates several stylistic toning undertaken by Comaduster over the years, offering a compact layout of sounds ranging from the hardness of industrial to the intricate movements of dubstep, from the strengthening energies of the Electronic Dance Music to post-rock, incorporating glitch/IDM finesses and evocative ambient/pop elements. The full-length , published in digipack contains ten extremely elaborated songs that start from "Ma", a dark downtempo-dubstep-electronics ceremonial saturated by unexpected rhythmical trajectories able to confuse and terrify. "Winter Eyes" encoding powerful midtempo deadlifts sectioned periods mathematically linear and others having as principle the unpredictability, with sudden percussive accelerations and syncopated returns on which are outstretched aluminum coloured key-pads, intense vocals and a swirl of synthetic-effects that completely surrounds the track. "The Send Off" is an hyper-developed avant-garde IDM/dubstep painting three-dimensionally elaborated, from which they extend pulsing turbo-bass/drum-lines programmed to give rise to a powerful and snappy midtempo run intersected by deep keyboard's breaths and by a chant subdivided into human and robotic partitions elevating desperation, charm and mystery. Further on, the elegant dubstep-breakbeat/EDM gait of "Hollow Worlds" penetrates the sound carrying in it polyrhythmic downtempo flexuosity, vocal-keys softness and reverberated guitar punctuations, all this wrapped by alienating electronic processing, anticipating the next oneiric ambient/electronic theme entitled " Unfound " and its twilight piano notes that induce meditation. "Walls" offers atmospheres technologically melancholic underlined by the partially filtered voice by Réal that in the refrain can touch the soul creating fantastic scenery, sounds encircled by a rectilinear percussiveness by slow synth expansions and by millimetric sequenced intersections. Into "Chasms" we distinguish restless and dreamily harmonious vocals, distributed between the decelerate industrial/trip- hop drumming cadences on which they rise with dark solemnity the keyboard clouds pierced by febrile shocks, by android inserts and electronic micro-fractures. The wonderful "Futureproof Design" continues impeccably the tracklist showing off again the perfect combination between dubstep and EDM, speeding up the bpm's through the vigorous, cold scans of the drum-programming, embracing the sound by spellbound pads and by a tormented chant lacerated by anguish, details included into a song I consider the most significant of the album. The musician Cecil Frena, from the noise/experimental project Gobble Gobble, collaborates with Comaduster in the making of "Nightsail", a track which EDM/glitch/drum'n bass structure rolls with frenetic dynamism taking vitality from the spectacular alternation of twists, impulses, throbs, schisms and curvatures originated by the drum-machine to which they combine darting digital flashes, depressed vocals and dilated keyboard chords. The final is announced by "Connecting The Seams", a psychedelic-downtempo/glitch/electronics episode circumfused by melancholy, architected by a large support of key-pads, by lysergic and echoed guitar's arpeggios, by slowed drum-beat's sections and by the protagonist's voice that fills of sadness the entire length of the song. Réal Cardinal is an inexhaustible generator of electronic energy and of experimental music evolution, elements strongly expressed inside this magnificent release, a symbol of a genius beyond measure and of a multidimensional sound conception. The encounter with "Hollow Worlds" constitutes for the modern listener a constructive opportunity to expand his own music experience, distinguishing in this great debut full-length debut innovation and a new sound method. The wave contained in the tracklist just heard will oscillate your auditive receptors, transferring into them hyper-sequenced modulations, unstable rhythmical geometries and that perceptible sense of glumness which inspired the album concept. Outside the schemes, beyond conventions. Is Comaduster.
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Dark Awake - "Epi Thanaton" - cd - by Maxymox 2013
Dark Awake, one-man project founded and impersonated since 2001 by the Hellenic Shelmerdine VI°, incorporates a wide ordering of styles that the interpreter likes to call synthetically in the two words "apocalyptic-ritual": more in detail, the sound created by this original musician touches a variety of styles ranging from dark-ambient/soundscapes to the neoclassical touching martial and neofolkish drifts, genres in which the protagonist introduces implicit messages connected to a long series of thematics such as, among others, Literature, Occultism , Philosophy, History, many of the main cultural and artistic movements such as the Dandyism, Baroque and Romanticism, as well as elements of various kinds such as Orientalism and Symbolism. Is therefore important to signal in the Dark Awake platform the collaboration of two additional members localized to the vocal sections, that is Elina P. recruited for the first album too, and Sekte, the narrator mentioned in the credits of this latest release. The discography of the project initially takes over the debut album "Meseonas" published in 2008 by the Argentinian label Twilight Records, release whose dark-ambient/neoclassical/martial musics were conceptually inspired by the medieval mysticism and by a gloomy imagination stimulated during the night, canons to which they following those even more sinister dedicated to the Typhonian Witchcraft tradition, to the Mythology and to the occult texts belonging to the ancestral civilization, elements distilled and included in the seventeen minutes of the tape-format/ep-release in limited edition entitled "Imago Typhonis", published in 2010 by the brand Depressive Illusions Records, containing ritual/dark-ambient/neoclassical acoustics and played also by human bones. The new work "Epi Thanaton", published in 2013 by the always excellent label Rage In Eden, consists of nine tracks ideally related, in addition to the same arguments that have characterized the previous title, to the Esotericism, the Rune and the Kabbalah; the choice of dark-ambient/soundscapes and neoclassical genres prove still winning solutions, especially when it is imposed by the the need to construct as realistic as possible oppressive atmospheres, threatening, darkened by a sound that can represent the shadow and the sense of the arcane. "Anaphexaton Primeumaton" the opening track, summarizes into itself these elements diffusing heavily them in the air like an Arctic fog, and that by the spectrality with which Dark Awake sets the sullen keyboard which, as messages from other worlds, they align with atonal melody joining them to the rarefactions of the martial drumming and to the toxic exhalations that infect subtly the structures, all this surrounded by the mysterious litanies spoken by the vocalist and also by the unknown and sibylline implorations, by nameless electronic flows and crackle of flames. The homonymous track "Epi Thanaton", as much suggestively, propagates through the use of percussive-rituals drum instrumentations, a multi-tonality rhythmic line within a dark-ambient subjugated by a night wind and by slow keys expansions, by a silvery tinkle and by shady soundscapes, sounds made further fascinating by choral rarefactions similar to an enigmatic recall, and ultimately, as generated from the nothing, by a piano composition full of melancholy and decadence. The percussive essentiality that articulates "Freya's Aettir" delineates atmospheres hypnotically shamanic joining to an equally thin and minimal keyboard chord, to a sombre tolling bell, to choral abstractions and to the primitive breath of a woodwind instrument, sounds including everything in a track defined as tribal-ambient. The martial drumming that gives the rhythm to "Sigillum Of Cutha" resonates with severe glumness between the atmospheric structures originated by the keyboard giving to the song a steel deportment, while in the subsequent "Mithraic Mystica" we hear a ghostly melody played by pizzicato arpeggios of the guitar over the which, as in an occult ceremony, we distinguish the dry and ritual sound of human bones shuffling. "Kia Mass Ssaratu" transmits sadness and abandonment entrusting these feelings to an ethereal-ambient at first introduced with aristocratic neoclassicism and then by the piano notes followed by ethic string sections, by low-electronic vibrations and bones noises, all this shrouded by bright keys verticalizations occasionally punctuated by a skeletal percussiveness. "Ichor" has a noble profile and a superb elegance, connotations acoustically represented by a faded and beautiful piano composition full of classicism whose notes, performed with orchestral wisdom, they embrace naturally the dark-ambient sounds and the deep marks created by the drum. The ritual-noises take now possession of "Medea" darkening entirely by a subterranean rumble around which they gravitate tribal cadenced minimal-percussions and silvery bells, elements placed in a obscure-ambient evoking with realism and suggestion pagan beliefs and night ceremonies. The evanescence of "Spheres Of Qlippoth", the final track, are frozen in a dark-ambient nucleus crossed by leaden industrial noises, by metallic coloured exhalations and by immense amounts of artificial darkness induced through livid laptop manipulations. The elegiac musicality belonging to Dark Awake creates a performance through which the Esotericism meets the sound: they result arcane creations within which the division between two styles communicates to the listener as many interpretations of the release, the first one, concerning especially the ambient phase, exalts the prominence of the ritual concept, and the second one, perceptible in the tracks played by piano solutions, underlines the seductive power that the supernatural world exerts on the human psyche. "Epi Thanaton" is an album that holds into itself meanings beyond the imaginable, which listening imposes an absolute participation as well as a staunch attitude towards sonorities darkly contemplative or planned by orchestral minimalism. Let you abduct by its black spirals or by the depressed melodies of its neoclassical compositions: you'll live instants during which the space-time barrier will break manifesting to your imagination all that exists beyond the rational dimension within which we are confined. As well as that, what else might surprise you more?
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Desiderii Marginis - "Procession" - cd - by Maxymox 2013
As always, when we listen to the compositions designed by the Swedish Johan Levin, is impossibile not feel us overwhelmed by the charm, the elegance and the solemnity resulted by a music so suggestive and overflowing of atmosphere: Desiderii Marginis, known soloist project represented by the mentioned protagonist, is in fact one of the most resonant names in the dark-ambient/industrial area: worthy of note is also the versatility currently manifested by Johan, who distinguished himself with honor as multi-instrumentalist also in the medieval-act called Galtagaldr. The intent originally planned by the artist in 1993 as Desiderii Marginis would simply be to complete only three limited-edition demo tapes, "Consecrare", "Via Peregrinus" and "Hortus Conclusus/Triptych", using tracks not included in the discography belonging to its previous platform called The Wounded Meadow, a good gothic-synthpop band whose line-up mentioned Johan in collaboration with Daniel Nilsson, Fredrik Rydberg and Lars Tängmark. The following ages allowed to Johan a deep inner analysis, gradually orienting him to sonorities more ethereal and imposing to the creative spirit of the musician a radical stylistic variation, that is the perpetual research of formulas that have the power to subdue the mind of the listener through the enchantment of obscure and subjugating modulations. The recruitment by the prestigious label Cold Meat Industry occurred in 1997 was synonymous of warranty and optimal distribution for "Songs Over Ruins", the debut album, recovered in 2001 by the same label in a second version and precursor of a solid genealogy of releases such as the full-length "Deadbeat" of 2001, published by Cold Meat Industry too, the split of 2004 "Lost Signals From Unknown Horizons" published for the Polish Beast Of Prey and including three episodes by Desiderii Marginis together with as many composed respectively by dark-ambient following solo-projects: Moan, impersonated by the Polish Rafal Sadej, and Artefactum, interpreted by Merissa d'Erlette. In the same year it was released by the same Cold Meat Industry the album "Strife", while in 2005 the Parisian indus-label Kaosthetik Konspiration released the vinyl lp limited edition "The Ever Green Tree" reissuing item in 2007 in CD format. By the back of the artist at the home Cold Meat Industry resulted the next album, "That Which Is Tragic And Timeless", whose evocative four panels booklet was embellished by the layout work executed directly by Roger Karmanik, founder of the cited, important label through which in 2007 was released the next full-lenght "Seven Sorrows". Impossible not to mention here the title "Years Lend A Golden Charm", compendium issued in 2009 by the Russian brand Eternal Pride Productions including songs taken from the first three demo tapes completed between 1992 and 1993 in addition to a one-unreleased track. The new album "Procession" of 2012 is assigned for the occasion to the magnificence of the Canadian label Cyclic Law, pouring eight suites in an ambient module by dark and verticalized settings: "Come Ruin And Rapture", opening track, confirms this concept introducing into an icy musicality the suggestions coming from a obscure key pad above which they extend darkly harmonic evolutions whose shamanic expansions, very slow and meditative, reverberate as messages propagated in an unknown valley surrounded by fog. "Land Of Strangers" follows the same music trajectory condensing its dark-sound in a core composed by bass laptop frequencies beyond which twirl immaterially fascinating ethnic arabesques, while the following "Her Name Is Poverty", sonic document of exceptional beauty, gives the musicality a sort of shadowy surrealism lived through an obscure-ambient symphony by the powerful hypno-inducing effects, within which the funereal stroke of the bell and the orchestral sadness replicated by the keyboard they melt to the rumble of a single, deep chord that runs in the background. "Silent Messenger" manages to combine with amazing balance melancholic harmonies and dark-ambient sounds, exposing them through two parallel sections: the first one made of abyssal tones, oppressive, made gloomy by the resonance of the bell and dark key corridors, and the second one describing rarefied oriental melodies that on the development they evolve in a slow, dramatic orchestration like a soundtrack. We arrive then to "In Brightness", a dense dark-ambient propagation having as their engine the incessant roar of the current that spreads electronically in the soul of the song, surrounded by industrial noises and nocturnal keyboard harmonies. "Here's To The Future (And The Harsh Frontier)" presents typical connotations obscure-ambient/industrial trespassing into the psychedelia, elements reproduced by a linear, cavernous laptop basement channeled into dilated key evaporations, as well as inside the enchanting "Adrift" blows an electronic wind whose its broad breath fluctuates with slowed skittishness modeling gradually itself around the delicate inlays sculptured by the synth and on the glacial refractions from the background. The homonymous "Procession" concludes the list of songs predisposing a dark-ambient crossed by an opaque key introduction whose vaporizations embrace by monolithic chords and by thundering mists the torment originating from by notes that refer to ancient nostalgia, to epic landscapes slowly observed from infinite heights. Desiderii Marginis celebrates its dark liturgy using the key apparatus as radiant body, distorting the perspective of sound and darkening it until it becomes restless and meaningful as the dreams that come before dawn. "Procession" is a release highly seductive to peer into all its most infinitesimal angles to understand that beyond the Universe they extend dimensions in continuous expansion: in their sound many of you finally rediscover themselves.
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Der Waldläufer - "Wanderlust" - cd - by Maxymox 2013
Der Waldläufer, German from Kassel and also known by his name Tobias Seidenthal, is a light-ambient/ambiofusion/chillout/IDM-downbeat composer, with a reflective, sensitive, observant personality, inextricably connected to the abstract world and to the deep emotions that only the Nature may give with its endless cycles, its mysteries, its principles and its wonders. The experimental electronic combined with the research of sounds particularly aimed at consolidating the absolute harmony between body, mind and creation, have always been the main expressions on which the artist, often as soloist and rarely in collaboration with other musicians, has built over the years their musical style characterized by relaxing, ethereal atmospheres specially planned to give the widest possible space for contemplation, formulas minded by an extensive use of keyboards, drum-programming and, sometimes acoustic instruments like the saxophone and electric guitars. The self-produced debut "Completely Near & Far Away", release published in 2010, was an album that I personally still admire and that I excellently reviewed at that time: this work gave life to an artificial Eden composed of visionary, melancholic and romantic sounds full of beautiful ambient landscapes represented in twelve tracks all able to enrapture the listener's imagination, making fly and uniting spiritually him for a long time to the full range of elements that make our terrestrial dimension. Following conceptually the same masterplan undertaken in the previous release, the new album "Wanderlust", published by Der Waldläufer in the year 2013 again as self-realization, scours ambient/chillout/downtempo horizons concentrating them in thirteen episodes by refined touch: everything starts from the introductory segment "Nature - The Calling", a short, gaseous toned chord of synth embellished inside by cosmic effects and electronic expansions, waiting for the next "Another Venus" a track in which meditative ambient emerge keyboard harmonies, dream-oriented reverbs and sophisticated artificial ornaments so similar to the pale pink that sweep the dawn to which it's added an hypnotic downtempo e-drumming. Around "En Route" swirling light touches of plectrum on the electric guitar and synthetic reverbs rhythmically engaged on the shamanic beats of the programming, reclining them on an incorporeal background of key. "Beyond Horizon" is an ambient/IDM episode permeated by great charm and elegance, aspects perceptible into the keyboard and choruses evaporations that immediately evoke a state of serenity, but also in the fine guitar textures and in the micro-fragmentations that make the percussive body of the song. Sounds extremely cleared up, built by ambient/downtempo solutions moving into "Caligaris", a track within which they rise and dissolve the suspensions generated by the keyboard in a scenery composed by delicate iridescences arising synthetically from the machines, formulas pierced by the crystalline refraction audible in the electronic-bell beats and, in the development, punctuated by a slow percussion system. From "Eclipse Illumina" raises an ambient-sound characterized by an aura of sophistication and in possession of a mesmerizing power for body and spirit, an effect made it possible by relaxing chords and evolutions of keys, both ones suggestive as a sunset at the end of summer and joined to rarefied, attenuated downtempo interferences. "Green Oaks", not least, leads to mental reflections employing an atmospheric sequence of pads from which they are detached the melancholic evanescences of the melodies, sounds they also constituted by the identical, incorporeal consistency distinguishable in the keyboard cadences of the background, as well as the subsequent "Lucid Crystal" immobilizes every movement, every second of time, circumscribing them in its space by a solemn slowness through a series of fractionated synth emissions whose flows, such as elements without weightless and matter, expanding their trajectory in the direction of the distant Galaxies. You arrive then at the following "Innercircle" and its ambient sounds that gently caress the soul calming down all the tensions in it and extrapolating from its core nothing more than feelings of inner peace and complete reconciliation with Nature, perceptions that seemed a long time forgotten and now emerged accompanied by the opaque currents of a first key around which gravitate slowly the fascinatingly parables described by the second one. The volatile ambient geometries made for "Sleepover" illustrate in practical terms what that would it mean for "sonic tranquillity", a purely idealistic concept exposed by pads like a propagation of air, extended until their partial fade from which they originate other keyboard sequences more compact and back-illuminated by electronic glares. "Naranja Nubis" adds soft guitar arpeggios to the oneiric and motionless ambient strategies, combining an highly meditative sound that will travel the imagination beyond the limits of your intellectualism. Among the best tracks available in this tracklist stands the wonderful "Flores" in which they intersect harmoniously exciting segments of guitar, alienating keys melodies and downtempo percussiveness, all sounds them surrounded by refinement and nobility that sign the epilogue of a release full of a sublime musicality. The structural axis that marks this album is mostly focused on the intention by Der Waldläufer to connect an highly evocative music to the primordial ties that unite the Man to the true essence of Nature and to its most spectacular events. This release will allow the listener to completely estranged him from the daily neurasthenia of our industrialized world making access to a sonic enchanted dimension into which he will identify himself by extraordinary immediacy, instinctively recognizing in it an ancestral recall. If you are attracted by the sounds for psychic journeys and you are subject to open eyes visions, "Wanderlust" is certainly a fundamental part of yourself.
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DI*ove - "DI*ode" - cd - by Maxymox 2013
The Belgian Eric Manchiniste (music/vox) and Lukk (vox/lyrics) form the line-up of the project DI*ove, rightly appreciated for its formidable art of combining the basic principles of the Electronic Body Music with the pleasantness and the aesthetics of dark-electro/synthpop. The inclination for the artificial sound was a prerogative of Eric since the early 90's, the period during which the protagonist tried with other two members a sort of home-made experiment, forming with them the Escape Industry, band through which he recorded and spread a demo highly acclaimed at that time before the final dissolution of the platform occurred in 1999. With determination, Eric moved the next step by the minimal-electro solo-project called Evoid, and more specifically by three self-produced mini-CDs released between 2000 and 2004, until in 2006 the cooperation with the newly-entered Luc increased significantly the sonic database Sonic completed with 80's elements, leading the two musicians to the formation into the today's today's DI*ove. Officially, the record products attributed to the project are dated back to 2009 through the digital-EP "Evoid Becomes DI*ove", licensed by the Belgian net-label Knovel Records, within which tracklist, consisting in five electro-experimental songs, they spire two creations conceived in the early operating periods, "Haunting Me" and "I Want A Bear". In 2010 it was published the self-released EP "DI*verge", which tracklist includes six industrial/electro episodes mastered by Kevin Jaspar, aka A.L.F. militant into the noise/breakcore duo known as E25 Corporate. After three years spent as live-supporters and undertaking partnerships for remixed versions, the DI*ove return gloriously in 2013 signing the agreement with the label EK Product and releasing this debut-album full of expectations available in digipak format, DI*ode"." Its tracklist, consisting in nine songs, opens with the atmospheric expansions of "Understöen", propagated until they reach the hypnotic midtempo circuit of the drum-programming which beats support the alienation expressed by the singer's voice and by the complexity of electronic textures, while the subsequent "Mayday" alternates dark-electro/industrial sonorities building them on an accelerated implant of sequencing and drumming, which pulsing bass-lines codify a rhythmical punctuation to dance with emphasis scanned between the synth, the loops, and united with the enthralling vocal metric of Eric. "ADT" is enhanced by the singing sections processed by Lady Funk, who combines her sensual vocalizations with the more pronounced ones belonging to Eric, all this into an electro midtempo track with vague EBM's recalls, where the combined action among the programmig, the percussive apparatus, and the suggestive key's breaths, triggers dynamic sounds recalling darkness and torment. "Gaze" is a gritty interaction between EBM strategies and others ingrained into the dark-synthpop with a particular attention turned towards the dance, points highlighted in the cyclical and powerful intermittences of drum-programming spurred into midtempo mode, simultaneously to inciting vocals and cold key's radiations. The following "Addictions" slows down the percussiveness subdividing it in precise percussive drum-beats next to which there are aligned the hallucinatory tones by Claus Kruse, owner of the EBM/electro-industrial solo-project known as Plastic Noise Experience, who sings harshly om the obsessive sequencing replications. The vocalist Mad Woowoo participates actively in the song "What The Fuck!", exposing in it the constructs pronounced in French language intercalated with those of the singer: the result is a male-fema le vocal plan, refined and at the same time neurasthenic, admirably adapted to the EBM's dance modulations. "Clinically Dead" propagates acidic synth melodies, dissatisfied and cynical vocals, dictated with inflexibility on the drumming's dryness which uptempo lashing, together with the iciness of programming, pulling a dark electro-EBM song ideal for the avant-garde D.J.'s, as well as the subsequent "I Need More", another great midtempo device for the alternative dance floors, diffuses vocals saturated of tension and pneumatic keyboard/sequencer's evolutions included into a metronomic drum-system, all this creating a dark-electro/synthpop vaguely 80's. In the last track of the release, "Never!" they prevail the midtempo's distorted and snappy timbres of the drum-programming and the exciting vocal emissions by both two components, sonorities intoxicated by the key's strokes and by caustic sketches of synthetic material. The intent of the talented DI*ove is to give movement to modern technological music concepts, inside of which it must be necessarily perceived the presence of sounds belonging to the electronic rearguard, mission fully successful in "DI*ode", a debut album that reveals a concentration of acoustics proposable both to the direct listening as well as opportunities for dancing until complete exhaustion. Electro-urticant propulsions, vibrant EBM dynamism, atmospheres darkened by threatening nebulae, vocals that wound by their subtle sharpness: This is simply class.
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Donamorte - "Gemini" - cd - by Maxymox 2013
The interview published on Vox Empirea gives to the reader any biographical information regarding the Italian project Donamorte, while this analysis about their debut-album suggestively entitled "Gemini" will highlight the reasons for which the trio is considered one of the most accredited promises from the emerging national underground music scene. The sound genre belonging to the band is a mixture of retro/new wave, electronic, rock and gothic, exhibited with elegance and professionalism by Armand Donamorte (vox), Garmo (vox/keys/progs) and Kaos K (guitars) in an ever riveting, polychrome contest, by episodes that verge on the authentic excellence. The full-length, published in digipak format by Space Race Records, the EK Product's additional label, consists of twelve tracks within which particularly elaborated technological procedures together with charming vocal formulas, with dark orchestrations and with an instrumental complex studied in detail, they forge sounds emotionally capturing that will seduce a large listening audience by their penetrating charisma. The exploration of the CD leads initially to the homonymous "Gemini", a song viewable on the web by an excellently realized video: its enthralling vocal incipt, rhythmically supported by bass-lines generated by the midtempo drum-programming, it joins to the keyboard's nebula, creating the openness over which they develop intensly the electro-wave/rock sounds generated by synths, by incisive electric guitar grafts, and by the Armand's singing culminating into a refrain that will resound in the memory for hours. "Can't You Feel It", an electro-rock track, slows down the percussive speed adding to the circular guitar's arpeggios, to the programming hatch and to the evocative intro-voice, the symmetrical lines that will form its rhythmic pattern, all this divided into periods of quiet vocal-drum minimalism alternating with scorching guitar verticalizations played by Kaos K, further strengthened by keyboard expansion. By the dance scheme of "End Of Your Reign" it comes at first a mixture of dark-electro resonances combined with industrial-oriented arrangements, followed in their evolution by melodic new waver interactions: these modulations are build by uptempo pulses, by the Armand's shading voice, by programming vibrations, by synthetic effects and by keyboard's flows. Technology, experimentation and a subtle neurasthenia are perceptible in the next song, "Down Down", whose procedures recall the alienation of the most alchemical Depeche Mode united with hazy post-rock, a sound composed by little more than hissed and depressed voice, by dissonant guitar, by a robust, slowly scanned drumming in addition to electronic impurities. "I'll Be Dust" configures a dark-synthpopish/wave interface adorned by a solid singing phase harmoniously inserted into the mechanism of drum-machine which rhythm, scanned with slowness, is combined to the programmed transfixion and to the density of key's apparatus that originates visionary moments. It comes "Psycho End", an enthralling electro-rock ride propelled by midtempo drum-machine/sequenced beats, in a succession of firmly pronounced vox, keyboard's extensions and wriggles together with the guitar's abrasiveness, while "In The Woods", as a radio-horror novel, it paints in the listener's fantasy the frightening images of a nocturnal forest wrapped by mist into which, for evil prodigy, it materializes a monstrous creature that attacks its feminine victim, a choreography full of suspense, made true by a spectrally lunar soundtrack composed by fluid key expansion and by electronic drumming, within which they afterwards take shape the chilling roars of the beast, the convulsive wheezes of the race, the desperate screams of human prey: to this interlude is closely connected the subsequent "Necronomicon" which, faithfully to its own title, it spreads dark-electronics/dark-rock musicality so overwhelming, shamanic, designed by rhythmic downtempo fractionations coolly weighted by ebony coloured timbres, by programming asymmetries, leaden guitar intersections and by sybilline vocals dissolved later into a mantra. In the next "D.r.e.d.a." we can distinguish, albeit in less evident quantities, the same dark-electro elements and the mysterious evocations that have characterized the previous two acts: the register of this song prefer the return of a danceable electro-wave/rock calligraphy, dynamized by a pneumatic-midtempo acceleration phase chased by programming, the basement on which they charmingly swirl vocals sung with a determined tone, intersecting in the refrain the bright widening keyboard and the compactness of the supporting guitar. "I Want To Escape" is a dark-electro/rock within which they vibrate the decay of gothic-style and new-wave atmospheres, acoustics dominated by the hegemony created by the combination between the magic Armand's voice and the scratchy electric guitar, and also between the downtempo drumming and, on the refrain's openings, the intense keyboard chords. The darkness dominates the subsequent "Accept And Understand" too, a syncopated Calvary of electronic and rock elements which effects communicate torment, anxiety, anger, all feelings that are expressed in the claustrophobic immensity of a sound rigorously hardened with by downtempo/midtempo bpm's gushing out from the rhythm-machine, which they hurt with inhuman ruthlessness the altered Armand's vocalizations, joining then with the powerful tension propagated by guitar. Rarely, to the final album's track is given the role of "great Seal": is what is happening now by the final act entitled "Charade", a formidable electropop/wave of otherworldly beauty, which melodical strength, acceptation and nobility they don't find sufficiently representative adjectives to be described in all their extraordinariness: the song's pentagram was developed and executed by incomparable musical criterion, converging with maximum efficiency aestheticized voice harmonies combined with the very danceable drum-programming, which uptempo beats, the exceptional authority of refrain, the vastness of the keyboard and the angelic additional-chorus, they instantly enchain the listener enrapturing him. Forefront-project of incalculable value, the Donamorte create music that transcends from every conceivable simplicism reserving upper-class sounds and ardently symbolic lyrics: the concept and the sounds found in this tracklist are the tangible manifestation of creativity, acumen and fertile inspiration. The album, artfully shaped by the three protagonists, is the depositary of contents that compare favorably with the best proposals from the same alternative panorama: they, however, require participation and involvement to be experienced in their fullness: if you are considering lists of new records looking for something that might surprise you, direct your investigation to "Gemini", a release by which you walk over the depths of the Abyss and the frontiers of Heaven.
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Endless Shame - "Elevator" - cd - by Maxymox 2013
The Endless Shame were born in the 90's in Kristianstad, Sweden, following the technologic music trend that raged on the European alternative scene: the line-up consists of three elements: Mika Rossi (sounds/live keys/live percussions), Mattias Levin (Vox/guitar) and Anders Olsson (keys / backing vox). The beginnings of the band were directed essentially to the research of a stylistic direction that could combine the electronics with different combinations such as the alternative-rock, new wave, synthpop, EBM and some forms of crossover, experiments gradually improved until the obtaining of their present sound-system in which they highlights qualities of competence and motivation, but
especially cured, mature harmonies, minded with grace and one ability that gives at the whole a pleasant listening. In 2007, the project performed its first step opting directly for a complete full-length published by the label KTOWN Records label, it was the lucky "Price Of Devotion", whose output was immediately intercepted by the specialized music media and awarded in 2008 as "the best album of the year" at the Manifestgalan of Stockholm: in the twelve songs of the tracklist one of the most deserving episodes was "Sweet Illusion", a small masterpiece of synthpopish art, but also "Rebel Girl", song released in the same year as maxi-single including five versions of which one remixed by the techno-electronic duo called Hard Act 2 Follow, one reworked by the electropop trio from Gothenburg known as Universal Poplab, plus one third version rebuilt by Albert
Shepard, aka the hip hop musician-producer Blueprint, and a fourth one reworked by Kvantisera. During the celebration of the event mentioned above, Anders and Mika met their old acquaintance Jesper Nilsson with whom they founded the contemporary platform Autodafeh, exploring by it new EBM frontiers: in 2009 there came a second album issued by the American home A Different Drum, "Unspoken Words", an acclaimed sonic device mainly synthpopish with vague rock-oriented references from which its great contents stood out the track "My Creation", as well as a sleeve-image full of charm and sophistication. The recruitment at the Italian electro label EK Poduct took place in 2011: for Endless Shame it was the opportunity to release "Generation Blind", an electro/synthpop album from which it was extracted the song "Halo", published as maxi-single in four different versions of which one of them remixed by Autodafeh, besides the album edition of "Erase The Beautiful", a song embellished by the violin sections of Christoph Demetriou, and the video version of "The Reaper". The newest album "Elevator", always distributed by EK Product, is an album that shows a look decidedly futuristic and a sound further enhanced by brilliant synthpopish formulas that arouses enthusiasm in the entire audience of the devotees to this genre. The melodies carry out a particularly active function within the structures, as well as the powerful midtempo/uptempo rhythmics elaborated by the drum-programming incite the desire to dance: "Freakshow", the opener that starts the tracklist, manifests this description offering itself as a technological-pop inside which they burst catching vocals and keyboard elevations added at the pulsing midtempo drumming, while the following "Hear Me Now" is a track of extraordinary beauty and of immediate contagion, in my opinion the best one of the entire work, prepared on danceable beats on which they rise with fullness the synth's apparatus and the linear wave of the sequencing, all this adorned by a chant whose great refrain propagates strophes and chords so well modulated as to be simply irresistible. "Winter Skies" accelerates its basic uptempo e-beats fixing them on the fine vocal harmonies and on the atmospheric synth's textures, obtaining so an electronic pop-sound proposable with success to the best alternative clubs. All continues with the next song, "I Am Nothing", also it built on a fast rhythmic-programmed implant, mellow vocals and sharp keyboard sections, the same ones that in the gritty "Lack Of Communication" punctuate the singer's chant running fast and symmetrically with the pressing uptempo bpm's. Into "Universe" they take turns with swiftness vigorous technopop/EBM schemes that impose dancing movement in the legs, this is due to the joint action between the dynamic cadences of drum machine, the feverish vocal cycles and the soundness of the keys-corpus. "Rites" vividly draws inspiration from the intuitions and the sensational electronic arrangements of the early Depeche Mode, artfully combining the compactness of the artificial melodies and of the midtempo programming with the synth's detachments, with the suggestions of the vocal planning and with the alienating flows of the electric guitar. Now it's the round of the following "Twilight Zone" and of its atmospheric synthpopish connotations generated by supple midtempo scans caressed by the warm keyboard's mantle, piano touches, and a chant within which you can feel a melancholy aftertaste. "People Of The Sun" proposes rather an avant-garde pop full of visionary-mystical prospects, elements noticeable in the course of the vocals, in the slow drumming steps and in the obsession propagated by the keys evolutions and by the refrain. The final track "Savior" allows a last space to nostalgia expressing it in an electro-sad song characterized by a downtempo percussiveness and by a vocal anguish, for a music charged by depressed romance further highlighted by the exciting rainbows paintings by keyboards. Every song is interpreted as an exercise to be completed impeccably and with the utmost diligence, activating every possible recourse of vocal fineness and electronic orchestrations conceived with exemplary wisdom, details that give the album a reputation higher than average, as well as the full right to self-assert itself as one of the most significant releases of the entire discographic process belonging to the ensemble. The radiant Mattias vocalizations, the sophisticated but accessible keys construction and the solidity of the rhythm machine finalize an album aesthetically perfect by which the listener can experience the true essence of the new-synthpop. Those who know yet since the origins the deeds of the band, they can verify the degree of improvement reached by "Elevator": for those who had not instead experienced the Endless Shame, they have to take immediate contact with this their umpteenth wonder.
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Escalator - "Let There Be Lie" - cd - by Maxymox 2013
The Hungarians Escalator, founded in 1988 in Budapest, are formed by two members identified with the codes 2rt+TB and IGOR404. The music genre covered by the project is substantially inspired by two hypothetical evolutionary concepts: in the first one of them the Man actively interacts with the animal World and computers, while the second one enhances the perception of anxiety originated by the growing, relentless dominance and submission exercised by machines against Humanity. These conditions are musically expressed through an unusual and danceable variant of EBM particularly elaborated by softwares which the same Escalator softwares use to define as "Intelligent Robot Music", or an high-tech sound style whose compositional register reveals at the same time the cold old-school executions of the Germans Kraftwerk combined with the circular and obsessive dynamism of Front 242, with the alchemical lab strategies of the Clock DVA, with the brilliant industrial/post-punk experimentalism of Throbbing Gristle and with the electronic avant-garde of Cabaret Voltaire electronic. Active on record products since 1989 with the self produced/limited edition tape-work of six tracks titled "No Accoustic Music", the duo went onwards by an album independently produced dating back to 1990, "Human Experiments", by which they reached a good level of notoriety in their native land. "Helicopter", the next full-length also released in the year 1992 as self-producion, contributed to the further popularity of Escalator. The subsequent "Anthropology", published in 1993 by the Hungarian label EMI Quint, included new and old tracks, these latest ones extrapolated from the past archives and suitably remixed: the synergy between the high sound quality, the lyric's meaning and the energy radiated by the tracklist, they favored the rise of this album making it still a must for all the fans of EBM/post-industrial. Continuing, the small label Rockland Bt licensed in 1994 the eight tracks of "Arbeid", a full-lenght conceptually addressed to the exploration of the Universe and the power of a technology increasingly disconnected from the human control, in which electronic musicality we could hear an hard rise of the psychic tension and of morbidity, both already present in the previous releases. Then, they followed seven years of momentary abandonment of the scene, after which Escalator were back in action with the 2001 self-produced collection entitled "1990-2000", which tracklist incorporated both new songs and episodes taken from the past albums. That work was followed in 2007 by a compilation appearance on "Lieder Der Berge" , while the completion of a new anthology entitled "1989-2009" took place exactly in the same year 2009 by the German records-home called Electric Tremor Dessau. The attempt of Escalator to obtain a greater visibility and to strengthening their achieved prestige - so to have chance to expand exponentially the number of fans - was mediatically repressed by the Hungarian Socialist government, but it found a positive reply through the album "Out Of My Ego" published in 2011 by the excellent EK Product, the same label that has isseud this new sonic act too, the full-lenght "Let There Be Lie" now analyzed by Vox Empirea: this release is available in digipak CD version and also in the prestigious vinylistic limited edition. The album consisting of ten songs, eight of them are "regular" and two are bonus-tracks: the album begins by the prolonged silence that introduces the opener "You And I", which electro/EBM scheme plans a linear, square, midtempo-rhythmic supporting vocals maliciously deformed and soured by filtration, all this wrapped by the obsessive circularity of programming. "Friendly Fire" increases the speed obeying to the necessity of energy, structuring an hyper-danceable Electronic Body Music that quickly flagellates the sound in parallel to the run of sequencing, a percussiveness designated for supporting the dry voice sections and catchy partitions of synth, in a track that owns the incisiveness, the character and effectiveness such to be a potential power-hit. "Everybody's Lying" spreads a rhythmical base much gushing and faster, which darting timbre build an industrial-punk/EBM core incessantly frosted by the action of keyboard and attacked by an hostile, disdainful chant, to which is entrusted a function glacially decorative. Now is the next track, "Sniper", which pulsing uptempo drumming flows with straight continuity symmetrically with the programing beats, allowing then to the vocal inserts, manipulated to make them bitter emanations, to punctuate with robotic coldness this EBM/electro song. "God Eat God" is another conceivable dancefloor-hit, created by the uptempo pulses calculated with mathematical precision by sequencing which fluidity, crossed by the metallic sentences spoken by the vocalist, it incorporates synthetic keyboard's ornaments. Even in "Fuck You Union", as in the full album tracklist, they are clearly the old-school technicalities of Cabaret Voltaire, now elaborated and processed using percussive sequences nervously and geometrically midtempo, snappy drum-beats and programming that dictate the rhythm to the cutting voice fractionations and to the electronic effervescences. On the same electro/EBM phase of the previous tracks, the efficient mechanism of "Final Collision " scans a pneumatic, rational, danceable midtempo percussiveness coldly welded to the strobe sequencer, beats and micro-vibrations on which they evolving treacherously the bristly effected vocals, the spatial pulses, the loops and the rapid touches of synth. The great "Houston...Who Am I" propagates a swarm of super-processed electronic signals conveyed in a midtempo race programmed with cartesian accuracy, acoustics that can evoke futuristic atmospheres for interplanetary travels illustrated in this chapter by an advanced sound concept. As mentioned, the last segment of the release consists of two bonus-tracks, more specifically the remixes of the song "God Eat God". The first translation, called Aragamix, is reworked by Patrick Codenys, the Front 242 keyboardist: this version features an amazing progression of dance-oriented elements that make it particularly suitable for the d.j.'s, as well as Jeremy Inkel, he since 2005 the Front Line Assembly keyboardist, remixed the same song as Vapour Lounge Dub Edit mode, through structural formulations more complex and effected which will break with success among the fans of the alternative clubs. By "Let There Be Lie ", the duo has made a further progress into the electro scene simultaneously combining among them the sonic expertise, the avant-gardism and the rear-guard: by these principles it resulted a formidable album within which the solid interplay between the EBM of last generation and the past technological solutions develops a compelling dancehall context to listen at maximum volume. Escalator: consider you this project now and forever as a touch of sublime and nonconformist in the electronic music culture.
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Etage Neun - "In My Place" - by Maxymox 2013
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Eurasianeyes - "Silent Cries" EP - cd - by Maxymox 2013
Mel Bell and Paul Russell forming from 2012 the English power-duo Eurasianeyes, stylistically devoted to an electro/synthpop hybrid of 80's old-school matrix in which we can hear cleary the sophisticated counterpoints of Ultravox, the melodic alienation of Gary Numan and the ingenious technology of Depeche Mode, all principles strongly inherent into the DNA of each of the two components. The artistic agreement between Eurasianeyes takes its inspiration by their old music experiences expanded during the protagonist's youth: in fact, more precisely, the Mel's evolution has developed through the suggestive key's orchestrations of the soundtracks by Ennio Morricone, but also those created by the synth of John Carpenter, directing later his attention towards the cerebral-electronic sound of Kraftwerk and then towards the distinguished projects mentioned above. The musical taste of Paul Russell was initially tickled by the genius of Police - they spokesman at that years of the London's wavepop-rock/post-punk movement - a passion subsequently curved in different directions passing from the cold electronic rock-wave of Gary Numan to the cultured refinement of Ultravox, moving simultaneously towards the heavy rock phenomenon and also to the British pop-wave of Duran Duran and Howard Jones. The common element that united the two musicians was and is always the boundless passion for the keyboard's sounds: it was the major factor during the long period of experimentation and preparation for their debut, and still today it's present into the core of all the five compositions listed in the tracklist of this self-produced debut EP dated 2013 and entitled "Silent Cries" today reviewed by Vox Empirea, an event pre-announced by "Far Off Land", a single release mixed by the mastermind Geoff Pickney, him member and leader of the platforms Tenek, The Nine Alien#Six13. In "Afterworld", opening track, the listener can distinguish the electro-waver instrumentality belonging to the style of Gary Numan, a detail strongly emphasized by the alienating atmospheres created by the keyboard sections that accompany a well articulated chant, so melodic and rhythmically aligned with a solid midtempo drumming, all this anticipating the next song "Silent Cries" which is distinctly marked by Numan-oriented atmospheres too, a typicality highlighted by the visionary synth's harmonies and by the vocal inflections that Mel reproduces accurately by catching melodism wrapping them into a cadenced percussiveness. "Chaos In Your Mind" is an electropopish track enhanced by 80's magic sounds, which metronomic drum-programming structure, after the whispers of the intro, softly drags effected vocals and keyboard breaths able to describe the fascinating and aerial evolutions of Ultravox. The mechanical and downtempo bpm's of drum-programming form the rhythmic foundation of "Guardian Angel", a track in which we perceive again the devotion of Eurasianeyes to the electronic-wave peculiarities invented by Gary Numan, an element of fundamental importance in many creations of the duo: this specific aspect is also replicated in this song, thanks to the deviated key tones above which they flutter the echoes of an hypnotic chant and the downtempo drum-beats. The final track "Jealousy" propagates noble melodies and the sense of aesthetic purity, by keyboard formulas and voice extensions derived from Ultravox, sonorities reinforced by the danceable electrowaver dynamism of the midtempo drum-machine and of the sequencing punctuations. Worthy followers of their inspiring models the Eurasianeyes, from the top of their cleverness, they denote a distinct art in knowing how extrapolating and harmonizing among them the music prerogatives of the different master-artists who have influenced their compositional techniques, elaborating a technopop/wave in which they relive the unforgettable memories from the "80's music Golden Age". Mel and Paul both interact simultaneously with the past years and the present days, assembling unalterable sounds with modern electronic strategies, publishing so an honest and accessible Extended Play that will be very appreciated by the nostalgic followers of this genre: the release, with the same ambitious intentions, is also addressed to the new listeners who'll be able to deepen their knowledge regarding the unique modulations, the inventiveness and the charm that have indelibly characterized an historic Decade. After a meticulous listening time dedicated to "Silent Cries", everyone will fully understand the meaning of all these words.
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Favole Nere - "La Metà Fuori" - cd - by Maxymox 2013
The musical repertoire of the Turin project called Favole Nere was originated in 2007 by the will of Darius Calò (bass ), while the realization of a real line-up developed between 2008 and 2009 including six members, predisposing it later in today's line-up composed by the same Dario with Caterina Pritoni (vox), Silvio Oreste, (vox/guitars), Paolo Accossato (drums) e Daniele Valenzano ( synth/workstation). The sound created by the band substantially contemplates a single, inedited module within which we can hear recalls from the 80's new wave merged with Italian guitar-rock formulas, styles destructured in their essence by measured electronic connections and made particularly attractive by vocal sections full of meaning. Resourcefulness, music quality and a desire to emerge, they granted to the ensemble a concrete visibility and an ever more increasing evolution into the alternative scene: live-sessions of strong resonance held during the years between Piedmont, Lombardy and Liguria, two fundamental shareholdings as openers at two concerts, the first by Paul Di'Anno, former vocalist of the legendary U.K. heavy metal band Iron Maiden and the second by the cyber-electro-glam punkers Sigue Sigue Sputnik, a distinguished capacity as video-makers as well as the sound elaboration of some tracks for "Inside & Seek", a web-series dedicated to the mysteries of Turin, they all are the biographical heritage of the project in conjunction with a discography started in 2008 with the self-produced and self-titled album "Favole Nere" succeeded two years later by the EP "Nessuna Lacrima", it also independently made. The sequence of records productions then continued with the next full-length "Specchio Delle Fantasie", published in the same year 2010 for the Ravegnana label Crotalo New Lm Records, so during the year 2011 the band participated at two compilations: the first one was "This Is Core Vol.2" in which the project introduced the song entitled "Fantasmi", while the second one was "Sounds Behind The Corner Vol.2" in which Favole Nere proposed the mentioned title "Nessuna Lacrima". The year 2012 was characterized by the band's adhesion to the digital-release "Dark Emotions Vol 1" licensed by the portal World Gothic, within which Favole Nere placed the track "Camera A Gas", an event followed by a third 2013's self-produced album, the present one called "La Metà Fuori", also available as CD limited edition. The ten episodies of the tracklist, registered at the Turin's Alarm Studios, incorporate the typical music compositions expressed by the project during its gradual progress, sonorities now further refined, even more technically convincing and able to offer glimpses into the depths of emotions, this is thanks to the seductive vocal poliphonies between Silvio and Caterina combined with an attractive interconnection generated by the wave-rock instrumental implant, the same one audible in the first track on the album, "Folle Requiem", enhanced by the magic singer's chant extensions to which they replicate those wonderfully exposed by Silvio, in a triumph of sharp guitar riffs, midtempo drumming, pulsing bass notes and flights of keyboard. The melodic sinuosity woven by the vocalists and by synth in the introductory section of "Straniero" is strongly curved by a flaming electric guitar and by the accelerating percussions planned in support of the refrain and of the subsequent singing register, elements within which the synergy between the two vocal flows originates decadent poems entrusted to the energy of the rock-wave's vortex. "Il Peggio Di Me", an enthralling and well built song, also combines the verb on the "80's new way of thinking" declined in parallel with rock recalls, full of dance and dynamic sounds created through a fast percussive segment on which they slide neatly the bass and the programming's punctuations, the beautiful key's trails and the passion that characterizes the harmonic voice of Catherine. "Dolce Veleno" initially plays syncopated/claustrophobic rock-wave modulations created by the action of bass-line and by the drum exchanges by Paolo, formulas absorbed later by a more opened intrumental-singing metrics in which the main actors are still the clear vocalizations of the female singer who intrigues, fascinates, joining her voice to the equally stunning replicas by Silvio, to the robustness forged by the guitar and to the hard midtempo percussiveness. "Solstizio D'Inverno" denotes markedly the unmistakable "early Italian-wave" style, an aspect this highlighted by the arpeggiated and reverberated guitar's sound, by the symmetrical midtempo beat of the drum system, by the modular key replications and by the the restless chant forms of Silvio, embellished in the refrain by the decorations of Catherine and, further, by temporary rock-minded intuitions. The next "La Madre (ecce homo)" is an estranging alternative-rock composition in which the instrumental decelerations they alternated to vibrant rhythmic upsurges: the result is a variable pentagram, tormented by alienating lyrics and by the singer's tones dominated by the guitar's energy and by a dry percussiveness. "Un Istante, Un' Idea" smells of dream-wave sounds mixed to the high gradation of rock elements exposed by a seductive vocal duel and by midtempo beats, thickened by the bass rotations emissions and flayed by scorching guitar. In the following "L'Ultima Danza" we can hear a wider use of uptempo electronic solutions expertly blended with 80's wave reminiscences and with rock sediments, stylemes that definitely capture the listenerìs attention by the immersive atmospheres planned by male/female voices incorporated into a dynamic context of synth, electric guitar, bass and drums. We carry on with the subsequent "Bianco Vortice" and the melodic firmness exalted in the Caterina's euphonies on which they rain down massive rock midtempo beats of drums surrounded by keyboard spirals, by guitar gusts and by bass transfixions. The melancholy and the sense of bitterness is perceived in the final "Nuovamente Ieri", a downtempo track which chords gradually reach the area of the mind archiving memories, this by an elegant dialogue between the dilated sway of the pick, by the transversality of keyboard, by the delicate bass pinches and by the intimate afflictions vocally materialized by Catherine and Silvio. The project Favole Nere is the author of an original reinterpretation of the best wave prerogatives taken from a distant and unforgettable music Era on which they're intertwined the hardness of the rock sound and intense vocal consonances. Every track of the album moves autonomously within a professional scheme while keeping integrally their own complete estrangement to easy attitudes or excessively pretentious ones, factors that indicate the high elevation, the great potential and the inspirational virtues possessed by the band, which by the value shown in the release "La Metà Fuori" and the brillant artistic career that has preceded this new full-length, finally consolidates the requirements become part of the national sonic-underground aristocracy. As an happy ending, the Fable continues...
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Frontier Guards - "Interface" - cd - by Maxymox 2013
Elusive to the explicit notoriety and operating since 2008 in the most remote caves of electronic sound system, the Frontier Guards from the Czech Republic have in the line-up the founders Martin Pavlik, alias Atried (audio/electro-vox) with the photographer Tomas Galle (picture/video) to which is recently added Patrik Lev, he with Radim Cap protagonists of the EBM-act called Depressive Disorder. A dynamic and functional interaction between these characters is at the basis of some interesting side-projects such as Beamship, an EBM/IDM/industrial oriented band interpreted in 2001 by Martin Pavlik in collaboration with Jirí Marek and, since 2003, with vocalist Ondrej Václavík aka Werewolf, or the audiovisual ambient-electronics platform named H.E.E.L. always born in 2001 by the synergy between Patrik Lev and Martin Pavlik at the instrumental sections and Tomas Galle at the effects and visuals sectors. The design of Frontier Guards was created with the intent to merge in an harmonious form sound and image, elements through which plumb the darkest recesses of the psyche and of the human spirit, using for this intent electronic technicalities able to create multiarticulated textures and very atmospheric sound courses, characteristics initially detectable in their debut album of 2008 titled "Predestination", twelve tracks published by the Slovakian label Aliens Production notes and marked by dark-ambient/IDM trajectories. This second chapter, suggestively called "Interface", is diffused in 2013 by the simultaneous action between the cited Aliens Production and the U.S. Signifier, a brand specialized in rhythmic-noise/technoid/power noise/post-industrial, aligning ten episodes which combine alternatively obscure-ambient suspensions and danceable dark-electronics/EBM formulas of supreme class: the view of the ten songs opens with "Four Ways" and its capillaries and impure transfixion of progs anticipating the midtempo EBM/martial/industrial fractionations of the percussive implant, structures on which they alternate cyclically vocal-loops, electronic and keys saturations whose armonies propagate with solemn gloom a militaristic atmosphere. The dark-electronics litanies of "Doppelgänger" are explained by a set of acidified pads, whispers, loops, drum effects, modular rhythmic midtempo pulsations and turbid keys orchestrations, while the following "Dark Age" retracts a cerebral and danceable dark-EBM, composed by glacial beats on which take shape filtered vocals and others emitted with gloomy harshness, all this oppressively dominated by hypnotic pads, sequencing as well as electronic masses full of phatos and restlessness. To the countdown that introduces "At The End" they follow the dark energies of the keys, the intricate sections of a drum-programming surrounded by twisted electro-processing and vocals divided into cold human expressions and alien emissions. "Narrowest Path", created in cooperation with Wyvern, darkens the atmospheres propagating synthetic microscopic particles inside of a dark galaxy of keys, spherical sequencing apportionments, industrial noise and thick downtempo hatchings, together with a chant full of accents sinisterly depressed and issued with icy bitterness. The tracklist continues with the dark elaborations of "Behind The Tunnel", a good compromise between EBM, industrial and dark-electronics, composed by the glacial downtempo arrows generated by the drum-programming surrounded in their turn by a complex graph of keyboard chords, sonic-technologic tamperings and vocal perturbations that the singer pronounces through dark filterings, solutions at which following the wonderful procedures of the homonymous "Interface", a dark-electronics track that coniugates elegance, intelligence and power of attraction, using to reach this purpose the lunar harmonies of synths combined with the whippy compactness of a drumming midtempo, to liquid canalizations of sequencers and deep pulses, so similar to flashes that segment rhythmically the scheme. The subterranean choral liturgies that introduce "Civitas Dei" are diluted into the cosmic radiation emanating by keyboards scanned by the dry fragmentations of the drum-programming, as well as the subsequent "Cum Spiro Spero" generates acoustic areas within which the darkness unite themselves with futuristic electronic structures composed by techno-ambient interludes and blazing EBM/industrial accelerations driven by a pulsing drumming, by atmospheric piano sections, vocal-loops and by the complicated trajectories described by the sequencers. The album closes with the reconstruction of "Narrowest Path" remixed in melancholy-ambient/dark-electronics mode by the project Wyvern Origin, through grey piano counterpoints and synths, periodically marked by the downtempo beats of the drum-programming. The approach between the music technology of "Interface" and the modern abstract images reproduced by Tomas Galle they originate a modern choreography of sounds and figures addressed to the evolved listener whose will find in this full-length electronic geometries trendly unstable, oscillating between cold rationalism, moments of passion, refinement and obscure experimentation. The Frontier Guards and Aliens Production reconfirmed themselves as extraordinary performers of the best sonic-technologic criteria currently available on the scene, circumscribing their names among the top institutions aimed at this specific discipline. "Interface" is a beautiful and precious release that you absolutely must have: it anticipates the sound of the Future. Today.
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Friends Of Alice Ivy - "We Are As Ghosts" - cds - by Maxymox 2013
Australians from Melbourne, Kylie and Amps are the protagonists of the duo-act known as Friends Of Alice Ivy, a project corresponding at the plural genre ethereal/electronic/neoclassical. The platform was born in 2006 as side project of the previous Ostia, an ensemble Cocteau Twins-oriented founded in Brisbane and lived in the period between 1992 and 2007, which line-up incorporated its two precursors in cooperation with the guest guitarists Justin Bartlett and Mark Tansley, this latter one interpreter of his dark-electro/EBM expressions called Intra-Venus and Razorfade. The musicality of the current Friends Of Alice Ivy still remains disconnected from that one conceived years before by Ostia: it was minded toward the arpeggiated, dreamy and clear European-gothic/dream-pop/electronic/shoegaze formulas by bass guitars, programming and voice, while the new sounds prefer more orchestral, poignant and elegant solutions, created using instruments such as the harpand cello covered by a rain of key pads, together with the Kylie's voice comparable to that of a grieved muse. Depressed romance, decadence and an inconsolable regret for a time dimension infinitely beyond the "old concepts", are are the main elements which always have inspired the Friends Of Alice Ivy: their record publications are really something special and I consider them as absoulutely essential for all the listeners devoted to this specific style. Starting from the project Ostia, Kylie and Amps have released two EP's since 1997: the first one is the acclaimed "From The Aether", licensed by the Australian label Oracle Distribution Services: item contains seven tracks including the wonderful "Seasilk", mixed by the sound-engineer James Clark, whose presence is also mentioned in the projects Blood Party, Buffer Dharma and The Power Of Velcro. Annotable in this good release is also the important mixing action elaborated by Michael Borkowski from the Brisbane based home-recording Vibrafeel Studios. The second EP by Ostia was entitled "Between Two Cities", four songs entrusted in 2007 to the small Kylie's label, the Gala/Sono Records, among its tracklist we distinguished the charming "Strange Birds". The discography regarding the Friends Of Alice Ivy mentions to today two EP's and the recent single now under consideration: the beginning was with "Hereafter Moth", licensed by the same Gala/Sono Records, in which five episodes episodes it highlights the participation of the two mentioned Ostia's guitarists Justin Bartlett and Mark Tansley, as well as the professional touch in the mixing stage given by Mirko Vogel, excellent sound-engineer and co-producer from Melbourne. "In The Gloaming" is the second EP released by Elysium Sounds, Australian label cited in the pages of Vox Empirea in 2011 reviewing "Memoirs Of A Resurrectionist," the album of The Victim's Ball: the release of Friends Of Alice Ivy proper holds the protagonist of this solo project, Robert Massaglia, to who are entrusted the vocal sections of one of the six tracks, "A Requiem (For Fuchsia)". In addition to him, it appears in the EP also the name of the percussionist Nicole Perry, of the vocalist David Redhill and again of the two aforementioned guitarists Justin and Mark. The self-produced single "We Are As Ghosts" anticipates the long awaited and upcoming album "The Golden Cage And Its Mirrored Maze", demonstrating it stylistically consequential to the past duo's creations: the tracklist includes two versions of the song incredibly fascinating, the first of which, slightly more prolonged, it offers a very refined gothic poem full of sadness and nocturnal symphony played using piano suggestions, delicate pinches of harp and amaziong cello lines expertly maneuvered by Emily Williams, sonorities these circled by the poignant singing extensions by Kylie, whose notes lacerate and capture the spirit with infinite sweetness, simultaneously with the key orchestrations by Amps and the backing vox by Sean Bowley-Kramer. The second act of "We Are As Ghosts" isn't substantially different from the first one, representing it the "alternative version" within which the instruments communicate among themselves without the support of the keyboard, giving visibility to the particular punctuation of the harp, to the moving piano scales, to the nobility of the cello and, above all, to the chant languidly reverberated that Kylie weaves to the melodies with such skill that it seems the voice is one only part perfectly integrated to the acoustics instruments. Atmospheres full of sad sentiment, high quality of singing and neo-classical compositions of extraordinary beauty culminate in this single edition which constitutes the prelude to a next full work equally magnificent that I hope will soon be the subject of analysis in the pages of Vox Empirea. The endless grace and the depth of this music will captures you whispering enchanted words, disclosing to every soul able to catch it a parallel dimension made of depressed love and a magic that you never will not forget. Waiting for the Friends Of Alice Ivy's album, grant you the listening to these two songs: insured to youself a period of total isolation from the rest of the world and enjoy until its end this superb masterpiece.
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Gabe Unruh - "Endzeit" - cd - by Maxymox 2013
Martial-industrial/military-pop/dark-ambient/neoclassical platform from the central Germany, initially founded in 2009 by Linox and by a second member called Adonar who left the project in 2012. Into the fragmentary biography relating to Gabe Unruh they emerge a few but significant elements through which circumscribing their music style: the duo prefers conceptually incorporate to it images, descriptions, feelings, environments and ideals connected to the two World Wars, peculiarities transferred within atmospheric, severe sounds, minimally orchestral and full of strong militaristic karma. The vocals, strictly written in German language, are presented in a commentary shape, with a main matrix spoken in "documentaristic" mode followed by vox-samples encirclements, by rapid electronic couplings and by dark-symphonical tactics, such as to render all the tracks as real sonic short-films projecting black and white images highly symbolic of architectures, inventions and allegories belonging to the elapsed Conflict's days. The discography of Gabe Unruh, fully licensed by the Germanic SkullLine, enumerates at first two split albums made in collaboration with artists of the same musical orientation: the first work, published in 2009 in limited edition, is entitled "Overblijfsel/Wiederklingen" and relates the duo with the martial/industrial/neoclassical solo-project Droefheid with which the two protagonists share a ten songs tracklist modern-classical/industrial/neofolk oriented. The second act, issued in 2010 and essentially named "Split", establish a close cooperation between Gabe Unruh and the disquieting figure of Art Abscons, a synergy from which it comes an excellent tracklist of sixteen brass & military episodes with interesting dark-ambient/neofolker/military/synth-pop formulas. "Endzeit", released in 2013 in only five hundred hand-numbered copies, is officially considered the debut album that for the occasion it assembles four guests-projects belong to the SkullLine label and potentially alike to the Linox's music, the only one representative of the current Gabe Unruh's configuration. The first song of the nine ones included in the album is "Somnium (Spec)," created in conjunction with Art Abscons on avant-garde/modern-classical keyboard-piano bases inserted in a whispered voice register, which shadowy and melancholy chorus expressed in the refrain amalgamate perfectly with the soldiery rigidity of drumming. "Illusion" amplifies the militaristic evocations by an obsessive, rolling midtempo percussiveness generated by the drum programming on which they are coldly distributed Teutonic phrasing and livid key's orchestrations which interaction recalls us the discipline, the inflexibility and the sense of drama. Even more solid, "Hindenburg" assigns most of its icy splendor to the triumphal rolled drumming and to the symphonic magnificence designed by the keyboard, structures surrounded by samplings of public proclamations dating back the German's Second War. "Streit Und Kampf" is a track minded on industrial/military/neoclassical schemes forged by Gabe Unruh in collaboration with the Dutch project Strydwolf, it present into Vox Empirea's pages with the analysis of their album "Dunkle Wälder": the result of this union originates a downtempo song atmospherically electronic, composed by algebraic drum-programming beats on which scans are aligned frantic vocals and long pads that erect martial and obscure harmonies. "Deutschland Treffen" alternates dark-ambient/military/industrial/neoclassical melodies, initially planned by extensive keyboard wakes and by the electronic dilatations that make up the percussive system, elements dominated at the same time by the icy tones of the "spoken" voice followed by the rhythmic development of the soldiery drumming. The solo-project Shattered Hand, starring by the U.S. dark-ambient/neofolk/electronic Matthew S. Toth, sings the track "Far North (Kaosversion)" expanding into the musics his reverberated emissions, fading them within the solemn darkness of the key's orchestrations and within the ghostly female chorus audible during some moments of the song, all this shaked, solemnized by subterranean drum-beats pulses and embellished in its final section by nostalgic guitar's arpeggios. However different is the sound shape of the next "Sie Sind Da", a chapter definable as an experimental, obsessive agglomeration of electronic flows produced by keyboards and programming, intersected by the dark drumming in the background and by the vocal intermittences processed by equipments, as well as in "Heimkehr (Gesang) the neofolker German band In Shattered collaborated in the dark-ambient/martial/neoclassical music plan, making stand out into them the tonal depth of the singer whose dark and circular vocalizations, interwoven with the considerable length and clouded austerity of the pads, fill the whole of mystery and fascination. In conclusion, they stand the darkly martial atmospheres of "Wollen Wir Weiterleben?", built on programmed midtempo marching cadences and on sophisticated, granitic orchestral scores, as well as on militaristic vox-samples and electronics sounds scattered in the most strategical points of the track. The sounds of "Endzeit" penetrate gradually but permanently into the brain of listener devoted to this specific music genre, making he chronologically backwards until reaching the same War's scenarios that have indelibly marked the history of Europe in the last Century. In this album reside emphasis and martial doctrines of great preciousness, communicated through musical tacticas which penetrate the combative culture extrapolating its "sacredness", introducing it into sonic movements full of melodramatic nuances and statuary charm. Gabe Unruh demonstrates to have greatly refined the sound techniques, improving a release of fundamental importance among the most important of this first half of the current year: the disciples musically devoted to the military-sound has now another good reason to applaud.
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Gianfranco Grilli - "Ancient Roads" - cd - by Maxymox 2013
Among the excellences coming from the 2013 ambient/electronics scene, Vox Empirea suggests the latter album created by Gianfranco Grilli, Italian composer whose
biography and discography were comprehensively described in these webpages in the review published about the work "Memories Of The Old Days" available in the 2012 section. This full-lenght, as the rest of the protagonist's repertoire, still manifests deep correspondences both with the Meditation music and its contemplative sounds, and with the psychedelia of the Germanic Kosmische musik belonging to the 70's decade, whose main representatives, Popol Vuh, Cluster, Klaus Schulze and Brian Eno, they vividly acted as an inspiration for the genesis of this significant album issued by Grilli through his own label called Mons Avium. The record's concept focuses globally every sense into the two simple words of the title, "Ancient Roads", an abstraction interpreted and applied as symbolism to the human events, old and new "roads", physically walkable or expressible as psychic travels, but also facing towards the many directions taken in life by each of us, endless shaped roads without borders, ways overflying fantastic itineraries, astral, or related to other ones concretely geographical, courses inextricably linked to Time, to the oldest History and together to the future of the World, and finally "roads" decipherable as routes personally experienced personally by the artist during an existence in which feelings, thoughts, visions and Art are now magically transformed into sound. The tracklist of the album enumerates six relaxing and long playing time songs entirely instrumental, within which they stands a perfect blend of electronic minimalism and spatial ambient elements beautifully combined since the first episode, "The Journey", which echoed arpeggios generated by synth they are intertwined into a lysergic, evocative nebula of chords to which they are unified water sounds and the tweets of fowl creatures. "Arrival At Dakhla Oasis" fascinates by its segmented keyboard's extensions that they seem hovering diaphanously in the air with the same lightness of a dream, by fatty pads, by floating melodies like a spiral configuration, and by electronic rarefactions. Placidity and mystery instead characterize the next "Underground Roads", a multi-shaped ambient track initially developed through bleak expansions followed by transverse pad's waves, by subtle-articulated keys harmonies, for finally fall again into the stillness of the subsoil, condition express through atmospheric and dark replication of chords. "Water Roads" generates a background of long suspensions which silver flows are expanding as mist, gradually increasing and allowing only the synth to drawn the luminescent metal filament that gives shape to the ethereal-ambient structures. "A Long Walk" exhibits a suggestive cosmic musicality using aestheticized touches of synth like harp pinches then transformed into more dilated timbres by which gently caress the senses, a solemn background of keyboard chords and a midtempo rhythmic support calculated by programming. "Sky Roads" concludes the tracklist spreading pure minimalism and suggestion through only by torpid extensions creating a psychic-crystallized ambient, oneiric, consisting of long meditative stasis moments orchestrated by an incorporeal synth. "Ancient Roads" is an album that has the advantage of being able to reach and shaping specularly like its own image the thought's substrates, as well as the rare ability to communicate intimately with the auditor's unconscious: in your the mind, you can see yourself in your completeness, serenely disconnected from material interferences and thoughts of earthly nature. You will let they are just the sprout of past memories and emotions belonging to the present, the dormant fantasies and the vivid awareness of being part of a journey, to fill the soul with something very close to infinity. Gianfranco Grilli and his music will indicate you the road.
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Half Light - "Black Velvet Dress" - cd - by Maxymox 2013
The Polish Half Light are the spokespersons of that kind of synthpopish music characterized by elegance, grace and charm. The line-up, formed in 2009, includes Krzysztof
Janiszewski (vox), Peter Skrzypczyk (keys/vox) and Krzysztof Marciniak (guitars), authors of a discography opened in 2010 with the single "Take My Hand" issued by the
faithful label MJM Music Pl, followed by a second, "My Mary" published for the same label and in the same year with the purpose of anticipating what would be listened in the thirteen tracks of "Night In The Mirror", the debut album quoted positively by critics from and out the Polish border. The task of promoting the second album of 2011 "Nowe Orientacje" was given to the singles "Halucynacje", proposed in the same period in the compilation "To Ciechowski Tez" too, and "Smierc W Bikini", both ones as pillars of a full-lenght by which the Half Light re-proposed in electronic version the creations included in the year 1983 in the release "Nowe Sytuacje" by the Polish new wave band called Republiki. This "Black Velvet Dress" is in fact the third performance on album: distributed as previous works by the label MJM Music Pl, this latest full-length proposes the band further improved about the technical-compositive terms and under the point of view of the intuitions, as well as well-wisher of twelve interesting songs with which the ensemble seems determined to gain position and acclaim even wider. The music included in the album are distinct by a refined balance between melancholic technological-pop sonorities and soft-rock oriented drifts, with a particular predominance reserved to the expressive vocal-guitar sections, all this for an overall music trend that not frequently crosses over down/midtempo rhythmic solutions and that only sometimes it indulge itself explicitly by melodic textures, to advantage of textures relatively complex and not always predictable, especially when the instrumentation sector rises. The concept of the work concerns purely the emotional plan, more in detail about the differences in the relationship between man and woman, the nostalgia that surrounds the friendship's sphere and the time irretrievably lost, items made vivid yet in the first episode of the tracklist, the pseudo-instrumental "Paranoia", an electronic-pop reflectiving the metropolitan neuroses observed through the prism of a programmed drumming, symmetrically with extededed pads, synthetic luminescences, vocalized psychosis and a saxophone that gives to the track a charming refinement. More melancholy and slow, "Cold Friends" expresses a tormented mood employing at its best the voice-guitar merging so harmoniously entered into a synthpop in which the Krzysztof's tones describe downcast phrasings mixing to the fluid flow of the keyboard, to the midtempo rhythmic and to the guitar riffs, musing as a look directed to a purple sunset. "Confused" is a track in which they intersect the affliction and the dusk, all this through a tearful chant that caresses an electronic pop musicality very assimilable for a long part of the structure and then developed by an instrumental procedures of key, downtempo drum-machine and sequencing, progressively more intricate and elusive but always surrounded by depressed romance. Conceived on more easy formulations, "Bitter Paris" modulates a downtempo synthpop whose essence is distilled by the nostalgic extensions and the refrain that the vocalist enters between the electronic softness of a programming and keyboard context. "Your Perfume" returns in musical terms those feelings of vibrant emotion, melody and danceability that the modern synthpop listener would like find in a track: the joint action of the singer, of the rock-minded guitar and of the midtempo electro-programmed thrust draw a song of satisfying effect. "Time" retrieves the shadowy and the romantically heartbroken attitudes that the album is a witness using for this purpose the typical techno-pop patterns offered so far, using long and calm chant introductions, key and languid electronic backgrounds followed by the pulse of the rhythmic sector, for this occasion planned on a midtempo beat mode, in addition to thin and electrical workings of the guitar. We continue with the next "Dance With Death", a faded synthpop, slowly cadenced in its first part by the vocal passion that Krzysztof pours on the sequencing filament and on the guitar pinches, preceding the arrival of a refrain full of sentiment and melody with the consequent return to the quiet dream dimension experienced in the introductory segment. "Happy Nation Useless" shows strategically and clearly mainstream formulas of singing, female backing chorus and one open-popish downtempo musicality, while the following electro-rock frenzy of which "Heart Of My City Died "is full, diffuses itself through the schizoid centrality of the drum-programming, of the abrasive riffs and of the technologic luminescence, as support of the same psychotic key manifestations and of the bitter voice settings. "Why" is a sad ballad addressed with intensity to all the lovers and their universe of emotions, thematic expressed by the slowness of a synthpop composed by sweetheart and melancholy vocals as the autumn rain in combination with mournful piano orchestrations, keyboard and downtempo drumming, as well as the subsequent "Moment" sailing incorporeal between an emotional micro-ocean whose cobalt blue waters ondulate moving seraphically at the guitar touch, at the warm breezes blow by the key and at the reverberated whispers emited by Krzysztof. The final track "Poranna Wiadomoscby" experiences in rapid succession vocal-loops from various media sources, electro-percussive midtempo evolutions, ascending key fluctuations and sharp electric guitar sections, as completion of an unusual album but at the same time comfortable and enjoyable. The sonorities you can listen to "Black Velvet Dress" scours differing horizons of the conventional synthpop model, offering them with that particular transversality that characterizes the emerging bands from the Eastern Europe. The album just listened points out the new rising executive growth of the Half Light, still and finally trying to break the geographical limits to gladden the fans with the refinement and the sensual class of black velvet turned into music. If until now you thought you had listened to it all, now has come the time to change your opinion.
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Hidden Place - "Novecento" - cd - by Maxymox 2013
For the third time I have the pleasure to listen, value and review a CD product created by the Hidden Place, an Italian ensemble conceived in 2004 and consists by the fascinating Sara Lux (vox/lyrics), Fabio Vitelli (synths/progs), Antonio Losenno (synths/progs) and Giampiero Di Barbaro (synths/progs). That one created by the the band is a kind of melodious aestheticization of the electro-waver formulary progressively come about starting from the self-produced demo on CD-r released in 2005, "Weather Station", whose tracklist, resumed in its second edition of 2011 entitled "Weather Station/Early Works" issued by the Argentine label Twilight Records, externalize sounds in search of a permanent location, ranging from electronics more gaunt, dark and icy, to the first approaches with the technological 80's wave simultaneously to neofolker deviations, modules followed by those more clubby and dance/electrodark-minded listenable to their next opera, "Fantasia Meccanica", album published in 2007 for the Italian brand HellektroEmpire and also re-released in 2011 by the same Twilight Records: remarkable are the two episodes of the song "Spazio Zero", remixed in both "vocal" and "instrumental" versions by The Frozen Autumn. The 2009 was the year of the full-length "Punto Luce", released as the previous works by the label Twilight Records and full of electro-wave solutions containing more determined and harmonious elements than in the past, at the same time capable of vocal elegance, melancholy and moments turned to introspection, aspects that determined the inclusion of the release into the pages of the Argentinian edition of Rolling Stone magazine as one of the fifty best albums of that year, thanks to the contribution given by the synthpop-duo, also it Argentinian, of NeKrodamus, to which was assigned in the album's epilogue the beautiful remix of "United". In 2010 Hidden Place contributed to the development of the album "La Mia Piccola Guerra" conceived by the Genoese neofolk band Aegis Aurea, while the following year Sara Lux was introduced by the Berlin based electro/ambient/experimental platform called Patenbrigade Wolff as the vocalist of their danceable track "Fragrance" included on their album "Verbundstoff". But it was in 2012, by the writing of the song "Beetween The Devil And The Blue Sea" made in conjunction with Jean-Pierre Mercier, melodramatic-electropop/rock element from the Canadian band Handful Of Snowdrops, that the Hidden Place, now in possess of a solid experience gained during their career and of an increased inspiration, they perfected style and expressiveness completing this album "Novecento", a cultured music release projecting poetic visions seen through the passion, the nostalgia and the through the evocation of atmospheres belonging to an unforgettable Era and lprodigal of art, industry and profound changes in the social custom. The band blows with melancholy look freeing up from the dust the surface of an opaque-coloured photograph, burned shades observable printed on the sleeve image of the album too in which title track follow each another ten acts intensely romantic and covered by an aura of preciousness perceptible in the choice of the name of titles, in the noble meaning of their texts, both in the musics always able to capture the attention. Licensed by Calembour Records, label founded and conducted by Froxeanne from The Frozen Autumn, the release incorporates valuable vocal contributions, given by the same Froxeanne, and guitar supports, for this occasion interpreted by the Californian noiser-dreampop-electronic Andrew Saks, aka Sway , as well as by Duccio Del Matto, a member of the post-folk project known as La Pietra Lunare. Worthy of mention is also the name of Mirco Dean, known by the art nickname "The Count" and even better by his electronic design Nabla Operator but also for his presence in the latest line-up of The Frozen Autumn, whom is actively engaged in "Novecento" to the mastering and post-producing sections. The introduction into the tracks incorporated in the album come about by the key spatiality emanated by "Radio Avanguardia", a segment consisting by a murky haze of synths in conjunction with cold vox transmissions and samples, all this made atmospheric by the long extensions propagated by the guitar. "Off & On" continues the sonic journey proposing itself as an electro-wave beaten by midtempo replications, embellished by harmonic layouts of the programming, made fascinating through the key flows and robotized-transfigurated by the Fabio's vocoder chant. Song of excellent workmanship, potential dancefloor-filler as well as conceivable alternative-hit, "Beetween The Devil And The Blue Sea", as mentioned in the beginning penned in cooperation with Jean-Pierre Mercier, reserves to the listening the melodious voice filtering interspersed by the same protagonist of the Handful Of Snowdrops whom, in addition, also weaves the capturing synth plots, guitar and programming interweaving them to the synthetic midtempo scans that govern the rhythmic basement and the background created by the second support of keyboard and guitar, for an electronic-wave of formidable effect that will capture instantly. A melancholy prose embracing slow electro-waver suspension is listenable in "Fuochi Fatui", whose lyrics, woven with estranging delicacy by the Sara Lux voice, are blandished by a filament of programming and enveloped by the fragrant currents generated by synths, while the subsequent "Legendary Divers" delight the soul touching it by the siren song absolutely gorgeous sung by Froxeanne, crepuscular and romantic modulations crossed by the nostalgic pads that surround the structures, embracing with intensity the dry drum-programming replications and the gently touches of the piano. Orienting the midtempo percussiveness towards danceable trajectories "Stunning Art" describes a waver musicality built by the synthetic dynamism originated by the percussion-machine and by the rarefied light projected by the three key-lines, silver sequences punctuated by the vocoder now deconstructing the Antonio's tones. The D'Annunzio-minded "Hermione" recovers autumnal melancholy and poetry through the touching lyrics of the poem "La Pioggia Nel Pineto" interpreted with yearning by Sara Lux between the faded and dreamy synths, the downtempo cadences drawn from the rhythmic plant, the sad arpeggios generated by the guitarist Andrew Saks, and the coldness spread by the sequencing, the same one that draws the backbone of the following "Scenari d'Occidente", a slow sad wave-ballade entirely intrumental, built on the contemplative trails traced by keyboards and on the idyllic softness with which Duccio Del Matto touches the strings of his guitar. The clubby version of "United", a song that can be placed in a dance-oriented contest, embellishes the tracklist offering electro-percussive midtempo geometries symmetrically aligned to the programming pulses, to the modern symphonies created by synths and to the feminine phrasing distributed by glacially vox- samples. The epilogue takes place through the revisiting under ambient mix version of the song "Fuochi Fatui", now thought by the dilated and placid synths crystallizations transported by echoed guitar inserts entrusted for this special occasion to Andrew Saks, oneiric melodies that elevate the charm of the song further illuminated by the vocal reverberation that Sara Lux spreads in the most representative moments. Technological constructions, surreal breezes, melancholic poetry and memories similar to faded ink configuring an album among the best belonging to the recent Italian alternative scene. "Novecento" knows how to be sophisticated in the right measure and at the same time accessible without look in any way to easy solutions, an interesting release into which stands out vividly the consecration of the project to an electro-wave of high-class, harmonized with a strongly memorial concept. The vocal melodism and the choice of the fine keyboard harmonies center around the listener's attention whom will be gracefully involved in a sonic dimension that will converge into his his auditive system, with naturalness and charming grace. This album is a precious aster added to the micro-universe created by Hidden Place: reach its light and let it be your.
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Human Machines Second Connection - (compilation) - cd - by Maxymox 2013
Worthy continuation of the first act "Human Machines", a compilation stylistically marked on genres electro/synthpop/dark-ambient/noise issued in digital format and published in 2012 by the Italian label Hypnopompic State. This present second volume, as predisposed in the previous work, includes in its tracklisting a multitude of national and international projects, some of them of considerable fame and other ones operating, with different productivity, in most occult subdimensions waiting to emerge. This interesting release, proposed in 2012 on the same mp3-file version but also, providentially, on digipak CD format, patrols in fourteen steps different branches of the electronic school including mostly on its way the melodic linearity of the synthpop, the inflexibility of the EBM and the harshness of the industrial conjugate in its vehement declensions: the first paragraph of the disc, more pop electronic-oriented, is initially started by People Theatre, a French solo-project around the electro/new wave/synthpop style, personified by the French producer Peter Rainman whom in the track "... Again" introduces the vocalist Soe, alias Soe V from the French electro band Waiting For Words, conceiving with her a technological pop saturated by melody and sentiment built through midtempo drum-programming, nostalgie polyphonies and warm key breaths, all this adorned by the melancholy of the piano notes that add to the structures a touch of romance. TourdeForce, the dynamic electro-set from Bergamo led by the good Christian Ryder and supported with enthusiasm in the past pages of Vox Empirea, compose the next "Factory", a futuristic and danceable synthpop surrounded by avant-garde strategies of keyboards, effects and elevated primarily by the important vocal timbre of the singer KYT Walken, while more forward in in the tracklist we meet Eloquent, American synthpopish project starring Steven Cochran and Randall Erkelens, authors of the dreamy "The Consequence Of Karma", a song based primarily on languid, calm suggestions of voice and keyboard sketched by percussive minimalism. The American design based in Dallas called True Fallacy, devoted to progressive-rock genre and impersonated by Ben Gorena with Ryan Main, pours in "How Are You Human" the electric roughness of guitar-riff together with the arid conciseness of the drum and vocals at first psychotically meditative, and then expressed with lancinating despair. WANT/ed are a Russian trio synthpop-minded, veteran of an excellent debut album titled "A Few Steps Behind The Sun" issued in the year 2012 by the label ScentAir: from the same full-length is extracted "Never Will Take It Back", a track now further reinforced by the ingenious remixer AndyK who plans linear, percussive midtempo beats, sequencing ornaments and reverberated vocals that in the refrain they prove definitely catching. The absence of a biography regarding the next host does not allow accompanying information: Sons Of Hadit is therefore describable only through its "Oriental Gods", a trance/techno-pop entirely instrumental built by the hypnotic and pneumatic bpm's midtempo and by modular transfixion of the programming, elements alternated to the interludes in which the artist alludes to harmonious electronic-levantine intuitions. Nydhog, a Roman one-man project of EBM matrix personified by Riccardo Rieti, increases the speed rhythm applying to the 2012 Mix Version of 'ROTO ", item also like the previous song entirely instrumental, a pulsing uptempo diagram crossed by filtrations, compact punctuation of programming, samples and floorfiller tactics. And then is the turn of Haru Yasumi, English techno-indus girl also known by her nickname Ninja Spice, which in "Just Rude" predisposes a strong uptempo percussive compactness unifying it to acid synth melodies, to wriggling vocal samples, to a rain full of distorted interferences and spatial effects that make the track an excellent device for avant-garde dancefloors. Mysterious project of unknown identifying traits, Santhelia continues with another sophisticated electro-EBM mechanism, "Teardrops Of Neutrons", an exhausting foray between biphasic drum-set towing electronic sounds widespread in stereoscopic dimensions, all this by elaborate three-dimensional acoustics that spin along vaguely dubstep/clubby logicals. The No Forgiveness, Turin indus-metal duo formed by the vocalist HolySmoke and the guitarist Celesh, adhere in the collection entrusting to FabrikC the Mix Y2010 edition of "Natural Born Sinners", track in which Thorsten Berger, an expert in industrial/dark electro strategies, erects a thumping uptempo sound paved by bpm's like lashes and vocals aggressively expanded accompanied by the vigorous action of the sequenced graphic, for a track that will make move at its rhythm crowds of fierce electro-listeners. The exploration continues with a track by the Italian industrial/EBM platform named Outworld: the song they played is "Neverending Odyssey", an hybrid combination of styles with the electro-industrial common denominator lacerated and overshadowed by a malevolent chant inserted between midtempo scans, loops, key radiations and flashes, sounds that in specific sectors magnify a triplet taken from the Dante's chapter "Inferno", phrased with emphasis and entered into the song with great aesthetic sense. TSIDMZ, abbreviation for ThuleSehnsucht In Der MaschinenZeit, is an Italian sonic manifesto consisting in Tetsuo aka Uomo D'Acciaio and Nausicaa aka Chéri Roi, both them realizers of an experimental multi-element style inspired by industrial, noise, electro, ambient and martial: the duo offers "The Power Of The Wolves", a track of electro-trance matrix performed instrumentally through replicated periods of programming, synths and screaming voices, which sinergy creates a whole to contemplate with aghast eyes. The next two episodes, both available only on the CD version, provide at first the entrance of Ira-K Organisation: this is the name of the Catania's duo composed by Ira and Andy, a project gravitating around the industrial whose peculiarities discipline now the track "Colera" revisited as Soh Remix, a structure completely crossed by bombing uptempo vocal-loops and streams of electronic substance, while the conclusion of the work is done by the M.O.D. power-duo founded in Bari by Maryhell and Angie Vhelena dedicated to an experimental cyber-EBM that raging even in this "Makaber Tanz", also created in Soh remix version and literally attacked by strobe rhythmics, programmed outlines, harsh vocals and sudden ascended of aggrotech-sounds. It's of fundamental importance to point out that "Human Machines Second Connection" is in fact one of the best electro-compilations recently produced in Italy, in virtue of the targeted selection of the participants and of the sonic variety available in a tracklist that is revealed winner from the beginning to the epilogue. For all the fans of this music genre the approach with this release can also be a good opportunity to know and appreciate some members from the technologic area currently hidden in so-called "gray zone", but also an opportunity aimed to test the style of projects already known for their reputation but not yet properly investigated. The main objective of a compilation is to concentrate in a single sequence the elements that its originator considers most worthy of prominence, establishing simultaneously a vivid and lasting feeling with the listener: if this is really the purpose meditated by the Hypnopompic State, its release has fully reached it.
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Ien Oblique - "Drowning World" - cd - by Maxymox 2013
The project Ien Oblique was founded in 2007 in Tampa, Florida, by three protagonists: the vocalist/songwriter Jared Lambert with the keyboardists Juan Espinosa and Bryant Griffin. Before converting his own style into the electronic dimension, the front-man Jared experienced the 90's rock sound through its solo-act called Cellmod, while Bryant is noted as a resident D.J. at the internet radio Communion After Dark, offering excellent music selections from the EBM/obscure-electro/synthpop's repertoirere; the first discographic releases of Ien Oblique mention since 2008 numerous appearances on compilations which, quoting the most representative ones, "Infacted 4" "Infacted 5", "Aderlass Vol.7", "Zillo CD 05-2011" and "Schwarze Nacht Vol 6", signing then in 2012 the agreement with the famous German label Infacted Recordings which publish the debut album "Drowning World" today reviewed by Vox Empirea. The sound created by the band joins in alternating phases hypnotic elements EBM-oriented with dark-electro/synthpop and episodes relatively melodic, everyone always characterized by solid percussiveness, danceability and atmospheric singing/keyboards formulas: is exactly on this basis that the Ien Oblique have conceived the eleven tracks on this full-length, a release aimed to present officially the band to the international audience, beginning from the intro "Prelude", an instrumental track of evident obscure-electro matrix planned on robotic downtempo scans, obsessive punctuation of programming and out of focus flows of keys which synergy creates a sonic whole evoking restlessness and mystery. "A Moment With You" finally exposes the true creative Ien Oblique's essence, combining uptempo rhythm, strained vocals, acid-sequenced effervescences and alienating keyboard waves, while within the subsequent "Slaves Of Pleasure" the interaction between EBM and dark-techno generates dynamic and danceable uptempo bpm's symmetrically flanked to strobe programming intermittences and to shadowy touches of synths, modules charged of electronic tense and suggestion, made even more incisive by the disenchantment and bitterness present in the Jared's vox. "Change The Words" is a track that pediliges marked synthpopish curvatures composed by harmonic pads smoothly placed on the supple midtempo replications of the e-drumming and on the tones melancholically romantic tones of the vocalist, as well as the following "The Dawn" continues the same musical line offering a song full of sentiment, distincted by a gentle electropopish melodism within which they alternate the fascinating Jared's tones and capturing modulations of synths intersected with perfect regularity by the midtempo scans of the drum-programming. "Interlude" is a moment of psychic detachment from the rational world: it leads the listener for a short playing time beyond the boundaries of reality, through dilated key's expansions and electronic micro-clutches, until the attainment of the next song, "Free", a chapter which its slow electropop shape vaguely reminds the De/Vision more meditative and atmospheric, aspect marked by depressed vocals interspersed by minimal downtempo beats, by bloodless programming irradiations and by keys rarefactions. "Drowning World", one of the best acts of the album, opts for dark-electro sounds characterized by danceable midtempo drumming which powerful diagram incites at the body's movement, supporting with mathematical precision the uninterrupted punctuation of sequencing, the vortices created by the air currents of synths and the chant that Jared emits through a slight haze of filters. The tracklist continues with "Days Of Happiness" and its snappy synthpopish trajectories into which uptempo keystrokes they develop harmonic and introspective vocals connected with the sprightly mood but at the same time nostalgic, evoked by the keyboards and by the hatches of programming. The obscure-electropop's shades of "Perfect Crime" resonate beautifully on uptempo beats and on nostalgic vocal intonations, creating a danceable sound, embellished by the finishing touches prepared by synths, while "Sinking", the last song, outsides the melodic euphonies pronounced by Jared driven them with fine art in a rhythmical techno-popish context composed by mechanical midtempo syllables, programmed cadences and keyboard winds. The Floridians Ien Oblique launch an album full of electronic repertoires that suggest a considerable technical expertise and a vivid inspiration, taking with "Drowning World" a path that will give gradually due importance to their undoubted talent: the equipments manoeuvred by the three artists perform incursions into the advanced dark-pop, injecting into the music a galvanizing energy and functional strategies that will attract certainly the consensus of the electro-acolytes. When in the future you will re-listen these eleven songs, they'll procure the same pleasure of today, manifesting so the concrete stability of this release that honors the alternative scene: Imperishable, as the Time.
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In Scherben - "Das Neue Land" - cd - by Maxymox 2013
The fragmentary, almost non-existent biographical notes about the German duo In Scherben, they create an aura of mystery around the identity of the members, Lars (vox/guitar) and Maren (vox) who add in the 2013 their fifth album to a discography started in 2008. Since its origins, the music of the project, perfectly inserted in the neofolk/acoustic-pop/apocalyptic panorama, it means deep contemplation directed towards the Elements of Nature and also towards the literary achievements written by the Nineteenth-Century playwrights and poets Joseph Freiherr von Eichendorff and Nikolaus Lenau, as well as those ones penned by Gottfried Benn lived until 1956, all this made vivid and suggestive by the best German neofolker tradition. The sound elaborato by In Scherben is expressively concise, not inclined to superstructure: it reveals the poetry and the essence of a musicality that reaches the listener transporting him around the widest extensions of his own fantasy, in which will germinate images of unexplored forests from the Teutonic lands, thanks to the evocative power of the instrumentations and lyrics sung in German language. The list of releases by In Scherben lists only album versions which first one, "Erlenkönige", fired in 2008 in limited edition of one hundred copies, it bears the signature of the discoverer label of the duo, the ever excellent SkullLine: the release's title-track includes sixteen songs in style neofolk/poetry/electronic/ambient, among which it stands out "Erwachen In Waffen" created in collaboration with Waffenruhe, the martial/industrial solo-act played by Soldat D. The following year it was released, again for the same SkullLine, "Ostrakon", a full-length printed in limited edition format in one hundred copies: its tracklist consisting of sixteen episodes conceived, as the previous ones, by neofolk/poetry/electronic/ambient theorems. Into this release we noted the song entitled "Theatrum Europaeum Introitus", entirely composed by the martial platform called Deutsch-SüdOst, as well as in 2011 it was entrusted to label Lichterklang the twelve-track album "Dort An Jenem Baume...." limited to five hundred copies. In 2012, In Scherben re-entered into SkullLine publishing the three hundred hand-numbered prints of the full-length "Dagaz", consisting in sixteen electro/neofolk/ambient episodes which was followed in 2013 by the fifteen ones of the album "Das Neue Land" today reviewed by Vox Empirea, published once again by the German label SkullLine. Inside the new title-track they are perceived various stylistic trends which incorporate atmospheric darkwave, neofolk, neo-classical elements with electronic and martial tonings, as in the beautiful opening track "Das Neue Land (Intro)", which orchestral magnificence, built by fine keyboard melodies, by percussive snare-drum and bells, it takes the form of an hymn dedicated to the Glories of a new Hope turned to a new life model having as foundations the Honor, the Discipline, the Heroism. Many emotions arise naturally by the following "An Den Mond", a quiet neofolker ballad played solely by soft guitar arpeggios, by keyboard's classicism and by the soothing chant of the two singers. "Um Mitternacht" extends a sound composed by caressing plucked guitar strings molded on the delicate Lars singing. like the subsequent track, "Gedanken", in which the gentle acoustic instrumentality woven by guitars originates, together with the skinny keyboard harmonies, a beautiful and totally instrumental neofolk-theme. "Heimkehr" is a sonic Apocalyptic-folk watercolor painted by fast guitars arpeggios encountering the silver purity of the tubular bells, all this adorned by a melodic keyboard background and by the sporadic Lars voice insertions, while the following and instrumental "Erwachen" formulates surreal arias, so reflective and melancholically neofolkish, creating them by viola key-emulations which symphonies accompany the equally thoughtful guitarristic punctuations. "Ernte", a brief instrumental track exclusively guitar played, it celebrates the classic neofolk stylemes making them nostalgic and dark by the baritone inflections that characterize the Lars vocals, as well as the following "Septembermorgen" crystallizes the Time and the surrounding Space introducing them into an enchanted forest dimension, this is thanks to the repetitive and pale plectrum scales together with atmospheric whispers that hover above the melodies. A crackling of flames introduces and ends "Mythische Schau", closely tied to the best Apocalyptic-folk classicisms, integrating the modular guitar notes to the high nobility of the keyboard pads which, with great emotional effect, they surround the essentiality of the chant that Lars spreads linearly making scroll their replicated modulations through opalescent and evocative chords over which they stands horizons full of melancholy. "Knospentanz" is a quiet dialogue between two guitars whose arpeggios, plucked with mastery, they softening the course of thoughts making them converge in a bright valley of open-eyed dreaming, all this in advance from the next "Mondnacht", a sad-neofolk composed by guitar clarity and by harmoniously melancholy vocals, expertly adapted to the elegance that surrounds the viola sections from which we can perceive a touch of classicism. Guitar strings solicited by neofolker finesse they vibrate with melodic grace in "Abschied", a constellation of lovely notes combined with the Lars voice intimism and with the sadness that rises from the viola trails, while in "An Die Sonne" we can distinguish a meditative chant uttered by both singers in which the deep inflections of Lars they interlace with those seductive ones by Maren, a voice plan that faithfully follows the intricate and peaceful guitar's evolutions surrounded by a crepuscular filament of keyboard. Very well built on ethereal-neofolk foundations, "The Grass Is Always Browner" is a sonic poem which musicality, as light as air and quiet as as Winter night, it expands with diaphanous charm mesmerizing the listener by its arpeggiated replications and by its keyboard extensions, elements in which the Lars voice's depth alternates sibilant tonings adding extra magic to the song. The closure of the release is "Stimme Der Heimat", a neofolk episode in which an imperceptible percussive background gives rhythm while the fingers of the guitarist, running between the handle and the soundboard, they originate circular chords and precious harmonies combined to the singer's chant, this one perennially overshadowed, which words are inspired by the desire to transcribe musically, with calmness and intensity, the imaginary world described into the text; this is the same predisposition that basically animates the entire album, which purpose is to narrate the hidden meaning of the lyrics opening passages of pure evocation and conceding to the sentiments, to imagination and memories, to accompany the auditor throughout his journey round the tracklist, delighting every moment by gentle sounds, close to the Spirit. Naturalness, expressiveness and neofolkish rituals played with acoustic minimalism, making "Das Neue Land" a very representative full-length on its music genre, another, wonderful gem set on the SkullLine's diadem: if you love introspection, or you're attracted by woodland atmospheres and you're also sensitive to the recall of European neofolk cultures, you will find in this release an ideal meeting point towards which converging your passion. In Scherben is a project of great value, as only a few others know how to be.
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I.R.O.N. - "Evolving" - cd - by Maxymox 2013
The Angel of steel returns: he's the hermetic I.L. alias Legionarii, composer veteran of a brilliant new album titled "Disciples Of The State": at this juncture he wears a new armor represented by a side/solo project that he wanted to call suggestively I.R.O.N. through which dispense apocalyptic darkness and all the expressiveness of the military/martial/industrial. Those who wish to particularize the identity and music regarding the protagonist, they may connect to the interviews section concerning Legionarii, or searching for the same artist among the reviews inherent the year 2012. The personality which characterizes this latest I.L.'s interpretation is substantially different, although in some aspect consecutive, from that one experienced by the stylistic identity and the warring/against-globalization theorems so far manifested by Legionarii: in fact, giving to this aspect its exact collocation, we can place this latter one into an ideological context mainly connected to the atavistic Mysticism, to the Glory of the Fathers of Europe and musically harbinger of dark/martial/neoclassical sounds, while the second platform I.R.O.N. symbolizes by tangible physicality the technological power, the evolution of the militaristic universe, the perfection of the "war machine", abstractions illustrated by martial/dark-industrial formulas. The album "Evolving", licensed in only three hundred exemplars by the legendary Polish label Rage In Eden, is the first act of the promising repertoire by I.R.O.N. which aims to portray fantastically cities within which smoky structures they live and work with soldierly discipline and rigor human masses coming from post-atomic civilization: every individual belonging to them perform a fundamental role in the advancing progress of the industrial-military complex and its radicalization, contributing tirelessly to the building of aircraft, ships and wheel/rail vehicles, planned for the defense-aggression sections, all this made by super-organized and technologically progressed societies, animated by iron will and by spirits full of desires of Battle, scenarios overhunged by a sky menacingly leaden and by radioactive winds which sweep purple coloured horizons. Exploring the tracklist of "Evolving", we find nine completely instrumental episodes of which "United Machines" is their initial segment, a song distinguished from a military, relentless, cold and flagellant drumming on which which I.L. propagates two obscure keyboard's symphonies: the first one designed for the the solemn, darker chords construction, the second one for diffusing fragmented choir's emulations. "Dawn Of Steel" obfuscates the sound-system evoking martial darkness and industrial-oriented sediments by the key's orchestrations that radiate a gloomy, oppressive aura, crossed by symmetrical lines of programming and beating deadlifts. "Hammer Down, Build Up" is a thick succession of militaristic percussiveness rhythmically concatenated to key emissions and to metallic industrial clangours, solutions anticipatory the ones more markedly electronic planned for "Assemblage/Convoys", a track whose mechanized downtempo scans elaborate iced timbers surrounded by the artificial fogs generated by the keys, dark-industrial sonorities that arouse visions depicting futuristic automations perpetually maneuvered by legions of tireless workers united by the enthusiasm of contribute to the advancement of their own ideals and an irrepressible combactive supremacy. "Mechanic State" portrays musically this meaning highlighting, through the obsessive, slow circular martial-industrial drum-programming beats, a phase similar to rhythmic alternations of machine-gun bursts and pads which sombreness would cover the entire World. "Destroy" replicates specularly the dark-martial/industrial schemes so far experienced, and that by the domain of an algid apparatus from which they originate the automated downtempo rhythms of drumming and the severe keyboard-entries. The same identical connotations are also for the next "Holy Armor", a track perturbed by metronomic-martial percussive replications combined to the cold heaviness of the keyboard's sector, a whole of sounds supported by electronic hatches and industrial uproars. The homonymous "Evolving" fathoms the abysmal depths of the dark-ambient in which motionless vortex between we heard incessant noises of steel processing, while the grandeur reflected by "The Power Inside (Holy Armor edit)", the final track, deflagrates by a percussive fury axis which continuous reverberated lines fractionize the time with mechanized vehemence, overhanging with militarism and pathos the dramatic harmonies created by the keyboards, all this in a fearless, exciting industrial ride combat minded. Plates of hot metal come out from enormous foundry devices ready to be pressed, forged and become an integral part of a great, avant-garded and powerful war apparatus; the brisk, unconditional labour of millions of workers whose presence and organization fills every space in the immensity of laboratories placed on the surface and between the bowels of the urban underground; the atmosphere perpetually tense and yet at the same time electrifying, full of excitement and vigor, days of exceptional technological productivity, futurism, state of war and of alarm everywhere, a chemical smell in the air, an hard sense of duty and of solemnity, all components on which reigns the sound of I.R.O.N. author of a colossal that performs important progress in the musical genre treated. The contents of this album, directly opposed at the light, darken every single moment of the tracklist lengthening into it emblematic shadows of coming, ultra-modernists landscapes, tempering melodies simultaneously by the fire of martial-sound and by the ice of the industrial. It's also admirable the stylistic versatility of the protagonist who's able to confer to the music a charming and well defined morphology, standing out through its pure force and the concept of "superiority". The times announced by "Evolving" will endure drastic changes, the current structure of human society will change irreversibly to new models of armament culture: for better understand what will be the climax of these atmosphere get you this full-length and interact with its harmonies, it's a release of incomparable significance and value that makes I.L. triumph again in one of his most formidable interpretations.
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Jens Bader - "Total Eclipse" - cd - by Maxymox 2013
Jens Bader, German from Stuttgart, is an active part of that sector of independent and self-produced electropopish artists in possession of expertise, talent and results of such exceptionality to be compared with those belonging to the most blazoned ones from the same scene. The elements that make particularly appreciated the musician are his inexhaustible inventiveness in conceive the avant-garde pop, the refinement of the sounds created and the choice of harmonies always immediate and capturing, based on an open chant completed by a solid vocal timber capable of refrains that are introduced in the memory with disarming naturalness. There isn't officially a real biography source regarding the artist, however, is known his complete discography, entirely autonomous, inaugurated in 2007 by the eleven episodes of the debut album "Second To None" in which, in addition to guest-guitarist Horst Jäkel, were present in the role of Mixer Specifications Florian Gypser and Markus Kretschmer. The second album release "Out Of Phase", composed, produced and published by Jens in 2008, was characterized by electronic sounds more elaborated than those ones listenable in the debut, with synthpop tactics manifestly inspired to the models from the 80's period. For Jens the year 2008 was a year particularly active in the front of output releases, in fact, over the previous work, they were released "Compensation For Pain And Suffering", a congruous collection of the best tracks composed between 1991 and 2004 that the artist wanted to create specifically only for himself, as well as the amazing "Zenith", an album built with great professionalism and technical due to the excellent mestering work performed by Andreas Kupfer, full of fresh eurodance-oriented strategies comprising the terse electro-elaborations of the first Depeche Mode and the explicit, graceful synthpop melodies of the Pet Shop Boys school: are examples the irresistible "Too Expensive" a track really perfect in its every angulation, "Some Travel Far" and "Special Treatment". "Zenith" was the object of praises and positive critics so far the next full-length "Lucky Streak", published in 2009 and "Climax" of 2010, in which stood out for distinct pleasantness the tracks "Wrong With Me", "Highly Civilized" and "Contract For Love". In 2011 came out "Starlight", an album by electropop prospects immediately seductive where they showed the names of the vocalists Bianca Zenz and Greta Wegeng, whose tracklist, as pointed out at that time by the same Jens, we perceived sonorities contiguous to those listenable in the repertories of IAMX and Reagan Jones, the leader of the Texan synthpop project called Iris. This album "Total Eclipse", published in 2012, anticipates chronologically the next one "Unisex" released in 2013, offering a title track of eleven tracks exquisitely romantic and technologically pop, first of which is "Lovechild", a midtempo composed by hypnotic drum-programming pulses, by seductive vocals and multifaceted key decorations, sounds overpassed by those of "Nervous," a synthpop founded with linearity on essential sequencing punctuations whose singing structures, sweetly melancholic, testify in their tones evident similarities with the Tennant/Lowe duo. An electronic downtempo percussiveness and a vocal register planned on melodic placidness constitute the structures of "Violent Approach", a track embellished by soft keyboard expansions together with the cyclical rotation of the sequencer. Very Pet Shop Boys oriented, the following "Ever Since" privileges atmospheres overflowing of sentiment poured into a 80's synthpop that combines harmonious forms of singing and soft key orchestrations, all this in fully crossed by the downtempo programming beats. "The Last True Messiah" continues in the same direction of the previous track slightly accelerating the rhythm-machine and adding to the emotionality of the chant bright pop-electronic ornaments, while the following "Last Long Trip" slows again the percussive thrust stripping it of every additional timbres and arrange it on downtempo mode putting then in its inside, with heartbroken spirit, vocal decorations full of voice sad reflection surrounded by he harmonious sections originated by the keyboard. The rhythm increases reaching to the midtempo speed to receive the enchanting notes generated by the voice, the sparkling key executions and the danceable electro-formulas that make "The Original Love," a synthpop old school song of wide fruition but equally interesting and melodically riveting, as well as the subsequent "Hold Me" recovers gaunt rhythmic lines drawn with substantiality by the drum-programming with vocal utterances wrapped by passion and sadness. "I Do not Belong Here" continues the tracklist also positioned in the direction of a synthetic pop whose vocal
disposition, melancholically slow as the background of progamming and keyboard that surrounds it, makes this episode suitable for the fantasies of modern dreamers, while the Dance Mix version of "Nervous" embellishes its original scheme of further electronic refinements and percussion artifices aimed to give to the song more danceability, dynamism and and depth. The final "Playing The Fool" seems to recall subtly a predisposition to Futurism, a detail that Jens concretizes by spatial key, effects, drum programming downtempo and melodic singing fractionations. Linear, clean and honest music style, without any virtuosity and for this reason aimed at an audience inclined to a lightweight synthpop which entertains with serenity and disengagement: this is Jens Bader, an artist worthy of being highlighted for his compositional sagacity as well as for his easy formulations so deliciously assimilable: "Total Eclipse" is an album that divides equally romantic passions and popish technology , expressing them by the simple language of an intuitable electronic architecture of proven effectiveness. Explore, over this release, the entire discography of the protagonist listening carefully to his music: you will be amazed realizing that you're attracted by it instinctively.
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Le Cose Bianche (L.C.B.) - "Parabused" - cd - by Maxymox 2013
Solo-act from Arezzo founded in 2008 by "G" as a transverse ramification of the antecedent electronic/trip-hop project Malameccanica, Le Cose Bianche is ideally comparable to a subterranean laboratory within its aseptic walls thay performing obscure experiments technically circumscribed as a radical industrial/power-electronics: the platform has been generated by the need to create a sound that was more incisive and extreme than tha balanced and ordinary one played in the past experience, directing gradually his style towards electronic processing increasingly cerebral, distorted, infected, arising from the progressive demerger between the Bristol-oriented trends, characterized by a perceptible aura of refinement and a new internalization of the industrial concept. The final breakthrough of "G" within the Le Cose Bianche's dimension allows the musician a wide spatiality essentially directed to the research of the most intense synthetic acoustics and texts particularly full of meaning. The combination of old analog instruments, artificial drumming, pedals and synth, with occasional intrusions of guitar and bass, forge instinctive sonorities created extemporaneously without any anticipated planning, only following the natural course of the thoughts and the state of mind of the artist, adorned by phrases containing deep symbolism and emotions arising from his life experiences or evoked by a vaste literature and by the Italian and American cinematographic universe about neo-realist, modern, erotic and horror genres, however, beyond the due biographical informations,"G" do not want to concentrate the public attention on his own figure or regarding the etymology of his art name, but rather develop a listening course as realistic as possible, involving the full auditor's imagination going in its darkest recesses, making him finally sink into a cosmos of unnatural pulses, samples and vocals strongly hypnotic. The complete discography of the artist, the list of which can be viewed on the protagonist's website, initially started in the year 2008 by the self-produced demo "Numeri Neri": the official productions released in the first half of 2013 count twenty-three albums, twelve splits and twelve participations on compilation issued by labels time after time different from each other: the work now under consideration by Vox Empirea is "Parabused" an album bearing the signature of the newyorker home Whispering Eye Recordings, the output of which represents chronologically the first full-length published in the same 2013 and followed by the other albums "Lavoro In Pelle" issued by Placenta Recordings, "Metacarnale" published by Makadam Circus, "Fucking In A Stehzelle" published by Shit Noise Records, "SanSabba" spread by the Santos Productions, "Cochinos" issued by the Floppy Noise Records and the digital-album "Whitethings" edited by Parkbench Records, all this as overt manifestation of an inexhaustible productive creativity. "Parabused", beginning from its artwork, is a succession of eight chapters symbolically traumatic: comparing with its sound means have been introduced into the unexplored shadow zone located between the human encephalic walls listening terrified the frequencies of various intensities emitted by an hallucinating form of psychic energy what is the desire of abuse on an easily breakable body, without that it, so weak and unable to react, may oppose the least resistance. The suffering, the destruction, the unmentionable: here is the pathological essence conceptually imprinted on the album. Exploring the tracklist immediately leads to "Preamble", a series of modulations in growing phase, an alternation of linear emissions opacified by filtering or suddenly projected onto unpredictable and sharp orbits. "Scopophilia" processes rough electronic effervescences traversed by dilatated and reverberated phrases extracted from a porno-thriller film, while the following "Parabused" spreads acrid pads progressively rising, punctuated by a background of sampled vocals that pierce the menacing hazes reproduced by the synth. "Il Teorema" starts by the original monologue thoughtfully recited and taken from the homonymous Pasolini's film, a text of high allusive value which echoes radiate the granular flows of the keyboard. "Linda" is a creepy concatenation of clips taken from the movie "The Exorcist" further tormented by the caustic action of the synth, in advance on the dark and abrasive refractions that corrode the following "Carnemorta" a track full of dissonances and twisting-frost sounds coming from extemporary manipulation. The subsequent "Memorie Di Un Esorcismo" proposes again fragments of texts extracted from the same famous horror film previously mentioned, now reprocessed and introduced as flashes that burst suddenly upsetting the venomous waves escaping from the keyboard. The closing Song, "Softdoll", emanates Plutonian light and ice condensed into pulses generated by the synth together with echoed contrasts and night wind gusts, structures able to alienate the listener abstracting his will. An abyss full of unadorned power-electronics formulations corrupts the surrounding space emulsifying itself with it and spreading inexorably beyond the imaginable, bringing sound masses and disquieting, emblematic, delirious texts, together with livid atmospheres, raped with sadism and frenzy by synthetic contractions: all this is created by a minimal equipment and a lucid compositive madness. The music scheme of "Parabused" vitrify you instantly compacting it stratum by stratum, until becaming an immense block of immaterial acoustics, deprived of any melody and any form other than that described graphically on the oscilloscope's. Le Cose Bianche, hyper-productive artist as well as a protagonist of a new publication, the split "Zyklusters-Structural Sessions" made in collaboration with Maurizio Bianchi, proves he can devise sonorities which subjugate to hearing by an impure shock therapy whose effects reach the depths of the mind remaining within it for a long and indefinite period. The album just listened shares in equal parts experimentation and restlessness, horror and embezzlement, focusing on the most twisted, depraved and terrifying aspects that the human psyche could ever conceive: it is therefore possible to say that the fans of this music genre will live the hearing of these eight episodes like the journey of no return into the intricacies of a nightmare.
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Legend - "Fearless" - cd - by Maxymox 2013
Legend, Icelandic project from Reykjavik consisting in Krummi Björgvinsson & Agust Halldór Björnsson, distinguish themselves from many other avant gardis realities interpreting, with results surprisingly eloquent, a multiple music style combining darkwave shadings and electropop/industrial intuitions of great quality. Curiously, this new platform is been recently founded by the duo as a side-experiment to their primary country-rock band called Esja, a total conversion of music genre indicating the exceptional creative versatility that moves inside the minds of the protagonists, a talent which, as we'll see, it concretizes to traces of immense expressive value. Biographically, the notes regarding the single activity of the leader Krummi cite its militancy as a songwriter and vocalist in the post-punk/rock band Minus, while the name Halldór Agust is acknowledged as indefatigable producer and composer of musical acts: the artistic alliance between the two guys, immediate and durable, took place one decade ago thereby stretching with method different rock-oriented repertoires but developing at the same time a reciprocal passion for the electronic sound, intention turned into reality with the structure called Legend, an experiment perfectly devised to which it is ascribed a great debut album, "Fearless", containing ten tracks which will fill up of pride all the synthetic pop fans of evolved type. The release, published in 2012 by the Canadian label Artoffact Records, has already received the favors and the applauses from critics, thanks to a functional and intelligent tracklist full of electronic solutions of strong personality that distinguishes for its impeccable aesthetics and for its educated, solid sounds, elaborated with an extreme cleanliness, and for overall performances that exceeds all our initial forecasts. Deepening to the releases's discovery we meet the electronic modulations of the introductory "Amazon War", propagated by atmospheric pads and by a particular use of the voice that extends its tones like an inarticulate mantra, technological expedients from which develops the glacial dashes of programming, the rigorous darkness of the percussions and the same emphasis of a symphonic soundtrack taken from an epic-dramatic cinematography. All continue with "Benjamite Bloodline", an electronic darkwave with post-punker references, elements expressed by an obsessive
midtempo drumming corroded by caustic and evocative vocals, by acidified synths tones and, in the background, by the incessant torment of the electric guitar. "City" is an electropop created with great melodic sense and a perfect technical mastery, a combination of factors that creates an artifiacial sound built by danceable drum beats, by a chant rhythmically scanned that wraps the listening capturing it instantly, and by a linear programming sequence that outlines the scratchy guitar current
underlying. "Sister", track of extraordinary resonance and beauty, recalls openly the Depeche Mode-oriented teachings to which the Legend are devoted, all this through sophisticated 80's-eletropop technicalities, by a deep accented chant, so harmonious and sanded by intonations that in the refrain explode in a wonderful flowering of key chords adjusted by geometric and slow punctuation of the drum-programming. The vocal tonality, manifestly nostalgic, spoken by the Krummi's chant, the downtempo procedures that supporting rhythmically the melodious sentiment of abandonment originated by the synth and by the drum-programmed graphic, make the next song "Violence" as a sad-electropop composed with admirable skill and attention for the details, while the following "Runaway Train" recovers again sound traits like those by the Depeche Mode more introverted and melancholy adapting them with astonishing efficiency and passion to new electropop conceptions: the result is a midtempo sound-system technologically advanced, precise, shadowy,
overflowing of vocal affliction and murky synthetic orchestrations, for a track describable only in eulogic terms. The namesake "Fearless" illuminates partly the atmospheres proposing midtempo speedups rhythms into a pop electronic track with a chant romantically opened, enhanced by keyboard refractions and traveled by specular programming lines, as well as the subsequent "Sudden Stop" further increases the aura of high class and of electropopish finesse that covers the Legend, submitting to the listening a song that combines the Krummi's singing, and its related, although episodic Phil Collins-oriented tones, to the pneumatic midtempo replications, eletric guitar's foreshortening and brighting key emersions that vanish into the algebraic programming codes. The hypnotic midtempo percussiveness applied to "Devil In Me" transmits impulses that dance joining to the alienating multi-articulated chant of the vocalist as well as the straight concatenation of the sequencer in support of the effervescences generated from the keys sections, all this in a compelling synthetic-pop particularly suitable for the more demanding electro-listeners. On the same versant, "Lust" worthily closes the work providing a metronomic drum-programming midtempo around which rise gradually avant-garde harmonies of synths and all the vocal splendor of whose Kummi is undeniably holder, formulations externalized in a electropop within which the refinement and the grandiosity dominate until its last moment. The Legend, from the iced Northern lands, besides the the ability to mix with rare wisdom sonic modernism and 80's intuitions, possess a formidable creative talent together with the attitude to stylize the technologic pop, curving its shapes towards of a climax not really obscure but rather tending to the inner reflection, all this by an expression and a nobility that very few projects belonging to the same music area can flaunt with equal evidence. "Fearless" is the album we've been waiting for a long time, consistent, vibrant, made by the maximum mastery and concentration, a fundamental of the alternative-electronic discography of our latst Era: "rousing" is the most appropriate adjective to describe it.
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Legionarii - "Disciples Of The State" - cd - by Maxymox 2013
Rigorous aesthetic, marmoreal acoustics, a concept inspired fantastically to a prevailing, undergrounded military Hierarchy, able to totally control the World: the brave and noble Legionarii returns on the scene riding the lightnings of his unmistakable martial/industrial/neoclassical/dark-ambient sound; more informations about this artist can be found inside the review of the album "Europa Rex" available in the 2012 of Vox Empirea. This third full-length "Disciples Of The State", published in 2013 in digipak format for the legendary label Rage In Eden, follows the equally great release named "Evolving", also recently treated by this webzine, published in the same year by I.L. as a side project under the name of I.R.O.N. As always, the atmospheres evoked in the ten tracks on this new album of Legionarii, perpetually dark and magnificent, are interwoven with elegantly dramatic, glorious orchestrations filled by warrior pathos, as in the opener "Enter The Global Union", in which the Opera of Richard Wagner "Ride Of The Valkyries" it unifies to an additional dark-ambient musicality in a successions of proclamations, reverberated, feminine lyrical emissions and gloomy descents into the most solemn classicism. From "Ordo Ab Chao" stands a sombre martial calligraphism that communicates the sense of Power, of an indefatigable Discipline, of Totalitarianism and Order, all this in a song created by an abysmal vortex that incorporates an epic chorality, leaden keyboards, a visionary lyricism, the inflexible miltary-industrial drumming and the coldly echoed spoken-words uttered by an occult member of the élite at the Top. Then comes the following "The Inner Circle", a song entirely composed by the mists of a cryptic dark-ambient around which atones pads and around the percussive circularity of roar in the background, you can hear the traits of a mysterious discourse for subterranean adepts formulated by miked voice in the most inviolable secrecy, in a whole of shadowed acoustics surrounded by electronic spectrality, anticipating the next track called "Aristocracy", whose statuesque beauty, raised with royal majesty, it recalls the Authority, the Control on each element, the dominant Force, exposing these concepts through the rumble of the martial-drumming that explodes strongly filling up itself of combative emphasis, joining carnally to the immense, powerful choral verticalisation included into a key's orchestration solid as a wall of metal. "World In Flames " offers dark-ambient/dark-classical/industrial sounds on which it impends the weight of a militaristic aura represented by vivid expressiveness through the sumptuous keys resonances and by the atmospheric drum sequences, enigmatically decorated by radio voice-transmissions after which came up, more serene moments created by placid harmonies and artificial choirs. As a construction of alabaster, "The State" stands with glory conferring thundering martial-industrial/dark-ambient structures, modeled by opera-samplers, by explosions of percussion and by dashing coral-keyboard elevations that draw the listener into a dramatic war climax full of tension. "Blood Of Millions" is an apocalyptic march of keys, drum and lyrical sampling performed within the mists of the dark-ambient, whose spiralizations slowly incorporate all the iciness of the orchestral-militaristic executions and the thunder of percussions. "Strength And Power", faithfully to its own title, highlights the perception of "overlying energy", and this by through rhythmic created with extraordinary force by a powerful battle-drumming on which pour out dark oceans of keyboard partitures that remind to a cinematographic colossal, for a spectacular track, so unique, extremely intense. "The Titan" spreads for a long time the rhythmic solemnity of martial-industrial drum-beats and fractionations of keys, whose procedures, after the blinding deflagration of an hymn to War, falls until they reach suggestive dark-ambient instants within which they resound occult phrases and calm keyboard's airs. "Dominion ( LVX Aeterna )" closes the tracklist capturing the auditor's imagination by dark-ambient gaseous emissions sinisterly arranged by martial/obscure- classical markings, whose nobility fascinates, mesmerizing. The album "Disciples Of The State" represents for fans of the genre a work of inestimable value and meaning to listen to whenever you require the need for an high-sounding, stormy music, that it can involve actively us soliciting the emotional partecipation: I.L. opens immense gates with its sound supremacy, in this chapter addressed towards an imaginary absolutist Leadership whose reign is intended by the protagonist as "Order", as "Obedience" as the radical extirpation of the chaos on the Planet. Once again, the figure of Legionarii impersonates musically the heroic Messenger whose voice will transcend all barriers spreading into the next venture Humanity: his Faith is unwavering, his Rise is inexorable. The future opponents of the "State" they start despairing from now.
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Love? – "Electronically Yours" - cd - by Maxymox 2013
Love? abbreviation of thelargest and the real definition Love Minus Questionmark, is the name of the German synthpop/electro/industrial project formed in 1997 by the Bavarian musician and designer Tom Wunder aka Wonderboy (vox/synths/drums) in conjunction with Miss Violett (vox/synths) and in collaboration with Reiner Keller (production/TI Language Translator). In particular, the credits relating to Tom mention his more artistic identities, specifically those coded as OVM01 or OV!, a refix marking the EBM/industrial/gothic duo called Overgament, founded in 1990 in Nürnberg by the protagonist in synergy with DJ = Taurinbaby, they authors of the three-songs Maxi- CDs entitled "Works", licensed in 1992 by the brand KM-Musik, the sublabel of Sounds Of Delight, in addition to the albums "Vulva" and "The Machinery of Destruction", both published in 1994 by Dark Star, the sidelabel of the prestigious one Strange Ways Records. Tom's project activity has also created, in cooperation with Mario Pförtner and Reiner Keller, the Monochild, a band gravitating around house/electro/power-electronics area through which was built in 2006 the self-produced Maxi-single "2000 To 2006". Love? are now one of the best utterances of electronic music internalized and concretized by Tom, a platform from which has sprung a discography started by the Maxi-single Extended Play "Soundz For Lovers", four new wave/electro/synthpop tracks published in 1997 by the label Visage Records, a division of Westcom GmbH. After this release, it followed in 1998 the Love?'s debut-album "Unique" licensed by Frame, sublabel of the most famous Nova Tekk, and produced by Heiko Michael Maile, composer, producer as well as keyboardist of the famous synthpop band Camouflage. In the year 2005 it was also made the promo-album entitled "Fragile", limited to five hundred copies, until achieving the true evolution apex, or this 2013's album "Electronically Yours" issued by Emmo.biz, a label at which transited many of the major projects from electronic scene such as Mentallo & The Fixer, S.P.O.C.K. , Leæther Strip, Nitzer Ebb, Klutæ, Covenant and Apoptygma Berzerk. The new full-length, mastered by John Cremer belonging to the German folk-rock band Gurnemanz and produced by Olaf Wollschläger of the trance solo-act called 6 Traxx, is available in two versions: the first one, the same now analyzed by Vox Empirea, includes twelve tracks plus an additional element, the 3" bonus-disc containing the Depeche Mode cover of "In Your Memory ( Love? Version)", while the second one incorporates this song directly into its regular title-track. Into this album the Love?'s musicality reproduces synthetic dynamisms and pop-electronic formulations elegantly constructed by 80's reminiscences, by melodic forms of technological sound and by sophisticated atmospheres decorated with a touch of modernism, details already perceptible in the opener called "This City", a track in which the midtempo drum-programming scans straight beats around which they are designed the vocal filtering propagated by Wonderboy and the capturing synth punctuations. the beautiful "I Walk Alone" speeds up the bpm's creating by them a danceable rhythmical filament enhanced by fascinating vox extensions supported by wrapping keyboard flows, while into the subsequent "I Want You" they stand rarefied post-Kraftwerk's intuitions foundable in the midtempo rhythmical fractionations, and also in the futuristic synth paleness, all this millimetrically dashed by the sequencing action and made attractive by the melancholy that Wonderboy expresses in his chant. Listening to "I Need My Baby" you can feel once again the predisposition to sadness, a sentiment entrusted to the Tom's nostalgic singing register and to the exciting charm propagated through the keyboard symphonies, sounds that induce to moments of reflection, especially in the refrain and in the suspensions between periods, conditioned by the variability of downtempo/uptempo drum-programming. "Like Back In The 80's", consistently with its own title, finalizes a pleasant electropop structured by the percussive midtempo linearity, arrangements, timbral, synth spreads, atmospheres and voice settings all oriented toward the classic melodism of that unforgettable music Era, for a song that transports nicely the listener back in time. Electro-futuristic schemes we hear in the following "Mein Taschenrechner Und Ich", a song in which the vocalist's robotic emissions interact perfectly with the algebraic keyboard segments, with the vanguard technicalities and with danceable speed of the drumming, evoking artificial visions instantly come alive in the imagination. "Shivering Skin" tends to the more introspective Depeche Mode, a typicality clearly perceptible in the chant inflections as well as in the phases mechanically generated both by the synth and by the slowed drum-programming, which notes and tones, whilst keeping intact the Love?'s imprint, they acquire the same synthpopish stylemes of the inspirer band. "The Sign" is an elegant, beautiful and very danceable electropop veiled by romanticism to which introduction, suavely voiced by Wonderboy above soft key pads, it follows the modular midtempo beat-drumming surrounded by warm synth chords. The subsequent "Sex Me, I'm A Robot" instead, offers a cool Kraftwerk-oriented 80's techno-pop built by downtempo automatism as percussive implant, by full-metallic timbred bass-lines/sequencings and by android vocals. Now is the turn of "In Your Hands-The Complete Story", a future-electropopish song in which they alternating ecstatic moments with as protagonists the well defined vocalist's chant, the sophisticated and melodic "trance" expansions created by keyboard in conjunction with the hypnotically danceable rhythmic played by drum-machine on which they gravitate the programming impulses, as well as the following "No Love!" exposes nostalgic vocal harmonies enclosed into a downtempo synthpop casing within which the keyboard, the piano sampling and the sequencer dashes propagate a preciously saddened musicality. The official album's tracklist ends with the dream-electronic/downtempo airs of "Monochild", originated with surreal slowness by rhythmic-programmed subdivisions, by reverbered evanescences and vocal consonances sung with melancholy which also include the assolo by "The Hax'n at 2 AM, all this magically crossed by the synth wakes. As mentioned in the review's intruduction, the 3" format bonus-disc included in this release contains a cover-version of "In Your Memory", the B-side of the Depeche Mode's single "People Are People" published in 1984, which Love?'s is re-arranged in such a way as to evoke sounds very similar to those belonging to the original track, using a vocal foreground specularly modeled following the tonal inflections of Dave Gahan and a functional basis of programming, keyboard, electronic alchemies and drum beats able to simulate eloquently the synthpop procedures heard in the reference model. "Electronically Yours" is a full-length which seduces, charms, giving an admirable view of how the project has been able to increase its creative thickness resulting by a long experience dedicated to technological music, a passion continued over years that has allowed in the drawing up of a sparkling, rich tracklist, in which danceability, meanings, 80's echoes, modern harmonies and emotions entertain the listeners involving them starting from the first moment. Surrender yourself to Love? : they will conquer you again and forever, attracting your mind by the irresistible voice of electronic-sound.
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Martin Kleid - "8lights" cd - by Maxymox 2013
Indietronic quartet from Italy composed by Sasha Polita (vox/guitar/ progs), Claudio Santoni (guitar/synth), Francesco Pellegrinelli (bass guitar) and Michael Bellagamba (drums). The Martin Kleid have undertaken since 2010, the year of their foundation, a particularly interesting compositional process combining alternative-rock melodic elements of British origin with electronic supports immediately catching and vocals, approachable for their inflection, to those of Brian Molko of Placebo, details that finalize a fresh, dynamic and highly attractive sound, able also to provoke instantly the audience's enthusiasm if heard and experienced during the live performances, place where the band, with the support of visuals and an easy manner, succeeed in polarizing the attention of the participants establishing with them a feeling of significant intensity: these qualitative features have granted in recent times to Martin Kleid to participate successfully to the important musical independent events in Arezzo and Rome and, above all, to win at that of Italy Wave Love Festival Marche, as well as being widely appreciated at their Russian mini-tour. "8lights" actually represents the official debut of the ensemble, an album that was initially issued in 2011 in downloading version by the Italian label Three Hundred Records: by the next engagement occurred in 2013 with the Alice in..., the German gothic-industrial-EBM-indie home founded by Frank D'Angelo and sub-label of the Dark Dimension too, sprang this own release's republishing that reaches one more time the audience of fans with its seven tracks of which the homonymous "8lights" is the opener, an episode of wave/electro-rock trend, built on the vigorous percussiveness developed by Michele synchronized with the programming and with the guitar's brilliance which its electric chords wrap in the refrain the beautiful Sasha's voice constructions accompanied by a thin key background. "A Man With A Code Gun" integrates in its scheme a lot of indie-rock percussive-guitar formulationk combined with vague new waver sediments, aspects these last deducible by the vocalist's sections emanating pure melancholy and by the electronic punctuations decorated with the fascinating synth emissions. Equally captivating, "Fat Land" is announced by a romantic key scale within which takes away the rhythmic midtempo support strengthened by the pulsing bass-line, awaiting the entrance of the Sasha's vocal planning at first thoughtful, and then projected toward higher tones running alongside the brightness generated by guitars. Wave/electro-rock connotations also for "Most Beautiful Thing", a track introduced by a metronomic graphic of programming surmounted by the solid indie-rock sounds described unitedly by the drumming, by the intensive guitar's riffs and then by the melodic voice openings. The synthpopish-wave intuitions of "The Distance" spread a clear and danceable melody designed on linear midtempo rhythmic sequences symmetrically pursued by the bass impulses, solutions adorned by the cedenced chant of Sasha combined with sparkling guitar-synth refractions. "You Are All That I Need" prefers instead a slow indie-rock almost totally stripped of its artificial substance, giving space to the materiality of electric guitars which flashes crashing on the melancholy vocals and on the caressing key fluctuations. The epilogue "Stranger", recovers part of the original electronic strategies now expertly blended with a romantic rock-oriented contest of vocals, drums and synth, at the end of an album that shows all the sagacity and the technique of an emerging band engaged in creating their own unique and personalized stylistic imprint. The combination of rock and electronics it harmonizes perfectly describing easy parables and at the same time characterized by a certain refinement, favoring very pleasing music conjunctions that penetrate into the memory with disarming easiness. "8lights" is a work able to draw a clear borderline between improvisation end in itself and the desire to evolve into more professional dimensions: the contents of the tracklist confirmed Martin Kleid as a phenomenon in gradual ascent, a new promise intended to its full realization. This is what I could define a remarkable debut.
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Mechanical Apfelsine - "R.E.D." - cd - by Maxymox 2013
The unstoppable Russian electronic wave offers one of its best currently expressions, the Mechanical Apfelsine, a synth-act formed in 2007 by the following triad: Sergey Dubrovin (vox), Alex Bulban (acoustic backing/sampling/synths) and Ed Tabakov (synths), in collaboration with the external live-keyboardist Vasily Prohorov and the songwriters Tatiana Prokhodenko and Michael Makarzchev, this latter replaced to the previous Mikhail Makarychev. The artificial intelligence in possession by
electronic equipments generate events stylistically circumscribed into a varied electro-synthpop context overflowing of melody, futurism and danceability, connotations that the album "R.E.D.", published in 2012, they differ from the more monolithically techno-pop formulas designed in 2009 for "Space Without End", the debut full-length that at that time aroused the interest and admiration by both the most illustrious alternative media institutions, by both the many fans of technologic pop. As well as these two mentioned titles, to the Mechanical Apfelsine is attributed also the split "Trinity" issued in 2010 in collaboration with the Russian platforms Haloed Ghost, a duo devoted to the synth/darkwave, and Purple Fog Side, threesome of synthpop/EBM/gothic/darkwave/post-punk tendency. The compatriot label based in Voronezh which supports all the realizations of the band is the Shadowplay Release, specialized in gothic-rock/electro/darkwave/ethereal/industrial/ambient areas, from which has sprung a wide range of record products belonging to several music disciplines, such as some important releases by Moon Far Away, Fading Colours, Fiction 8, The House Of Usher, Rosetta Stone, In The Nursery, Patenbrigade: Wolff, Escape With Romeo and Rot On The March. The same record-home also spreads this album "R.E.D." today analyzed by Vox Empirea which, as noted, it contains sounds more professional and defined than at the beginning, designed and created by an evolved mastery of the electro concepts and by a precise knowledge of their most advanced guidelines: the outcome of this method is inevitably a release full of solid and intriguing contents, as it's necessary to a top quality production, so the standard to which they obey the new Mechanical Apfelsine provides synthpopish formulas performed with a meticulous care mainly targeted to the voice constructs, they always very well adapted to the instrumental harmonies and to the rhythmic dynamism. The tracklist of "R.E.D." proposes thirteen episodes whose opening is "Feel The Difference", a short, dark intro of increasing and pulsing keyboard punctuated by cold voice's replications, giving then to the next "You Can" to explain the true intentions of the band, posing as an electronic-pop of immense effectiveness and equipped with every requirement for being considered infallible in every front, primarily on the attraction at the first listen: the wonderful voice of Sergey ensnares with its deep and calibrated tones, the midtempo drum-programming scans the beats ordering movement to the legs, the key's apparatus spreads rousing harmonies, especially in the unforgettable refrain. The combination of these elements creates a winning song that internalizes in itself all the excellent compositional level reached today by the project. "Poison" increases the automatism percussive's fullness setting again its bpm's on a pressing midtempo basis integrated with the blinding beams emitted by keys and with the strong traction of the vocals, all this in a electropop of great value and exquisitely clubby. Uptempo intermittences, capturing interlacements of voice and synths, samples propagation and electronic vastness are channeled into "Light Inside", an avant-garde pop showing a capacious and innate predisposition to dance, while
internally to "Worse" they activate pneumatic replications of drum machine whose midtempo beats impress resolute lashes on the linear flow of the keys and on the enchanting Sergey vocals, describing a technopop saturated of effects and absolutely danceable. "Test My Heart" performs a mathematical drum-programming, shining keyboard's inserts and an amazing chant, outlining by them a midtempo rhythmical course and electronic galaxies which can be used perfectly by the alternative d.j. to successfully fill the dancehall, combinations anticipating the next song, "Believe", a synthpop elaboration vaguely Depeche Mode-minded originated by pulsing midtempo drumming on which are grafted softly the singer's voice nostalgias and the wraparound keys sections. The sound reinstates its connection with the electro-dance showing off for "Push Me" an energetic deployment of sequenced beats as driving force, in conjunction with functional exchanges of melodies and reverberations between vocals and backing vocals, all this embellished by the sparkling hatches of programming and by the radiations coming from the synths. "Pop Monster" configure a more radiophonic track always built on a vibrant percussiveness and distinguished by a sort of futurepopish elegance, aspects these detectable in the range of timbres selected for the keys, in the global fluidity of electronic sounds and in the vocal inflections now markedly easy. "Let Me Trying" raises of further measures the peak of satisfaction offering fascinating synthpop scenes in which the Sergey's voice sings a precious and gentle chant, introduced within harmonious key lines and into a danceable rhythmical layout, as well as in the following "Space Without End" they assemble robotic downtempo apportionments surrounded by the thick density of synths and by vocals that enchant with their graceful intensity. The midtempo electro-codes dictated by programming in "Frequency of Love" they unify together with the suggestion evoked by Sergey's singing and by the warm embrace of the keyboards, while the closing "We Never Back Again", fleeting and totally instrumental theme, provides atmospheric touches of synths decorated by guitar embroideries and supported by the automatic percussive fractionations. "R.E.D." is an essential album for every technologic-pop follower, an unmissable chance to listen to an efficient tracklist free of any digressions: the band adds itself fully to the list of the most quotable phenomenons emerging from the East-European underground, impeccably confirming it as a model of creative excellence and a project to be followed with particular care. This full-length offers the opportunity to spend a long listening time submerged by a cascade of keyboards, catching vocals, dance-oriented rhythmics and electronic arrangements which refer us all the charisma and the right direction undertaken by the three protagonists: another album like "R.E.D." and we can consider the Mechanical Apfelsine as a cult electro-band.
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Midnight Resistance - "The Mirror Cage" - cd - by Maxymox 2013
Nicolay Frank is the German musician from Essen known to be part with Marc of the EBM/synth-futurepop duo called ReActivate: the protagonist, since 2007, is also the founder and the solo-owner of the project Midnight Resistance, a name synonymous of a musicality that holds electro-rock/synthpopish elements of considerable interest. The biography regarding Midnight Resistance is rather vague and focused almost exclusively on the technical description of his sound, often described as a melodic and romantic harmony between electric guitar, drum programming and synths, with vocals supported by an incisive personality, always able to describe capturing parables and opening passages full of sentiment: the artist also externalizes on stage a bursting charge of expression that makes him particularly appreciated by fans, combining his unique chant to the intrumental backing provided by the live performers Ian Deveraux (guitars), Per-Anders Kurenbach (keys) and Mr. Avalanche (drums). The artist also means perpetual research of sonic combinations certain ever more definite, functional, that may instantly seduce the listener through furmulas full of atmosphere and aesthetic sounds, details on which are based the discographic productions so far released which mention the first the adhesion to the compilation "Dopamin Vol 3", licensed in 2007 by the German home Codeline Records, episode followed by the collections "Synthpop Club Anthems 5" and "A Different Mix Vol. 6", both ones published respectively in 2008 and 2009 by the excellent U.S. label A Different Drum, to which came after the participation to "Remote-Sounds", published in 2011 by the German Remote Music, and finally to "Gothic Compilation 55" for the compatriot brand Indigo. The first, concrete work competed by Midnight Resistance was the power-album of the year 2008 "Remote", an important record ever published by the label A Different Drum and reasonably considered at that time a real synth-rock masterpiece in possession of charm, feeling and self-analysis, concepts expertly mixed together and placed in ten official songs mastered by the U.S. keyboardist/songwriter/vocalist Brian Hazard from the project Color Theory, plus two remixes elaborated by the German duo SideChain and by the French electro-wave solo-project People Theatre. The contents of "Remote", danceable and reflective, are adaptable for their versatility to any type of listening, individual or collective for the clubs: in both cases the result ensures an absolute and long-lived sonic involvement. Mentioning another advantage about this specific album, it is mandatory to remember the song "Wide Awake" written by Dirk Breuning and Frank Steding members with Panida Breuning of the electro-act Boundless. Before analyzing in depth the new release, it is useful to underline the valuable Nicolay's work as remixer, an assignment admirably performed by the reworkings of songs belonging to important projects around the synthetic music area such as Silencio Personal, Endanger, Ultima Bleep, ReActivate, Minerve and Jesus On Extasy. The album on which I will focus the attention today is "The Mirror Cage", published in 2012 by the synergy between the brands Farscape Records and Alive, including eleven wonderful electropop-rock events that rise, confirming it definitively at the highest levels of quality, the talent of the artist in being able create with systematic perfection music horizons that recall the sense of vastness. The album's publication was announced in 2011 by the single "Living a Lie", issued by the labels Remote-Music and Broken Silence, which "B-side", the remixed version of "Inward Exile", is created by Chai Deveraux, an artist member of the aforementioned industrial-rock band Jesus On Extasy. The opening of the work is entrusted to the notes of "Marble Index", a song of considerable electro-rocker intensity, structured during his initial extension by a midtempo drumming surrounded by the electric rotations generated by the guitar and by an introductory chant to which, after a long, atmospheric moment of suspension, takes over a refrain enchanting, boosted by keyboard and vocal elongations that enhance fully the essence of melancholy. "Wastelands" follows orientations decidedly more synthpopish pointing towards on the lightness of electronic sounds, on the midtempo danceability set up by the pulsing drum-programming and on the Nicolay's voice filtered by vocoder in combination with the seductive whispers of the guest Leandra, a multifaceted modern-classical/electro-rock musician. Into the following "The Bell Jar" prevail mostly nostalgia and at the same time the rocker force, elements expressed by vocal formulas inspired by regret and joined to the electricity of the guitar riffs and to the compactness of dry e-drumming cadences. The next track, "Living a Lie", as initially anticipated, is also available as a single edit: its lyrics are written, as well as by the same Nicolay, even by Chai Deveraux, the mixer of the album. The song in question, very interesting from a melodic point of view, it's an efficacious sonic mechanism in which they intersect solid rock elements and partly electropopish: the first ones are evidenced especially in the refrain, period characterized by shining guitar inputs and by midtempo programmed drums. The second ones, less evident but distinguishable, are undetectable into the periods antecedent the development of the song in which the voice of Nicolay travels in harmony parallelly to the soft wakes of synth. "Inward Exile", wonderful track, prefers electropop-rock-wave solutions comparable by they attitude, to an embrace between Iris and Mesh: they resulting elegant and melancholy vocal accents that sway amongst drum-programming, electronic-bass pulsations, a tenuous background of guitar and a lukewarm wind of synths, waiting for the arrival of the next full-bodied refrain that fills the sound of wonder and depressed romance feelings evoked by the strengthening of the guitar front in which they pout the enveloping key pads and the passional Nicolay's tones. Now is the turn of "Snowblind" with its electronic pop-rock delineation, a song in possess of characteristics of "hit" thanks to a great balance of guitaristic energy, midtempo drumming and pleasant vocal harmonies that Nicolay propagates in a duet with vocalist Julia Beyer, singer of the German wave-pop/darkwave band called Chandeen. The delightful touch of sentimentality perceptible in the following and the same-named "Mirror Cage" is shown by the romantic intonations that adorn the chant of the protagonist and by the the modular e-piano/synths/violin sections disseminated in a electropop-wave scheme of absolute purity directed by the cyclical beats of the rock drum-programming: all this in another episode potentially able to reach relevant positions in the alternative-charts. Further on, "Second Skin" again scours electro-rock territories increasing the rhythmic transmission of programming on which they align thick the intersections of electric guitar, key flurries and open vocalizations, while in the next "The Living End" the speed of bpm's reduces its ride in support of a synthetic-rock smoothed by the continuous guitar abrasion which riff profoundly scratch the electronic structures melting them with the key support and the bitterness that transpires in the Nicolay's chant. After experiencing the introspection, here's the fresh rock-pop-electro comeliness of "Broken Flowers" which slender and fast percussive coordinates, together with the pulse of the programming, activate the desire to move rhythmically singing the terse lyrics with the vocalist, all this for a song extremely captivating and adorned by bright synth/electric guitar progressions that transforms the refrain into something unforgettable. However, the reflection and sadness remain essential elements in the music created by the main artist, an aspect noted also in the epilogue, "Sheltering Skies", a sad song built by poignant as minimal piano chords surrounded by afflicted orchestrations of voice, of key and, in the distance , by the beating of programming. Relate with "The Mirror Cage" means to deepen the knowledge towards educated, emotional acoustics, sophisticated enough to accentuate their implicit beauty without being considered unreachable. The instrumental balance between rock and technologic harmony prolong its way into the whole tracklist sublimating inevitably the vocal contents that Nicolay raises to reach a specific destination, that side of the mind prefixed for the germination of feelings. And the listening, as if by enchantment, is lost in the immensity of this sound.
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Moonrise - "Ten Flowers For The Shade" cd - by Maxymox 2013
German quintet from Hamburg built in 1994 and consists of Timo Pete (vox/guitars), WojZen (bass guitar), Taikonaut (keys/progs) with De.Bow (guitar/mixing/pre-production) and Nik (drums), these last two recruited in 2006 as substitutes for Sir Steven Cordic and TG. The style developed by the band joins a wave injected by alternative-rock dynamics, post-punk, gothic-rock and 80's remnants, elements perfected during a career that officially launched in 2004 at the Zillo Festival and concretized with four self-produced record acts, the first of them was released in 1997 through "No Mean Depression", an ep in which on the last of its four tracks, "Whispering Voice", was marked by the name of Peter Heppner. A second ep published in 1999, "Realize", also item available in four episodes, further consolidated the technical sound of the ensemble emphasizing an increased use of synthesizers and more audacious texts, while the third ep "Cursed" from 2002 presented a concept directed towards to horror-oriented thematics. In 2006 it was the turn of the fourth work on extended play version, this time expressed in five acts, "End Of Grace", a chapter that announced the final operational strategy undertaken by Moonrise in which they showed a more jaunty utilization of the post-rock/gothic/wave modules now curved in the direction of melancholic and introverted formulas, to report is the amazing dance version of the song "When I See You" elaborated by Girls Under Glass. To the protagonists we also ascribe at least three participations on compilation, respectively "Goth Is What You Make It, Vol 5" with "Gothic Compilation Vol. 31", both published in 2005, and "Extreme Traumfänger" issued in 2006. "Blackest Blue", released in 2008 by the league between Danse Macabre and AF-Music, constituted the acclaimed and awaited debut on album format that the band stylistically turned in the direction of an electronic gothic-rock full of melody and romance, a construction destined to cover the name of Moonrise of honor and, above all, of the intention to proceed towards a second full-length by which to reach reach higher and more solid apex: here so this "Ten Flowers For The Shade", release licensed in 2012 by the synergy between the Germanic Germanic brands Echozone / Bob Media Distribution, twelve songs, two of them as bonus-tracks, which combine in varying degrees and with refined versions gothic-rock, electro-technology, indie sounds, new wave and post-punk. The song sequence takes its origin from "In Die Ferne", an event in which its gothic midtempo-wave procedures it dominated the beautiful Timo's voice extended on an instrumental dialogue well organized by melodic exchanges between keys and guitars. "Ribbons" is introduced by a cold dotted line of programming that replicating itself composes the real core of the structure to which are added the rock-minded cadences of the rhythmic plant worked by Nik, the electric guitar riff, the disciplined pulses of the bass and the desperate chant of the vocalist, as well as the subsequent "Rhododendron" is identified in a gothic-wave ride by the precise and relentless drumming around the which spins with great efficiency and compactness a superlative set of tense voice, backing chorus, enveloping key gusts and abrasive guitar inputs. "Do Not Look Back" slows the pace staging a sad-rock with gothic lapels rhythmed by modular rolled drums on which is harmonically stratified the vocal melancholy of Timo, the equally nostalgic trails traced by the first guitar, a subsequent key flow and the bodied support of the second guitar that strengthens the atmosphere and the affliction of the refrain making it unforgettable. Now is the turn of "Kite", a song also obedient to the gothic-waver criteria mentioned up until this moment, but now further enriched by a thin pop-rock lineament that make it accessible without renouncing to a certain alternative aura underlined in its midtempo beats ornated by intense key and guitars whiffs, progs and, beautifully, clear and melodic vocals. "Bataillon" is presented through resolute and danceable drum beats programmed on a midtempo base and with a chant perfectly modeled around the the guitars mounting, sequencing and keyboard, all this advantaging a track successfully integrated into the playlists of the most bolder d.j.'s. The character sensitive to the sadness remains one of the Moonrise's peculiarities, detail externalized in the poignant gothic musicality that now embellish "Autumn Leaves", a perturbing and suggestive track, built by the downtempo drum beats supporting the melancholic guitar and bass dilatations, keyboard-whispers and the Timo's chant, it made more tearful by the violin sections that decorate the most moving istants of the song. "Miss Havisham" exhumes old post-punk executions combining them skillfully to decadent gothic-rock reminiscences and to an impalpable electronic psychedelia, elements materialize into sound using the regular slowness of the drumming, a chant that the singer spreads by tones romantically soft, sad and harmonious, embedded with mastery between the visionary ascents of the key, the synthetic effects and the electrical currents generated by the guitars. Now here's "Purgatory", a massive gothic-rock beaten by a well combined drumming replicating uptempo beats that solicit with energy the filtering voice, the programming, guitars and keyboards, all this processed by enthralling electronic expedients. "Ready To Leave" is introduced by radio tuning effects followed by the singing desolation that Timo expands on the gaunt percussive textures, on the reverberating arpeggios on the guitar and the fog created by the alienating key. They close the tracklist two bonus, the first of which is the 2012 version remake of "The Curse", a song included to the same "Cursed" ep mentioned in the opening, for this occasion re-edited with more slender lines and finely elaborated by modern technicalities, as they fully preservatives the same gothic-rock aura from its era of origin, now interpreted through painful vocals, important and well-erected on the slow rhythm patterns surrounded by light distributions of the programming, by the electricity generated by the guitar ropes and by the impalpable key mass. The well-known Solar Fake, side-project of dark-electro matrix impersonated only by the Zeraphine's vocalist Sven Friedrich, studies and completes an excellent dancefloor-hit, the remix of "Bataillon" in which the initial shape of the song is enriched and rhythmically enhanced by irresistible artifices of synthesis and alchemy aimed towards futuristic dance, a lethal song and strategically introduced in the CD tracklist to embellish and vary its contents as well as to introduce the Moonrise's sound among the goers of the ultra-alternative dancefloors. The album "Ten Flowers For The Shade", for its quality and inspiration the best and the most advanced one of all the entire process created by the band, it will find sure good feedbacks, satisfaction and success among all the romantic gothic-rock listeners who possess the desire to range over the conventions and appreciate music like this, unassailable by time factor and virtually immune to the relentless erosion that dissolves the proposal most à la mode. The band led by Timo Pete has succeeded in unite carnally the poetry, romance and decadence, in an embrace so intense and special that no other word can manage to express it.
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MRDTC - "#2 [We Transfer]" - cd - by Maxymox 2013
Coming respectively from Braunschweig and Leipzig, Christoph Lemke, aka MRD (music/arrangements) and Tino Claus, aka TC (lyrics/vox/arrangements), form the EBM duo signed by the effigy MRDTC, active in the scene since 2010. The biography of the protagonists is rather complex and full of credits: Christoph, in fact, has been a member since 2010 with André Schitteck - he in turn is part of the Proceed - of the EBM platform called NordarR, as well as to impersonate the solo project called Mr. Dupont, it also EBM oriented but with techno-experimental deviations. Always to Christoph is attributed the identity known as Kraftakt, through which he published in 2008 the significant seven tracks "Too Much Media", in addition to a militancy dating back to 2006 into the electro/EBM trio Zentrum Der Arbeit. Tino instead boasts an extemporary electro-hardcore appearance occurred in 2012 as the project Der Gerät, an event preceded in 2008 by the integration of the musician into the EBM quartet called Neukampf: but it's by the platform Amnesty that Tino expresses his greatest artistic rendering, sharing bodywave experimentations with Stefan Schœtz and Jan Moritz. The MRDTC they formed after a fortuitous collaboration between the two artists, born during the writing of "Retro Disko", an album belonging to the Mr.Dupont's discography in which Tino participated as guest-vocalist on the track "Daily Monster", immediately showing a perfect sinergy with the music schemes planned by Christoph: from that moment it developed an interplay which led the project to the publication in 2012 of a 7" issued by MRDTC Recordings," # 1 [Liar], a release succeeded in the same year by holdings to the compilations "Care Artists For Kids Vol 1" and "Cold Hands Seduction Vol. 134". Most recently, in 2013, the MRDTC contributed to the tracklist of "Gothic Compilation Part LVIII", "Winter Stomp 2013" and "Cold Hands Seduction Vol. 139", also distinguished themselves as good remixers in the album "Serenade For The Dead II" by Leæther Strip, masterfully reworking the two tracks "Power Trip" and "Paranoia NR13". For the power-duo the 2013 was especially the year of their debut by the present full-lenght, "# 2 [We Transfer]" published by the interesting Emmo.biz, a German label that inludes in its archives a certain number of releases by high-profile names from the electronic scene such as Covenant, S.P.O.C.K. Mentallo & The Fixer, the same Leæther Strip, Nitzer Ebb and Container 90. The album includes fourteen tracks many of them decidedly danceable, and it begins by the heavy scales of keys created for the instrumental "Kick Off", an introductory theme that gives space to the next song, "Traffic", an electro-EBM in which the drum-programming scans the rhythm dissecting dry midtempo beats alongside which Tino aligns his disillusioned chant surrounded by the synth's intermittences. "Discretion" exposes all its EBM compactness by a modular cycle of sequencing, keyboards and electronic percussiveness transfixed by rigid voice settings, while in "Liar" converges an obsessive midtempo repetition of programming, artificial dissonances and the dark, malevolent extensions of the Tino's voice as support for the danceable Electronic Body Music's structures. Even more catching, "For The Good Times" exposes vocals sections gutturally rough, sequenced circularity and midtempo bpm's placed inside a cold technological diagram, as in the following "[Aynosis]" they articulate the vivid EBM-electro sounds created by synths and by the programming without any singing form. "Motif" summarily reiterates the identical midtempo procedures listened on the previous episodes, adding to them the glacial, suffocated bitterness propagated by the singer, formulas exceeded by those more dynamically clybby-minded of "Sickness", an EBM track perfectly suited for exhausting dances, conceived on uptempo beats, pale keys and deep vocal fractions. The spacecraft sound-effects placed in the introduction of "Netwerk", a track simply irresistible, evolve as a danceable electro-EBM mechanism characterized by pneumatic midtempo cadences driven by the Tino's vocal harshness and by the symmetrical programming pulses, all this for a song that I consider the apex of the entire work. Then it comes the next "On Your Side", an entirely instrumental track in which you can hear a robotic percussiveness strictly related connected with the reverberated melody of keys, sonorities crossed by the more complex and sometimes feverish ones of "Stay", a dark-electro-EBM track released by MRDTC in collaboration with Claus Kruse aka Plastic Noise Experience, in which hypnotic textures the project puts a massive use of granular key flows, asymmetrical techno-midtempo beats and spasmodic vocals, infected by a pathological neurasthenia. "God Of Anger" slows the rhythmic mode programming its emissions by a drumming similar to a march for androids supporting by it a bitter chant made even more suggestive by the emissions of the dark synths, all this followed by the next song, "Motif", reworked as Unanimous Mood Remix version by Daniel Richter and Der DPunkt of the project Unison which elaborates a track spectrally EBM built by icy midtempo keys/programming replications, solutions punctuated by an hoarse, depressed, toxic chant. The eclectic and avant-garde musician Philipp Münch, aka Philip Muench, remixes finally "God Of Anger" transforming its original structures into other ones more schematically automated, diaphanous, propelled by minimal fragmentation beyond which it gravitates a cloud composed by futuristic sounds, electronic impurity and the shadows of alienated vocals. "# 2 [We Transfer]" is an album observing all the fundamentals of the classic EBM discipline which embraces implicit modern electro technicalities balanced between past and present with a more decisive oscillation to old-school methods which, however, never assume a definitive print, revealing and blending at the same time only the best side of the stylistic improvements that the two musicians have accrued during the course of their careers. The MRDTC have created a release in the possession of every possible attribute to be launched with pride in the orbit of synthetic sound: technologic-dancebility guaranteed, the rigorous beat of drum-machines, the desolate vocal constructs, the coldness spread by keyboards: in the event you are in the position to demand an urgent hyper-dose of energy.
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Neutral Lies - "Cryptex" - cd - by Maxymox 2013
Biography, news, and future intentions regarding this French-English project can be read in the interview realized by Vox Empirea available in the proper section of the website. Our attention is now focused towards a full-lenght of certain interest to anyone who appreciates the genre electro/future-synthpop, the main line followed by the duo is that to compose a technological and elaborated music played with extreme accuracy, concentrated in an album released by the Marseilles label BOREDOMproduct, directed by a prominent figure in the alternative electronic scene called Member U- 0176: this personage is the holder of the EBM/electro/synthpop solo-project known as Thee Hyphen, as well as a component of the minimal-electro/synthpop trio Celluloide, and also the creator of the artwork, of the additional production, the mixing and the mastering phases of "Cryptex", the last record act published in 2013 by Neutral Lies. Jean -François Dean (vox/synths/programming) and Nicolas Delbarre (vox/synths/programming) are the creators of the eleven advanced tracks included in the tracklist of this 6-panel digipak album which starts from "Decipher Me", a song punctuated by mathematical drum-programming midtempo scans on which they grow vocal structures decanted with bitterness, loops, effects and spatial subdivisions of key. "Glitter Ball" is a futuristic pop dissected with icy precision by midtempo beats and by symmetric sequencing, among which textures they are articulated the detached singer's voice. "Aching Sign" processes with rigorous accuracy its drum-programming automatism, keyboard diffusions and vocal melodies post-Depeche Mode minded that idealize the concept of melancholy, thanks also to the fascinating additional immissions by the guest-vocalist Sarah Stulzaft, the same ones that adorn the singing procedures of the following "Bewitching After-Shave", a future-synthpop marked by mechanical percussive midtempo hatches on which are lined disciplined programming apportionments, the glacial touch of keyboard and a chant that the singer pronounces with seductive disenchantment. "Mobile Transplant" a danceable electropop, transmits its sound recreating futuristic atmospheres using cyclic rotations of midtempo drumming, long sequenced runs, grainy synth's emissions and vocal euphonies expressed with subtle grudge, while the subsequent "Neon Fascination", a track of very capturing power, spreads futurepop midtempo trajectories exposing them through geometric drum-programming squaring, through few but efficacious synth notes, wide keyboard's coverage and through a rational singing. The midtempo electro-percussive pulses of "Ransack Your Dignity" stimulate the desire to dance rhythmically with the hypnotic drum-machine/sequencing's beats flanked by the well sectioned and vaguely obscure singer's voice, all this enveloped by a synthetic cloud of keys. "Impostor" extends initially metallic vocals to accentuate the futurism's feelings, a detail that anticipates the real vocal register from which inflections, exposed with the the same sharp coldness of the accusatory tone, you perceive an aura of dissatisfaction, of deceived expectations, vocal elements combined to a Cartesian drum-programming perfection, which is a regular, aseptic midtempo beat, around which they extend the ascensional synth waves, while the following track "Lésions Dangereuses" sets an electro-futurepop built through a minimally-timbred midtempo drumming surrounded by the iced black and white chords painted by keyboard, and through vocals partially humanized and partially expressionless as a phrasing between androids. The avant-garde connotations electropopish that move "Whose Racket Is It?" make the sound-system like a mechanized sonic-device to dance preferably by robotic movements, all this spurred by an alienating form of singing, rhythmed by sophisticated drum-programming flows and decorated with essentiality by synths, as well as "Stink Bombs", the last song in the title-track, prefers mixing with wise measure electro and EBM components, for an high-tech sound made by the circularity of the midtempo drummming, by acid effervescences, strobe sequencer, by cosmic keyboard's maneuvers and by vocals alternately transported by the impetuousness, or cold as an Artic night. Virtual dimensions, evolved sounds, modulations for advanced listeners: this great album is the result of continuous experimentation and refinements of the electronic style made by Neutral Lies. All tracks using an intuitive and modern language but free from easy solutions, with sophisticated instrumental trajectories assembled with a vocal foreground perpetually tormented by the intimate lucubraions transcribed by the lyrics. Science and human vibrations they encountered in "Cryptex", a release that stretch of a unit the list of albums that you consider categorically indispensable.
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Nimh & Antikatechon – "Out Hunting For Teeth" - cd by Maxymox 2013
The artistic conjunction between Giuseppe Verticchio alias Nimh and Davide Del Col alias Antikatechon, is an important event in the experimental-dark-ambient/electronics/noise scene, being both talented protagonists to whom is attributed a long and indisputably valid discography. The detailed and exhaustive biography regarding Antikatechon is readable internally the review of his album "Chrisma Crucifixorum" published by Vox Empirea in 2013, then in this specific space we will concentrate on the profile belonging to Nimh. This musician, operating since 1994 into the electronic area, was inspired two years later by the instruments from Oriental origins, so he assembled them to the music creations played in that period, finalizing under the same name Giuseppe Verticchio many technological-ritual-ethnic hybrids. In 2001, as response to the subsequent search and identification of new sonic elements that could make special the structures conceived, Verticchio decided to call Nimh his solo-act, penetrating by it into some of the more subterranean dimensions of the experimental concept as the isolationist-music and abstract/dark-ambient and industrial, emerging then in the alternative electronic universe. The collaborative aspect has always had the important role of further improvement in the musical growth of Nimh, who materialized during the time many record experiences lived with a lot of electronic alchemists such as the famous Maurizio Bianchi, as well as with the Pierpaolo Zoppo's power-electronics project called Mauthausen Orchestra, or with the ambient-experimental/industrial platform Amon personified by Andrea Marutti, and also with the Japanese Akifumi Nakajima better known in the experimental-noise/electronic area as Aube, with the musician Philippe Blache aka Day Before Us, devoted to the acoustic-minimalism/ambient/soundtrack-soundscapes genre, continuing with the Italian dark-ambient one-man-project called Nefelheim and with that one electro-tribal oriented Amir Baghiri, then concluding with Antikatechon. In addition to all this, Giuseppe Verticchio has also cooperated both in studio and on live stage processing the editing and mastering phases for many and important names active in the national electronic, industrial , ambient, IDM and which ethnic scenes as Eidulon, K11 aka Pietro Riparbelli, New Risen Throne aka Gabriele Panci, the mysterious project Vestigial, Hue aka Matteo Uggeri, Raffaele Serra, Andrea Ferroni, Stefano Scala, Andrea Ferraris, Subinterior aka Andrea Freschi, Stefano Gentile, Gianluca Favaron and finally the former member of Prima Materia Claudio Ricciardi. Numerically significant and stylistically polyhedral, the releases attributable to our musician, all those with the name "Giuseppe Verticchio" and "Nimh", count from 1998 to 2013 twenty-eight official albums, three compilations and seven different participations, which titles and details are listed in chronological order in the artist's website: our attention is now focused on the last full-lenght by Nimh built in synergy with Antikatechon, "Out Hunting For Teeth", licensed in 2013 by the Polish label Rage In Eden as digipak limited-edition format of three hundred copies. The album, mixed and mastered in 2012 by the same Verticchio, incorporates in its tracklist five experimental episodes of the long playing time characterized by spectrally ethereal atmospheres and acoustic marked by an intriguing dark-ambient/noise technicalities. Also interesting is the choice for the artwork: the release's panels and the CD's surface illustrate five of the eighty images taken from the collection "Los Caprichos" created around 1790 by the Spanish painter Francisco Goya, made with the intent to communicate figuratively his deep disapproval directed against the condition of superstition, irrationality and misinformation that infected the élite-society's behaviors of that Century. The executive line-up plan provides Antikatechon on: synths, electric guitar, sounds/samples/ audio montage, loops, effects/effects treatments, while Nimh on: synths, electronics/sequencers, electric guitar, violin, sounds/field recordings/samples/audio montage, vox, effects. Starting listening to the album, we hear the homonymous "Out Hunting For Teeth" , the first of five song of the tracklist, opens the release expanding dark-ambient modulations consisting in caustic, granulous key pads, filled of erosive micronizations on which waves they soar industrial noises, electronic saturations and a background formed by an obsessive scale of chords played by the second keyboard's section. The dark-ambient/noise of the following "Those Specks Of Dust" radiates the sound by dark expansions of field recordings and echoed roars similar to an extraterrestrial device, within which structures it stands the oppressive replication of a single note and, more forward, minimal arpeggios, synthetic combustions and indistinct voices, all this gradually sunk into a deep abyss created by darkness. Now comes "You Will Not Escape" and its obscure-ambient mists crossed throughout their length by mechanized industrial cadences, an icy diagram into which they reverberating the guitar's distortions, later overshadowed by the cosmic dissonances of atonic pads and by infinitely extended suspensions. "All Will Fall" configure a dark-ambient melancholically harmonized by repetitive violin notes, fractionated with slowness by an only beat of sequencing, on which echoes the gravitate toxic nebulae of synths and electronic acidifications, while the final and diaphanous dark-ambient of "Sleep Overcomes Them" enraptures at first by its percussive rarefactions alternated with the echoed resonances generated by the guitar's strings, all formulations on which it fall fall an incessant raining background accompanied by long keyboard chords and by a succession of scarcely perceptible voices: this composition has a glacially statuary charm, almost transcendental. Forms of sound modeled by the dark and by the motionless energy of ambient, they contextualized into a dull musicality, which spaciousness, pressing on the ear canals, it runs across the distance between them and the brain's area in which it resides the perception of the unknown, of the surreal, interrupting the listener's connection with reality. Nimh and Antikatechon interact masterfully, planning executions that pleasantly surprise the venerators of the "dark-concept" whose will find in this remarkable release hyper-processed signals, trasmissions of harmonic emptiness, indefinable suggestions and perpetual states of sensory alteration: it's difficult establishing exactly when and if the two performers will combine again themselves giving to dark-ambient scene a next and equally amazing work like this, but "Out Hunting For Teeth" is without hesitation the real confirmation of a perfectly successful experiment.
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Nine Seconds - "Poladroids" - cd - by Maxymox 2013
The Nine Seconds is an EBM/synthpopish band originated from the merger among Oliver Spring, the vocalist of the dark/electro trio from Bern known as Sleepwalk well as founder with Charly of the project tEaR!dOwN, together with the German members René Ebner and Thomas Kowalzik, they with the singer Franziska Kalb interpreters of the EBM/electro-pop platform called No Comment. Relate with the music of Nine Seconds means getting in touch with a dark and danceable form of sonic-technological modernism, elements contained in large quantities in their repertoire which started from the first recording act, "irresolution", four self-produced tracks printed on 12" format in the year 2012, for a release minded as "clubby anticipation" of the subsequent album-versions contained into the official 2013's debut full-length now analyzed by Vox Empirea, "Poladroids", published by the efficient and young Italian home Space Race Records, the sub-label of EK Product. This work reveals nothing less than a blazing takeoff directed towards the highly placed spheres of the electronic Cosmos: during the entire extent of the tracklist, we are witnessing of a balanced succession of episodes in line with the latest EBM'S interpretations alternated with other ones full of shadowy synthpop evocations, instrumentally formulas elaborated through a massive use of drum-programming and keys both interconnected with the vocal acidity that Oliver pours in profusion into the electronic structures. The album, available in digipak format, presents in the credits the Nine Seconds deployed with the following roles: Oliver (vox/lyrics), Thomas (synths/production) and René (drums/video), three emancipated sound-generators from the combination of which have origin twelve of the fifteen tracks included in the album, three of which remixed by top names. The first track, "90 Seconds", plans the intro of the tracklist expanding in its short lenght vocal samples, clouded synthetic emissions and robotic pulses, while the subsequent "Heal My Hurts" makes perfect the executive project's schemes in the direction of a dark-electro midtempo within which the harsh filtered effects that infect the vocal lines by Oliver overhand the fullness of the drum-programming. "Girl Panic", a track also listenable in the mentioned 12" ep as "Schizophrenic Mix", is a danceable, futuristic electropop vaguely And One-oriented, consisting in uptempo and dynamic propulsions and sensual, feminine spreads of vox-samples that beat the catchy geometries designed by the vocalist and by the keys. "Irresolution" is onother one of the four songs available on "Extended Mix" into the previous and homonymous ep, a song as well as viewable on an interesting video released with the collaboration of Marco Aeschimann, this track flagellates the rhythm by fast uptempo scans which erupt with great energy flanking symmetrically the programmed intermittences, the abrasiveness of synths and the vocals that Oliver modulates with tension and animosity, completing so a song of EBM's matrix infected by dark-electro sonorities. On the traklist's advancement, we can hear the following "Homesick Robot", an episode which also corresponding to the electro-obscure style, within which the alienating and metallic tones of the vocalist create atmospheres as restless as a technological nightmare, connecting them to the sinister keys chords and to the pulsing coldness of the midtempo drum-sequencing. "Burn Burn Superstar", an highly significant track, accelerates the rhythmic beating transforming it into a dynamic and danceable uptempo run which automatism acts as a powerful driving vehicle for the vocal incitements that Oliver pronounces with authority among hazy swirls of synthetic material, all this in a hybrid new-EBM/hard-electro logic. "Dans Les Yeux De L'Autre" is another chapter included in the 2012's ep as "Short Cut" version: the album track now reduces the percussive metrics calibrating the bpm's on a diagram electronically downtempo surmounted by buzzing/acid synths flows and by the Oliver's vox transfigured by filtration and then followed by with the one more clearest extended by the guest-singer Corinne Boichat: the synergy between the two protagonists creates dark-electro paragraph culminating in an extremely incisive refrain. "Redeem Your Vision" keeps unaltered the rhythmic speed edifying shady futuristic scenarios within which they hypnotically flows the obscure currents propagated by the synths and by the programming, both them annexed to the cadenced resoluteness of the vocal sections, to the dark-effected spatiality and to the short phonemes articulated by an android lifeform. "Borderland (First Request)", an electro/EBM track, begins through artificial mists followed by monodimensional midtempo replications, vocal-samples and repetitive programmed scans, sounds anticipating the next "Victim" and its pneumatic drumming supported by a thin line of dashed electronic sequences on which are activated a circular key mechanism and the Oliver's vocal incitements. "Living On Video" is a good remake of the same old Euro-hit published in 1983 by Trans-X, now re-editing on this occasion by Nine Seconds as an irresistible and ultra-danceable electropopish version that comprehensively follows the instrumental and vocal movements of the original song, these latter built in combination by Oliver and Corinne in addition to most technologically advanced formulas and sounds that don't change anything about the catching and unmistakable melody of the synth and of the rhythm which, now as yesterday, calling us to dance: this song is also available in the "Extended" format into the ep "irresolution". A progressed dark-electro/EBM united to cyclic percussive midtempo apportionments constitute "Mission Accomplished", a song full of obsessive and impure key harmonies supported by the fast and minimal drum-programming which geometries found the support for the Oliver's vocal harshness, while Andreas Lehmann, Daniel Konrad and Sigmund Droese, aka the German electro-act called Framework, remix the song "Irresolution" slowing down the fiery rhythmic structure of the first version and making more atmospheric its complexity by an increased use of keys and by evocative interpauses. The Geneva DDDmix, Baron von Smock and Garf, the owners of the dark-electro/'80-wave project known by the nickname BAK XIII, are the interpreters of the clubby reworking of "Burn Superstar Burn", now enriched by video games sounds, by more elaborated electronic architectures and a by streamlined speed that is well suited to the enthralling chant. In conclusion, the well-known Belgian project Vomito Negro, starring by Gin Devo, is the remixer of "Mission Accomplished", expressed by adding a greater fluidity in the drum-sequencing and in the futuristic minimal-electro-wave sonorities. The virtuous Nine Seconds perform impeccably their function of electro-entertainers, completing a release geometrically perfect within which they are incorporated intriguing dance elements and a dark, modern reinterpretation of the traditional sonic-technological constructs. "Poladroids" must be considered an interesting audiogram that the acolytes of the genre are invited to listen to carefully, admiring its morphology and the variety of its structures. A fundamental release, an object which absolutely should not be missing in the discographic archive of any evolved electro-listener.
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Organisation Toth - "The Living Forces Of Evil" - cd - by Maxymox 2013
Five years outdistance this newest album from the last release published by the Organisation Toth, French solo-project featuring the cryptic Ö.livier.T. alias. Ö.siris oriented, especially in his past repertoire, to experimental compositions characterized by martial, ambient and noise cold resonances. The productions released by the artist start in the year 2000 through the ep ambient stylized "The Voice of T.ERR.OR" followed a year later by a second ep, this time industrial-minded, called "Follow The Red Order": both works are marked with the print by the French label Athanor, specialized in genres indus/ambient/ritual and known for having included among its members names as Psychonaut, Blood Axis & Les Joyaux De La Princesse, Dawn & Dusk Entwined and Ain Soph. In the year 2002 came out the tribal-electronics promo release titled "Red Light Rituals", self-produced by the effigy Temple Ov Toth, a brand with which Ö.livier.T. released at the same time "Operation Slaughterhouse" too, an ultra-limited mini album printed in only seven copies and contrived by his parallel power-electronics/industrial identity called Project Toth. The return of Organisation Toth at the home Athanor took place in 2003 with the 7" vinyl release "Red Light" published in the unusual limited edition of 333 copies and showing off a glacial industrial/ritual/dark-ambient musicality, work which was followed in the same year by the first album "Birth Ov Light", a debut presenting empirical sounds mixed with industrial, ambient and noise sounds, planned by Ö.livier.T. with the ephemeral collaboration by Frater Th e Mephisto.S.: the supporting platform was the prestigious Italian cult label Old Europa Cafe. They spent four years and then in 2006 the author published another self-published release, the mini CD-r "Order Ov Light," in which four songs they perceived electronics/dark-ambient groundworks, while in the second full-length "Presents Gloria Victis", published item in 2007 by the Polish label War Office Propaganda, Organisation Toth elaborated dark sonic technologies and martial/ritual based experimentations. During 2012 the glorious Polish label Rage In Eden releases the three hundred copies in digipack-limited edition of this suggestive "The Living Forces Of Evil", the third album whose eight tracks express glacial minimal-industrial/dark-ambient formulations, not subjugated as in the past by a tangible and primary martial rules, but rather by a transfigured symbolization of the same ones, pseudo-military elements now inserted into the musics in an indirect form so evocative, however still strategically perceptible. Internally in "The Living Forces Of Evil" every track is played in decreased mode: the percussive timbres and the sound-system are opaque and filtered through the machines from which emerges a turbid distillate that exalts in eight tracks the inflexibility of the rhythmics and the obsessiveness of atmospheres constantly charged of tension, aspects that begin their way from the first segment of the tracklist, the short and disturbed "Only Fear...", a sonic experiment expressed through distorted voice mutilation worn down by a pungent cloud of electronic interferences. The subsequent "Örden" assembles the concise and dark rhythmic-programmed repetitions to occasional insertions of hymns and synthetic manipulations, while "The Iron Evangel" is a technologic-martial whose executive austerity is created exclusively by a pugnacious modular drumming and a reverberated sequencing line, elements subject by Ö.livier.T. to a continuous volumes alternation and dirty effects. On the background of an ambient-industrial it rises the next "Hypnotik Spell", a ceremonial consisting in intermittent softened drumming beats that obscure pulsing and cyclic electro-replications suffocated by darkness. "The Death Issue" creates into the listener a perpetual state of alert using sirens, acid iterations of noises and granulosum percussive bombardments, while the following "Circles Ov Dust" plans a minimal-electro/industrial sound by the fast and convulsive proceeding of the rhythmics and by robotic scans in conjunction with a mass of synthetic alchemies such as reverbs and computed substance exhalations. "Higher Law" predisposes an ambient-electronics song using an immutable sequence of programming distributions similar to what you hear inverting an atonal and gaseus fragment of sound, all this accompanied by the silvery flare that sparkles in the background. The completion of the release is assigned to the industrial-ambient expansion of "O.T. Signal", a track, as all the previous ones, monodimensional, processed through the fractionations emitted by the equipements and poured into a morbid, circular whole of minimal automation, alien atmospheres, leaden electronic layouts and, occasionally in this episode, echoed vocal samples. Album strictly reserved to experienced listeners, those ones fans of the technologic sound forged with essentiality and strictness, entirely devoid of melodies and any king of ornaments. Organisation Toth schematizes the sonic concept destructuring it with inhuman coldness, annihilating its core and reassembling what remains of it into a musicality oxidized, but at the same time, artificially powered by a mysterious life. What more can be perceived in "The Living Forces Of Evil" is a sensation of extreme discipline, of inflexibility and a total sound control, attitudes which fully reflect the austerity that dominates the mind and therefore the creativity of the artist: the newest electronic rite celebrated by Ö.livier.T. represents materially the equivalent of the ice on the skin.
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Pieter Nooten - "Haven" - cd - by Maxymox 2013
I always considered Pieter Nooten as one of the greatest exponents of the ambient/progressive sound, an artist with immeasurable communicative qualities and a sensitivity that transcends all the ordinary. The artistic career of the protagonist has passed through different stylistic phases before finding its congenial dimension, experimenting toward the end of the 70's its original quality of symphonic-rock drummer, directing later his interest at first on the bass-guitar's pulses and farther into the keyboard's universe. Exactly at that time, Europe was crossed by the hard new waver force from whose numerous divisions and interpretations arose an hybrid called dark-electrowave. The following events were inspired by this specific sub-genre: they provide the meeting of Pieter with two characters whom determined in large part his successful's artistic ascent, the compatriots Anka Wolbert and Ronny Moorings, with which he founded in 1981 a band destined to enter deservedly in the annals of underground music contributing significantly to its development, the famous Clan Of Xymox, a project traditionally in constant line-up mutation. The role of keyboardist entrusted to Pieter within the project was legendary and decisive for the reserved and obscure experimentations included in the self-produced EP dating back to 1983, "Subsequent Pleasures" and also for the initial success given the homonymous and unforgettable album "Clan Of Xymox", licensed in 1985 by the magnificent Ivo Watts-Russell's London based label 4AD into which the trio was introduced thanks to Brendan Perry and Lisa Gerrard of Dead Can Dance: in the tracklist of this full-length it should be noted an episode which even today is still the most representative of all the release: it's entitled "A Day", a "symbol" song destined to ride the decades without never knowing the decline, a romantic-electro/darkwave masterpiace which Pieter's keyboard sections they impress indelibly in your memory. The unstoppable progress of Clan Of Xymox continued in 1986 with a second album more elaborate and obscure always distributed by the glorious 4AD, "Medusa": it gave the final seal to the Clan as "legendary-band" conquering the present and the next generations of wave listeners, giving to Pieter the chance to highlight his admirable keyboardistic ability reported also by the third album "Twist Of Shadows", published in 1989 for a sub-label of U.S. Mercury Records, Wing Records. The experience of the musician with Clan Of Xymox ended after the publication of an album characterized by more mainstream intentions, "Phoenix", ever issued in 1991 by the Wing Records: Pieter and Anka then left the Ronny Moorings project which undertook through a solid discography the multiplicity of styles that has made known his ensemble worldwide: synthpop, techno-trance and finally the gothic-rock, genres applied in several stages by numerous and further line-up mutations, varying from the year 1987 to 1997 the band's name into the most essential brand "Xymox", effigy reconnected again to the original, definitive and current segment "Clan Of". The Pieter's executive music print manifested at that times different orientations following the instinctive ambient tendences long accumulated in his mind: by this peculiarity it born one of the greatest ethereal/abstract/ dark-ambient albums of all times, the immortal "Sleeps With The Fishes ", licensed in 1987 by 4AD, an indipendent label which in those years was considered as one of the most important musical institutions in post-punk/dark avant-garde, for supporting unforgettable bands such as, for example, Cocteau Twins, The Wolfgang Press, Modern English and This Mortal Coil. In his old release, Pieter Nooten combined aerial constructions inspired by the Brian Eno's keyboard repertoire, together with a penetrating vocal melancholy imprinted in some episodes not only instrumental; torpid, oneiric sounds, embellished by the suggestive arpeggios evoked by the "infinite guitar" played by the Canadian Michael Brook, a work of such extraordinary charm that today too it's still considered by the connoisseurs as an indispensable point of reference in its specific style. Before to consolidate his music on bases purely ambient minded, Pieter experienced during the 90's the predominant house-dance trends in vogue in that years, initially producing at least twelve releases and then actively working at the One4Two studio in Amsterdam. The dance-oriented projects embodied by Pieter were ephemeral, they born and die out in a short time, nevertheless they will be remembered for their melodic touch and for the accuracy of their arrangements: and so here's the First Contact, an house/techno/ambient band composed by Pieter, under his nickname Teen S, in collaboration with Anniki Sommerville, aka Niki, through which were published between 1992 and 1993 the following releases printed on 12"/CD-Maxi: "I Call Upon"," Proze & Cons", "Into The Light" and "Gotta Get Back (2 Love)", all published by the synergy between the labels Hypercycle and Virgin. Simultaneously, Pieter funded the house/acid-trance/experimental project known as Cyberia, realizing chronologically between 1992 and 1995 the following EP's ever on 12"/CD-Maxi: "Hanggliding"," Albatross","Open Up" and "What Kids Do On A Rainy Day". In 1993 it was the turn of the trance/techno platform called Fingerprince, in which Pieter collaborated with the mentioned Anniki Sommerville and with Ad De Feijter: they are the authors of the 12"-EP "Trancelucent", a record ever issued by Hypercycle. The reunion with Anka Wolbert occurred in 1995 was the occasion for founding Vaselyn, a project never effectively took off, the stylistic and technical details of which are still nebulous except for two details: the label responsible for its distribution, EMI (NYC), and a trip-pop album entitled "Cocoon Time", remained unfulfilled in that years due to some problems with the aforementioned record-home until its subsequent 2005 publication, an event made possible by I-Rain Records, the Anka's own label supported in strict cooperation with Sophie Zeyl, an indie-pop/electronic musician whose album "Two Ways Of Running" was produced in 2004 by the same Anka and Pieter. The ambient-oriented discography officially available under the name Pieter Nooten lists the following albums: "Arctic", released in HDCD format by the label Dennis Music, continuing with "Ourspace", co-produced by Anka Wolbert and issued in 2006 by I-Rain Records, "Here Is Why", a work published in 2010 for the London-based label Rocket Girl in which downtempo/experimental/ambient tracklist, Pieter introduced the guest vocalists and songwriters Yvette Winkler, Susan Bauszat, Kristin Oppenheim, Kevin Hunter, Renee Stahl and Gill Lopez. They continue the full-length's list "Surround Us", published in 2012 again for the Rocket Girl, and now this new sonic wonder printed on double CD, "Haven", the first 2013 record creation released by the label Rocket Girl. The ideal complements chosen by Pieter to increase the level of musical involvement during his live performances are the images processed by Miryam Chachmany, an emerging talented video maker whose works are currently showed in galleries in Miami, New York, New Mexico and also in an important upcoming art-festival in Amsterdam: Miryam is the author of the fascinating sequences that accompany the video-versions of the tracks included into this recent double album entirely instrumental which is the third act of a specific releases-progression created and mixed using the Mac Book Pro, the only equipment chosen by the musician to create a sound perfectly clear. Twenty songs, ten per diskette, are the interpreters of this ethereal/ambient journey that investigates with extreme delicacy the emotional emisphere, highlighting harmonic areas mainly directed towards nostalgia and reflection: all begins by the very long pads and by the minimal chords of "Here Is The Light" which trajectories recite a poem without words capable to make traveling far the imagination, sounds alternated to those most articulate of "Slowed I", so fragile, sensible and full of romance, aspects perceptible in the slow expansions that gush out from the laptop on which bloom buds piano colored by melancholy . "Transit" generates a sonic area saddened by piano touches, by depressed digital extensions and, more forward, by the electronic segmentations that constitute the melodic core of the song. "The Waiting I" is an ambient theme offered to introspection, element perceivable through the pseudo-violin evanescences surrounded by tearful pads, by three-dimensional reverbs and by an elegant piano punctuation. From "The Paik Theme I" come out scented violin flows, keyboard expansions and fairy piano's scales that flood quietly in a track to listen to following every moment of the descent of the sun around the dusk's shadows, while in the subsequent "Der Abschied" the listener will sink into an abyss of sweetness, feeling originated by incorporeal toning and crystal touches of laptop which union creates an artificial Eden. "Unbroken I" communicates sentiments of deep sadness combined with a noble decadence, perceptions expressed by the bows emulations processed by the Mac, together with the limpidity and the minimalism of invisible strings. The atmospheres become immobilized, enchanted by the poignant solemnity of the pads and, later, by essential piano orchestrations and rarefied sections of singing, all this in a succession of emotions and of physicality, gradually acquired through harmonic structures increasingly substantial and vibrant. The piano textures of "Overflight" converge into a dreamlike dimension touched on by synthetic breezes and intersected by fleeting, saddened chorus, all this lovingly encircled by the wonderful chords developed by the laptop and by the arpeggiated interlacing of support. "The Waiting II" transports the listening around an unreal scenery within which the ambient sound breathes diaphanous pads, stretched until reaching the vastness of the soul, intoning an artificial melody immensely distraught and mesmerizing. The last track included into the CD-1 is "The Long Goodbye", as well as the previous ones is distinct by a computerized register perfectly similar to a multi-keys synergy from which they diffuse with thoughtful affliction piano reverbs and chords that definitively fade into the deep feeling. The second volume of "Haven" recuperates in prevalence the antecedent titles reinterpreting their movements through non-structural variants, but rather finalized to offer the same tracks embellished by renewed arrangements, letting intact the doleful aura that has so far characterized them. And therefore here's the design aesthetically nostalgic of "Slowed II" that induce to ecstatic visions and a to a state of total abandonment, all thanks to the romantic piano symphony that innervates the hot symmetries of key digitally expanded. The dream-ambient architectures of "The Paik Theme II" are introduced majestically by slow laptop layers able to materizlize sonorities that in the imagination they could portray the cycles of light and of clouds impressed in the pale winter sky. "Unbroken II" seduces with passion by atmospheres generated by chords full of spleen on which the author inserts plucked finishes and mournful tolls of piano embellishing its modulations. "The Long Goodbye II" is a song performed with boundless sadness, in which the soft piano scores and the slow grace with which evolve the Mac's expansions irrepressibly recall from the depth of mind all the suffering, all the intensity and all the tears perceived during the moments of a greeting that you would never end, however made inevitable from an adverse fate. The musicality belonging to "Here Is Light II" runs through emotional sad/dream-ambient landscapes originated by pianistic rarefaction and by the melancholic laptop suspensions, while the following "Slowed III" combines the strong suggestion of the piano sound with ample, incorporeal keyboards manouvres, in a scheme that immobilizes time and space, granting to the sound to extrapolate from the soul the most nostalgic memories. Skeletal melodies, perennially dominated by the consternation and by the ardent need of a liberating cry, are now listenable in "Unbroken III", a track that leans towards the true essence of affliction, interpreting sonically it by elegiac, vertical pads, incorporating into them sparks of pure silver, as well as "Different Planet" emphasizes the preciousness of the human low-spirited feelings and of the introspection, digitally enhancing these elements by elegant piano-violin orchestrations that remind the sense of immensity. The spherical depressions of keyboards and the guitar reverbs planned in "The Paik Theme III" abduct hovering in the air with transcendent lightness, while the closing "El Encuentro" opens its structures with the same tenderness of a flower in the snow, entrusting its minimal harmonies that evoke this image to a piano's foreground filled of emotions. That by Pieter Nooten is an inedited compositional style, universally unique, characterized by melodies that since first instant recall the specifics of his repertoire, letting that the listener, now as always, fall in a state of bewilderment and in a total ecstasy, conquering him by the language of his music. The album "Haven" describes by sentimental voice what is perceived remaining in solitude contemplating our own memories, embracing with an intensity never felt even the slightest emotion that gushes out from this inner exploration. Another sound miracle made by Pieter is now done: keep it in your soul intimately and recall it to your memory every time you are overwhelmed by the desire of a sincere caress, donated with endless love by the hands of melancholy.
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Public Domain Resource - "Dead Surface" - cd - by Maxymox 2013
Talking about the Bergamo based power-duo Public Domain Resource it means highlighting the compositional validity and talent of the new Italian avant-garde music: the project, initially founded in 2012 by Pietro Oliveri (music/synths/programming/vox) as a solo-act, began its way in the same year through the freelance single "Under The Ground" which soon placed at the third position of the Soundclick.com's portal called Industrial Music Chart. This release was the precursor of two other self-released singles even more fortunate: "Nemesis-The Third Day" that reached in 2012 the second place into the IDM Chart, followed in 2013 by "The Hang", a track appeared again on the Soundclick.com's selection as well as in the first place of the mentioned IDM Chart. After this great starting, Public Domain Resource completed, always in the year 2013, its evolution by three key events: the first was the entry into line-up of the vocalist Ugo Crescini, he too like Pietro coming from spent musical experiences developed in the 80's, with whom the project strengthened the sound tactics and also its own identity, perfecting a composite style which included particular electro, EBM , IDM and synthpopish elements, all this until theattainment of a second goal, the important recruitment by the independent Italian label Space Race Records by which they realized their third objective, or the publication of this debut-album "Dead Surface" now treated by Vox Empirea. The full-length, available in digipak format, contains fifteen tracks including the three singles mentioned above and it justly aspire to the loyalty of an increasing number of alternative-electro listeners, polarizing their attention on a musical technology actually able to entertain and make dance the masses using sounds genetically evolved and voice strategies often inspired by futurism. "Ideals", the first episode of the tracklist, is indeed a brilliant electro-future/synthpop and EBM shaded, whose structure, built by enthralling drum-beats, circular hatches of programming, keyboard's acidifications and a well-modulated singing, promises moments of true listening pleasure, while the following "Red Lines", by decelerating the rhythmical speed, it creates an atmospherical set of electronic frequencies arising by the obsessive metric calculated by sequencing and by the alienating transversality of synthesizer, a sound register made even more impressive by the singer's filtered tones and by a telephone-spoken sampling voiced in Russian. "Under The Ground" predisposes a futuristic technopop-EBM module into which it stands an android chant precisely inserted between the mechanical midtempo drum-programming, sounds that catch the senses together with the equally futuristic synth melodies. The homonymous "Dead Surface" begins propagating a captivating key-programming intro followed shortly by vocals dictated by inanimate shade, formulas that are flanked by the cyclic motion of the midtempo drum-machines, by the greve touches of a reverbered piano and by an estranging voice, all this in a well-engineered track that offers a vast selection of inspirations which, considering their exceptionality and if they properly processed by a good remixer who may especially strengthening the rhythmic partitures, it would possess all the features for creating a floorfiller dancefloor-remix. The percussive dynamism generated by "Fiat Lux" settles midtempo, rolled beats, following the linearity of programming and of the key replications revealing, as well as an electro structure, EBM tonings combined by with repetitive vox modulations, while the following "Negative Fields" propagates waves of pure tehnologic-energy for the maximum danceability, all this created by the symmetrical propulsion of midtempo drumming, an element of fundamental importance, further boosted by pulsing turbo-basses and made more attractive by the joint between robotic-vox, whispers and spoken words, sonic geometries prepared on a fascinating background of synth evolutions and sequencing segments. The percussive scheme of "Always Prey For Them-The Reich's Station" transmits impure scans which midtempo regulation, together with the programming fixity, with the essential synth's harmonies and with the melodic coldness of the chant, finalize a danceable electro-device very suitable for the alternative dancefloors, as well as the subsequent "Nemesis-The Third Day" canalises cyber-voice propagations internally the futuristic syntheticism generated by equipments made up by the pneumatic midtempo thrusts of drum-programming and by the metallic key flows. "San Mishima" slows down the bpm's originating a downtempo track in which they articulate mechanically the drum machine beats, the cyclical of sequencing and the filtered alien voice. The electro/EBM dictates covered by Public Domain Resource continue forging now "Your Blood Is Mine", a song enlivened by percussive midtempo incitements and by the iridescent synth chords that towering over the uniform vocal concatenation, while the beautiful intro section of "The Hang", composed by ethereal pads and by programmed streams, evolves into a midtempo future-electro automated with precision by drum-machine, embellished by synth fluorescences and entered into a cosmic dimension by a melodiously opened chant. The metallized tones and the metronomic gait belonging to the drumming of "The Second Day" hypnotize outlining replications on which the vocalist erects a slightly soured chant by filters, connecting it to the hatching fluid of sequencing and the coldness of synth expansions. The TourdeForce, excellent electronic-act from Bergamo conceived by its frontman Christian Ryder, remixes "Red Lines" increasing its percussive speed enriching the sound structures by fascinating dance-minded technicalities and arrangements that transform the original track in a valid title for the playlist of electro-alternative D.J.'s. The reworking of "Under The Ground", performed by the Washingtonian DC electronic-band named Retrogramme, offers an amazing combination of very danceable formulas and sonic-space reinforcements, with the introduction of an electric guitar, rhythmical fractures, of more clarity in the programming line, of artificial expansions and echoed synth solos. The closing chapter is the Magnetic Fields edit version of "San Mishima" that transfigures the slow song into an electronic ride constantly eroded by the corrosiveness of key's winds and rhythmed by icy currents arising by the drum-programming. Realization from which they emerge compositional stylemes elaborated and developed with efficiency, the album "Dead Surface" is synonymous of ultra-modern dance, intelligence and of a disciplined/technological inner training, energized from the best school of Electronic Body Music. Inside the debut full-length the two protagonists play their respective roles in reciprocal sintony and with impeccable methods, distilling a musical compendium full of "future dancing" atmospheres separated out from all obviousness and perfecting a tracklist that will interest all enthusiasts of highly advanced sonorities. Public Domain Resource: a project destined to become in time a kind of reference for all those who consider the listening of electro-sound an imperative need.
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Red Industrie - "Destroyer" - cd - by Maxymox 2013
With the denomination understood as "Future Clash Body Music" we mean the music genre interpreted by the Mexican Red Industrie, design that in 2008, the year of its foundation, it based initially and only their intentions as a side-project born on the detritus of Isis Signum, will later turned into a a stable course encouraged by the results and the approvals of greater thickness. As a result of radical changes on their staff made since the time of origin until 2011, the line-up currently mentions the front-man Helder Camberos (songwritting studio/production/composing/live & studio vox/midi controlers), Fernando Diaz (live & studio guitars) and Danya Malashenkova (live & studio female vocals /live controls), trio creator of a discography introduced in 2009 through the two digital singles "Electro Body" and "Space Science", published respectively by the U.S. label Black Montanas and by the Mexican Sango Music. These two debut episodes were later included in the first album "Ciencia Ficcion", made in the same year for the Mexican label Advanced Synergy, to which contributed the precious collaborations provided by artists among which we nominate for importance: the Spanish Yasmin Gate, operating in the techno/electro-house area, the Belgian producers Lia Organa & Electric Prince, plus the electro-oriented projects People Theatre, Modulate, Syrian and Elite!. In 2010 they released their second full-length, "Switch", licensed by the German Electro Arc and containing in its tracklist many important contributions given by, citing them for notoriety: Psyche, again the French project People Theatre, the EBM German ensemble Angstfabrikk, Sara Noxx, by the techno-Spanish duo called Strange Connection, Darkmen and by the German EBM formation Autodafeh. As described at the beginning, they are present in the repertoire of the Red Industrie some versions in digital format only, as the remixed album of 2012 "Koerper Reich", however also available in CD-r or, more previously, the four-tracks of 2011 "Domination 2.0 Remixes". The recent return of the band in the technology scene is signed by the new and third album "Destroyer", thirteen episodes, in addition to the video track of "Never Trust In A Machine", published for the excellent and dynamic Neapolitan label EK Product, within which are combined with efficacy electro-pop, EBM and Techno-Body-Music elements, for a whole of true energy and synthetic propulsion so extraordinarily exciting and danceable. The maximum denominator that unites a large part of the music schemes composed by the Red Industries listenable today in "Destroyer" too is manifested in the form of electro-EBM programmings absolutely danceable and made cold by the vocal exchanges between Helder and Danya, similar to the dialogues between two androids; the credits of the release, as always enriched by external participations, point out the production of the same Peter Rainman, aka People Theatre, as well as a large number of artists whose cooperation has greatly enhanced the drawing up of seven tracks, the first of which is the starting song "The Final Destruction", a pulsing midtempo electro-industrial released in collaboration with the German Sara Noxx, a track exhibiting the glacial sections spoken by Helder surrounded by the feminine and sensual vocals of Danya, hypnotic percussive beats, liquid flows of sequencing and, in the central compartment, scratchy guitar riffs. The soloistic presence of Dirk Da Davo, he together with TB Frank as builder of the Belgian synthwave/EBM design called The Neon Judgement, collaborated to the driving up of "One Pain Killer," an dark-electro/EBM track particularly suitable for wild dancing to be performed under the effects of strobe radiations, ideal condition to be wrapped by a thumping rhythmic rain within which the vocals militarily fractionated by the singer and the technological mantra of the refrain serve as driving to the rapid replications of the programming and to the acidity that erodes the synth touches. "Body Of The Week" further energizes the sound presenting itself as a short timed techno-EBM capable of capturing attention and movement through the mechanical speed of its percussive flashes and the robotic tone of vocals. Yasmin Gate, Iberian attractive and creative techno-girl, is introduced in future-electropop executions combined with EBM intuitions that give shape to "Decadencia", a song specially designed for dancefloors and planned by midtempo percussive pulses symmetrically to the flow of programming, all this full of the seductive vocals spoken by the guest singer duelling with the most dry and sectioned ones that distinguish the Helder's interlayer. "Perfect Black" slows down the bpm's stabilizing itself into an electropop/EBM downtempo built on modular replications of the drum machines that run parallely with the rhythmic sequenced embellishments, formulas regulated by the atonal, severe and phrased chant of the vocalist, whilst the following "Energie" is the remake of the homonymous single-track published in 2006 by the former electro/techno/EBM platform named Isis Signum, a new techno-trance/EBM dancefloor reinterpretation now structured by deaf uptempo timbres simultaneously with the fluidity and the precision that aligns the pulse rising up from the machines, the electronic effects of embellishment and vocals coolly dissected. Even more powerful, the midtempo rhythm graph on which is based the remix in Dead ManDanz version of of "Hipocrita" enmesh the senses forcing them to a technologic dance using to this end the hyper-processed frequencies that surrounding the Helder and Danya's voices, loops and effects, wriggling sequencing tips and synth, as well as the following "Cuarta Dimension" is proposed as an electro-EBM track disciplined by the ordinates emissions of the two singers and by the midtempo beats generated by the percussive plant, all evenly distributed on the sequencer's liquefaction, on the metallic and cyclic opacity of the progs alternated with the keyboard spreads. The rhythm takes height again flooding the subsequent "Never Trust In A Machine", a track dotted of synthetic uptempo beats that merging themselves to the sequenced lines, to the synth breaths and to echoed tones from the Helder and Danya's singing, they construct the framework of a techno-electro/EBM song very danceable and strengthening. Raul Parra, Spanish d.j. and producer, remixes now "Body Of The Week" adding in its textures more electro/EBM decorations, filtering vocal, rhythmic-synthetic spatiality and futuristic clubby-minded tactics, as well as the deconstruction of "One Pain Killer", elaborated by Dirk Da Davo in this "Modernist" version, robotised the percussive-vocal core listened in the original song transfiguring it into a future-electronics module of the EBM concept, mixing inside it slender and danceable e-drumming rotations, automated pulses, vocal saturations and a nebula of atmospheric pads. Entirely devoted to the old-school EBM dictates, the revisitation of "The Final Destruction", here as "Devastation Remix", takes full advantage from the alliance between Sara Noxx and Ionic Vision, Belgian synth-wave trio composed of Sven Lauwers, Andy De Decker and Louis Zachert, makers of a device particularly danceable, incisive and processed by modern arrangements adapted to the dancefloors. In conclusion, the German duo of EBM/industrial matrix called Strafbomber superbly remixed "Body Of The Week" turning it in "Extended Dub" scattering its surface by air uptempo beats, dense sequenced layouts and electronic mesmerizing interchanges. Album full of promises and desire for affirmation, this "Destroyer" constitutes from now a new point of reference aimed to the EBM fans. The percussive domains radiate with their vigorous push the polyhedral joints originating from the equipment while the essentiality of the voices plays a role of ornament, all this for a sonic diagram in which prevail determination, dynamism and the indefatigable body movement: release to listen and dance until the forces will allow you it.
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Saffronkeira - "Tourette" - cd - by Maxymox 2013
The Italian experimental-electronic front introduces in its circle the new name of Eugenio Caria, aka Saffronkeira, techno-dj and one-man project from Sardinia, since 2008 proponent of deep raids into the artificial sound. It's hard to search for a particular specificity into which circumscribe the music of this artist: his sound could be described as an empirical minimal-ambient intersecting several currents that depart from ethnic to join the impressionist avant-garde, the experimental-noise/glitch, dark refractions, the abstract and a thin filament of advanced-classical, but without position itself permanently on any of them to confirm a creative will that staves off precise guidelines preferring compositional trajectories more freestyle-oriented and instinctive. The discographic history of the protagonist, concentrated almost entirely in 2012, at the beginning stage includes two digital compilations: the first one, "Denovali Swingfest", represents a wide panoramic view across the radical-electronic scene, an
initiative promoted and produced by the homonymous German label during its traditional festival opened for the first time in 2007: in this collection, recorded at the exhibition held at the German location of Weststadthalle Essen, Saffronkeira aligned two compositions in an extensive tracklist into which they followed numerous projects including, citing some of them for their resonance: Hidden Orchestra, A Dead Forest Index, The Nest, Carlos Cipa and Year Of No Light. The second past release that contains the partecipation of our musician is the sampler titled "... and Darkness Came By Headphone Commute", a compilation made for beneficial purposes devised by the same New York based online magazine through an impressive tracklisting that counted eightyseven episodes. Another collection, at this awkward situation published in 2009 as a CD-live for by the Spanish label Störung, was called "Störungliveseries 003": it was recorded at the Farinera del Clot auditorium of Barcelona during the international festival of electronic music organized by the same brand. Saffronkeira also demonstrates to be a skillful manipulator of remixes, art showed in the reconstruction of the song "From" included in the tracklist of the digital album "Silver" soloist built by the multi-instrumentalist Charles-Eric Charrier, him together with Rasim Biyikli member of the electroacoustic project called Man. Again in 2012 was the turn of another release issued by the prestigious Denovali, the homonymous "Saffronkeira", a 10" containing two tracks in digital download format which was followed in the same year the acclaimed EP "A New Life", published in CD format always by Denovali, a work in which the interpreter expressed their emotions through a sophisticated and engaging dark-ambient/drone, everything on a creation divided in two chapters named respectively "Old Life", it including seven tracks, and "New Life", it consisting in six acts. The sound system designed by Eugenio and the fundamental importance of the support given him at the highest levels by Denovali, as well as the encouragement of an ever more numerous and affectionate audience, they undertook their full input function led the project Saffronkeira upon the completion of its debut full-length, that is the current "Tourette", object of an unexpected but deserved success, entirely composed, produced, mixed, arranged in Sardinia by the artist and mastered by Alex Gámez at the said Iberian label Störung: the release is available in CD version and, for all the fans of this genre, in double vinyl format embellished in style White/Black splatter. The eight suites contemplated in the work possess schemes characterized by integral dehydrations of the whole sonic concept channeled into the penumbra by cyclic alternations of electronic minimalism, by noises, by atmospheric pads and by episodic, fast openings facing towards those different sonorities that I listed in the introduction. Conforming this, "First Steps", the opening track, proposes as an ambient song composed by gaunt technological manipulations immersed into the mercury coloured quiet of an icy and vaporized sound, within which flow in solid state micronized percussions, keys dissonances, artificial noises and, further, the spectrality of a symphony immersed by shortly into electronic transmissions, sounds that, overall, create an aura of refinement and cerebralism. The subsequent "1859-1904" is fascinatingly articulated snakeing through a fragmented percussive downtempo-glitch around which, coming from an oneiric dimension, evaporate key columns, arabesque recalls and nano-synthetic effervescences, as well as "Motion" propagates acuminatum and atonal emissions of alien technology whose asymmetric fractionation are diluted between the motionless waves of an ambient-sound formated by slow and dark pads expansions, sampling phrasing and electronic punctuations. "Fragile" is crossed for a long time by a sound module created by the key obsessiveness of a single note that runs in a dark-ambient background littered of pseudo-rhythmics and microscopic sonic particles, frequencies suddenly supplanted by a dark-classical piano interlude and then precipitated in a new stratification dominated by inert and experimentally gloomy acoustics, in which the triumph the thin industrial-noise inserts, the oppressive key background and the deadlifts by the percussion section. A slow pulsing tone and the particular fluidity of the sound glacially traced by the keyboard wakes, make "Obsessive Compulsive" a gaseous-state ambient, initially built using minimal electronic noises, panting breath, ethereal key suspension and fast tape rewinding, as well as the remaining playing time of the song is wrapped by pads privated of their physicality together with noise-clicks and impersonal artificiality of vocals taken from an interactive game. "Insensible Crash" continuing by an underground rumble around which are centralized percussive rarefactions, an unceasing hiss, cosmic thunders unknown screeching and echoes generated by nameless mechanisms, all this dotted by pulses that further increase the sense of mystery that pervades this dark-ambient. Even more impressive, "The Disease" spread feelings of melancholy and alienation condensing them between tapping noises later covered by solemn key procedures of increasing tones and reverberated effects, sounds interrupted by a sudden thunder that, even subsequently, separating the various phases of the track which continues in a development devised with saddened essentiality by the piano keystrokes and, in more advanced stage, by key orchestrations so beautiful and comforting to make the last part of the song as ray of light into all the darkness. light in all the darkness. "The Hope" does succeed to an extensive noisy crunching introduction, dry percussive slowdowns and key mists, but also the torment and the nostalgia generated by neoclassical chords replicated with circular intensity by the keys, especially in the violin intonations, so beautifully and gradually combined with the dense programmed graphics that vibrate in the background. Realization of high significance, "Tourette" transcends drastically from the usual prospects connected to the ambient genre, offering itself by insights disengaged from the monochrome that often characterizes this music style deconstructing its sounds and making them converge in a direction completely experimental and personalized. The absence of rigidity and linearity in all the creations designed by Saffronkeira refer inner dynamism and desire to forge a living sound which knows how to communicate emotion through a synthetic language consists of buttons, sliders and knobs creating formulations able to polarize the listener conducting gradually him to the ecstasy. And starting from this specific point I strongly wish by the the protagonist the concretization of a forthcoming masterpiece that possesses in its tracklist, identically to this album, above averaged executions and the manifestation of a outsider's talent: is unknown to me if Eugenio Caria is aware about this, but he is just to one inch from the absolute perfection.
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SPEKTRALIZED - "In Between The Opposite" - exclusive anticipation - by Maxymox 2013
By this summary on the upcoming release of the newest album by Spektralized, Vox Empirea webzine inaugurates in exclusive an amazing season of electro-anticipations from EK Product, an Italian label worthy of relief for having undertaken, better than any other current independent music brand, an active and absolutely effective way on the front of a targeted selection of the artists recruited as well as its regular frequency of the releases offered to the public. The purpose of the initiative taken by Vox Empirea webzine is primarily alerting and orient in advance the alternative reader towards the products of excellence coming from the mentioned label, offering a selection of upcoming releases initially described in their prevalent traits and subsequently, in more detail, improved in our traditional deepening reviews.
>>>> Standard composition at the highest levels, immediately capturing melodies and a strong dose of danceability are the driving forces of this album. "In Between The Opposite", the fourth one of a discography qualitatively in continuing ascent as manifestation of a creative talent that knows no limits. The electropopish atmospheres built by the Norwegian Spektralized speaks with a direct language but at the same time sophisticated and danceable: their newest chapter reveals the band further matured and and in possession of an admirable ingenious so full of strategies that know how to conquer the listeners offering them artificial sounds created by irresistible, pulsing bpm's, synths vortex and the powerful voice of Richard Bjørklund that sustains the orchestrations. Into the album nothing is casual: everything is generated by passion and science, by calculation and sentiment, elements that give to "In Between The Opposite" a fascinating aura that deserves to be discovered track after track, for a release that will drag you into an excursion in a technologic universe dedicated to the newest and old electro-generations. <<<<
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Spektralized - "In Between The Opposite" - cd - by Maxymox 2013
The description regarding the biography and the deeds of the Norwegian electropop/EBM ensemble called Spektralized is available exhaustively into the recent interview published on the webpages of Vox Empirea, so before analyse the release now object of review I proceed listing in detail the discography included in their repertory: the band, in a satisfactory artistic twenty years during which it greatly refined its collection of electronic sounds, licensed in 2002 the first maxi-single titled "Allied", four tracks published by Accession Records, produced by the EBM/industrial musician Sebastian Komor and into which it distinguish the "Mix" version of a self-titled episode entrusted to the inventiveness of Icon Of Coil. The 2003's debut album came in the scene with the name "Elements Of Truth", a remarkable work always released by the German label Accession Records, in which ten song tracklist it excelled a strong dance orientation and melodies designed to appeal to the hearing, thanks also to the cooperation given in two occasions by the vocalist Monica Kristiansen, exactly in the songs "My Needs", a track later included in various versions on the homonymous ep, and "Stardust". After this it followed three years later, again for the same label, the second full-length "Capture The Moment", a release full of brilliant electropopish solutions solidly planted on danceable drum-programming strategies and capturing keys-voice harmonies: annotable for quality, it's the song "Better Tomorrow" in which stands the chant of the vocalist "Ida" Helen Fjeld, she with Inge Nilsen and Vidar North founder of the Norwegian electro-trance project Aven. In 2011 the Spektralized released independently the album "The Puzzle" directing its sounds toward more EBM/sythpop trajectories, while the quoted Multi-ep "My Needs", released in 2012, in addition to having made a welcome pause before the next album, it signed the lucky agreement with the Italian electro-label EK Product. Among the chapters included in the list of this ep release, they emerge the remixes built by the same Icon Of Coil and later by Einar K, Isle Of Crows, Code 64, Technomancer & Angst Pop, Mental Discipline, Supercraft and Kristian Torkilsen. The triangular band of Spektralized released exactly in 2013 its fourth wonder, the full-length in digipak version called "In Between The Opposite" which diffusion is entrusted to the EK's sub-label, the Space Race Records: so we find the front-man Richard Bjørklund (vox/lyrics/production) with the musicians Ken A Nilsen (guitars) and Magnus Sørli (keys/second vox) engaged in a sonic creation absolutely impeccable, concentrated in ten tracks and two official remixes that certainly will increase further on the number of the credits accumulated by the band during the years, placing this record among the best ones of the alternative electro music for the current year. As mentioned in the interview, the new tracklist alternates moments of inner reflection to other ones supported by a fresh, danceable formulary, sounds mature and of rare beauty, conceived with a particular melodic sense and rhythmic potency, planned using atmospheric introductions to which they systematically follow amazing refrains: everything begins from the first song, "Children Of Tomorrow", a tech-pop manifesto composed by the pulsing and danceable uptempo cadences punctuated by the drum-programming, rhythmics surrounded by the strength and harmonious accents of which is brimful the voice of Richard, whose formulas, irresistibly catchy in their development, join the brightness generated by the keyboards and by the electronic support. A fluid and vaguely melancholic synthpop is listenable in the following "Reflecting Memories" a track traversed by midtempo drumming combined with melodic refinement that escapes from the synths, from the guitar and from the seductive intonations of the vocalist, as well as "To Be Recalled" increasing the bpm's speed but also the intensity of the programming and the coverage of synths, determines a triumph of danceability and lyricism into an electropopish song instantaneously assimilable and designed with a such method as to make it infallible at every listening, present and next, even after a long time. Electronic architectures globally recalling the intuitions from the 80's synth-wave rearguard as O.M.D. style are illustrated by Spektralized by the fascinating keys trajectories, the drum-programming midtempo and the dreaming vocals of "Looking Forward", a beautiful song that combines musically the logic calculation and the coldness generated by the machines to a vanguard concept of human emotions, a theorem which its sound will not fail to seduce the electro-romantics of all ages. "Changes" reduces the drumming adjusting the e-beats into downtempo mode and permeating of nostalgia the synth flows by the affliction evoked by Richard in his chant, while the following "No Denial", in my opinion the best chapter of the album, especially if you listen to it at loud volume, is a mixture of technologic energy, vocal refinements and extraordinary instrumental tactics which essence is concentrated in a song of extremely amazing, introduced by a torpid segment of voice and sequencer that culminates in a refrain that will give a strong impulse to your enthusiasm and from which it is literally impossible to escape, thanks to the clear separation between the quiet modulations of the initial extension and the danceable, pulsing run undertaken by the drum-programming that pushes with emphasis the lines of synths and the wonderful tones that Richard disseminates with great passion. The electronic traces, the fast drumming and the melodic flashes emitted by the keyboards lead back to the futuristic pop by Code 64 64, or rather a vortex of frequencies carefully designed to dance enrapturing the listener with the complicity of terse, authoritative vocals, curved toward chords that penetrate indelibly in the brain. "Different People" follows a synthpop very early-Depeche Mode oriented, created alternating atmospherically each other the keys touches and the suspensions of the vocalist to the rhythmic midtempo beats further strengthened by more pronounced keyboards-programming solutions. Distant EBM recalls and electropopish melodies come together to form the dynamic scheme of "Reborn", an event in which the percussive engine competes at uptempo speed with the danceable replications of sequencing, an explosion of electronic energy fueled by well-modulated vocals and dominant synths expansions, for a track destined to be one of the best in the alternative-electro d.j. set. The tracklist made exclusively by Spektralized ends with "Sci-Fi Break Up", an instrumental episode which rhythmic procedures scans mechanically the uptempo bpm's encoding in the same time the programming rotations and the radiant touch of synth, all this awaiting the input of the first one of the two remixes processed both in "For Club" version by the genius of Sebastian Komor: here is the new form of "Children Of Tomorrow", song now reinforced by percussive connotations, electronic arrangements and tactics more resolute and addressed to the dancefloor crowds who will experience with pleasure the effects of this fascinating sound. The second work produced by the inventiveness of the remixer is about "To Be Recalled", a track from which flows more compact rhythmics, sharp voice's calligraphy, synths in relief and manipulations specially minded for fans of the electronic dance . Album qualitatively impeccable, "In Between The Opposite" is considerable as one of the most valuable releases of the recent electro dynasty: this record, thanks to the experience gained by the performers and their deep understanding of what the alternative people want to hear, is able to satisfy a wide range of listeners by accessible sound strategies, the same ones that will delight any fan who can distinguish and appreciate the artistic stature of this great band. Within them, even after a single, careful listening to this album, they will perceive clearly the feeling that Spektralized are inspired by an otherworldly force.
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Strydwolf - "Dunkle Wälder" - cd - by Maxymox 2013
Originally from Den Haag, Netherlands, Strydwolf is a project founded in 2007 by the bandleader Willem W. continuer of a classic neofolkish matrix that over the years has incorporated additional sounds and various shades, elements inserted gradually in the musics until obtaining a mixture of high seductive power: the dawn of the discographic productivity concerning Strydwolf were characterized by martial/industrial/neofolk/neoclassical's albums such as the demos "Weltstorm" and "Heitelân", respectively issued by the labels Heitelân Records and SkullLine. To these two titles they succeeded in the same, productive year the following full-lenghts releases ever published by the brand Heitelân Records: "Symposion", an album composed of a wide tracklist containing twenty songs, followed by the equally extended one of twenty-two episodes belonging to "Ljocht!". To the mentioned records it was added the neofolkish-acoustic oriented split album called "Winter Ruins", published in 2009 by SkullLine, shared by Strydwolf together with the ambient/experimental/neofolk solo-project Shattered Hand personified by the German Matthew S. Toth. "Si Vis Pacem, Para Bellum", ever edited by the German SkullLine, is the title of the second split released by the project in the year 2010 cooperating with the Dutch martial/industrial/dark-ambient artist called Striider. "Dunkle Wälder", dating back to 2011, is the album to which is dedicated this review, item too published by SkullLine like all the other titles mentioned here, except for the single "Dedication" issued in 2011 by the Catgirl Records Historical. The album here and now analysed was followed in 2011 by the subsequent "Leaves Of Grass" which tracklist evidenced the vocal contributions given by the guests Julian J, by the two members of the platform industrial/downtempo/neofolk/gothic-rock The Pride Of Wolves, and by the Ukrainian martial-industrial project Truart. In chronological order it closes the album's sequence "Aus Alter Zeit", published in 2012, a release minded and created in romantic-neofolk/acoustic/military pop/neoclassic styles, into which they strictly collaborated prestigious names operating in the acoustic/ military/neofolk/neofolkrock scene: Zomerbries, the excellent German solo-projects Argheid and Falkenstein, the American duo-act Gnomonclast and finally the Dutch Hou En Trou. The line-up author of the album "Dunkle Wälder" includes Willem (guitar/vox) joined with Hans R. (drums/percussion), Dave G. (percussion) and Robert H. (melodiks/accordion), while its tracklist, consisting of sixteen songs, starts with the fascinating "Intro" and its storm's reproductions over which the guitar, the keyboard and an arcane drumming combine their sounds to create an ephemeral sad-folk ballad. "In Die Ewigen Wälder" internalizes burning sadness and a solemn behaviour, details musically expressed by giving a central role to the deep voice of Willem perfectly adapted to the equally melancholic chords of accordion and guitar, modulations beated with severity by the staccato drum beats. The next and homonymous "Dunkle Wälder" has a particularly significant text penned by the German lyricist Uwe Lammla, the same words that Willem exposes by nostalgic tones into a quiet context of arpeggiated guitar broken only by the crackle of flames and by the dry vibrations built by the drummer. "Im Nebel" increases the percussive coverage describing it with an almost-tribal register which drum rolls, atmospherically dark, support the sepulchral tones that distinguish the Willem's chant, inserted between soft guitar's rotations and the spectral keyboard. The depressed notes of accordion played by the malevolent industrial/neofolkish goblin called Art Abscons, they incorporate together with the military drumming, with the guitaristic background with the sorrowful litanies sung by the vocalist, all this in the twilight-neofolker hymn "Natur Und Krieg". The poignant romanticism of which is full the album manifests itself in one of its variants, "Night Cometh On!", a song interpreted with moving passion and languidly arpeggiated through the voice and the guitar of Ewan Burke, founder of the extinct Kunstgerecht, Scottish trio of plural post-punk/neofolk/gothic/martial/industrial trend active in the early 80's: Ewan entrusts his notes to the drumming calmness and to the pale symphonies of the keyboard, in a neofolker track torn by inner suffering that will accompany the nights of anyone who wants share with it emotions and tears. "Winter Come Back" retrieves the military-folk sonorities traditionally expressed by the Strydwolf's music style, revealing now them by a scheme consisting in a rapid-soldiery percussiveness caressed with infinite melancholy by the guitar and by the vocal's depth of Willem, sporadically adorned by accordion melodies. It's the time for the beautiful "Verirrung" a song within which they underline the echoed wakes traced by the vocals and their desolate fluctuations, joint harmoniously with the delicacy of a plectrum while it touches the strings of the guitar, meeting the militaristic drumming and the violin melancholies reproduced by the key. Another slow neofolk ballad, essentially performed by the drum, accordion and guitar, is conjugated with perceptible sadness by the Willem's voice, whose leafless and afflicted counterpoints originate dense atmospheres of introspection and nostalgia, while into the subsequent "Weiße Wolken" the singing lines embellish them by the beautiful intonations pronounced by the vocalist Femke J. symmetrically positioned to the most cavernous ones uttered by Willem, all this supported by crystalline guitar chords that chase a rhythm scanned by fast beats. Artificial wind gusts introduce "Sturmes Weckruf" cyclically re-emerging from its slowed neofolker musicality cadenced into which percussive sections we hear voice accents tormented by regret, aspects further underlined by a downcast guitar-keyboard accompaniment, as well as the following "Der Jäger Abschied "exposes an essential neofolk paradigm sprinkled of guitaristic dissonances, whose arpeggios and the whose smothered vocal harmonies give the song a surreally nostalgic aura. "Wanderlied" differs from the previous track moving it on more full bodied epic-neofolkish trajectories, spoken by melodic formulas of keyboard, guitar, accordion and vocals that recall a soundtrack. The singer's reverberated chant seems now merging from a subterranean dimension, melting to the ecstatic guitar's consonances and to the melancholy textures woven by the accordion; in the same way the next "Waldsang" remarks with intensity afflicted sentiments concentrating them into a decadent, romantic neofolk saturated by sadness, emotion openly revealed by the rueful melodies uttered by Willem surrounded by guitar-eurhythmies and amazing percussive beats. On the same trajectory is also "Frühlingsglaube", the closing track, which gives continuity to the sonic rituals dedicated to the emotive-folk, expressing them by the usual, sensitive placidity that characterizes the interchanges of voice, of guitar and keyboard, as well as the low-frequency of background generated by the percussionists. That one created by Strydwolf is a style overflowing of gloominess, state of mind expressed with naturalness, emotion and an implicit austerity: these elements are essentially the foundations through which they are constructed the sounds permeated of great suggestion that make "Dunkle Wälder" a so exhaustive assay of neofolkish Art, from which microuniverse it descends another celestial body that you'll love for its ability to establish an immediate and durable feeling, ensuring to the listener a pleasant succession of tracks that will evolve concretely into the intention to investigate the entire discography belonging to the project. The admirers of SkullLine and of the neofolk will consider this release an object to desire ardently.
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Substaat - "Substaat" + "Refused" - cd - by Maxymox 2013
The greatest music quality standard of Substaat imposes a worthy and strong media coverage that Vox Empirea, dutifully, is ready to disseminate. The project in question,
Norwegian from Olso, is circumscribed in a electro/EBM context of a highest caliber predisposing an excellent veterans line-up of operating in the underground scene that is Terje Vangbo (vox), known for having founded in 2000 with Bernd Lohse the futurepop/EBM power-duo called Cue To Recall: near him are flanked by Petter Norstrøm (synths/progs) and Jarle Hansen (synths/progs), this latter one also available into the formidable synthpop/darkwave band In Vein, author of "Strangled Voices, "an album launched in 2008, which I think is one of the best sub-productions published in that specific year, within which stood out for its beauty and capturing power the song "Invitation": each element of Substaat is motivated and author of those live/studio performances that since 2008, initially by the first version of the band called Substate, have secured to the current platform an eminent relevance in the technologic music panorama. As is often detectable in the compositional style of the electro artists from northern Europe, the sound scheme played by the three performers is technically clean, distinct, built with an extreme attention to the detail and, according with the logics aimed at the alternative dancefloors, finalized to the Electronic Body Movement. Among the Substaat's credentials it also points out an intense and strategic gig-activity inaugurated in 2009 and often shared with many bands of undisputed value as D.A.F. Mortiis, Combichrist, Komor Kommando, Code64, Icon of Coil, De/Vision and, recently, Mesh, events that have greatly increased among the notoriety of the project and expanded its great entertainment capabilities convincing even the most exacting electro-listeners. The list of the discographic releases attributable to the protagonists at first lists the 2008's self produced promo of four-tracks conceived under the name Substate and entitled as the same effigy of "Substate" as well as the signature on the mixing and production penned by Alex Jarlev, member of the projects Anstalt, Panzerveps, Pogrom Synod and Atropine, this last one performer of one of the remixes that we're going to analysis soon: in the following times, by the formation of the three members as the current band Substaat, it resulted in 2011 a work that gravitated for thirteen weeks into the first ten top-albums of the prestigious institution Deutsche Alternative Charts, the homonymous debut full-length called "Substaat" now under review, published in double-CD version by the great German label Danse Macabre, mixed and produced as the past time by the mastermind Alex Jarlev and including the four songs contained in the the tracklist of the antecedent promo-release. For the purposes of a wider vision of the band, I thought it appropriate to incorporate in this review also a scrupulous analysis regarding a single issued in the same year 2012 ever by Danse Macabre, "Refused", another exceptional example of the preparation and the spectacular creative degree in possession of the three musicians. The double CD "Substaat" consists of a first volume within which there are eleven episodes, while in the second are contained nine remixed versions reworked by as many projects: penetrating into the tracklist we listen at first to the fast and unmistakable drum-programming scans, the resolute vocals and the electronic accompaniments that characterize the typical EBM genre: everything in "Grind It Down". In the subsequent "Catch Me" they braiding pulsing midtempo drumming/sequencing metrics corresponding to the Electronic Body Music and vocal formulas that recall, albeit vaguely, the first Covenant, as well as "Hybrid" is developed by a precise through a precise straight stretch of bpm's and programming on which it dominates undaunted the Terje's voice so subtly bitter. "Adrenaline" bases its structure on hypnotic midtempo cadences rhythmically thickened by hyphenations generated by the sequencer, all this mantled by well-defined vocals and dancefloor-minded atmospheres, sounds overstepped by those more electronically aggressive and psychotic built for "7th State", an electro/EBM track of the danceability 100% guaranteed, transfixed by symmetrical drum-programming beats and supported by enthralling vocals that the singer pronounces with elegance and firmness. "Broken" significantly slows the percussiveness stabilizing it at downtempo mode, wandering so between post-Depeche Mode's sounds consisting in dry and metallic e-drumming timbers, hatches of programming, in the sensual and visionary Terje's chant and a background made of arabesque sounds. "Unstuck" takes more speed planning magnificent dark-electro solutions surrounded by vaporous keys elevations, by ininterrupted drum-programming paths with net and fascinating vocal shades, conceding the input to the next "Burning Ground" and its dark-electro/EBM charisma embellished and disturbed by the midtempo trajectories emitted by the machines whose replications, muddied by the artificial nebulae outgoing from the synths, they shuffle to the bitterness with which Terje sings the lyrics. We continue with "I Want" a track supported by rapid percussions disciplined fractionated by the programming around which are aligned the tense junctions of the chant and the danceable instrumental electro/EBM diagrams, while the following "Shine" recovers classic EBM-oriented schemes consisting in cyclical monochromatic rotations of sequencing driven by a midtempo electronic percussiveness and contaminated by the vocal stiffness of the singer. Concluding the first chapter of the double album, we experience the febrile rhythmic-programmed dynamism and the vocals equally whippy designed for "External", a track performed following the best EBM's intuitions and the more efficacious dance parameters. Exploring now the nine chapters included in the second volume, we listen to the first edition of "Catch Me" perfected by Mattias Ziessow and Stefan Brorsson, known as the Swedish EBM duo Spark! whose elaborations further enhance the framework of the song making so the rhythmic intermittences more danceable and stronger. Ismael Henriksen, Norwegian solo-project of EBM/darkwave trend called Solar Temple, remixes "Adrenaline" injecting into it high doses of electronic energy perceptible in the keys sections and in the arrangements similar to abrasive devices, while the following new revision of "Catch Me", this time published as "Vocal Mix" version by the Olso based industrial-body-techno ensemble called Anstalt, offers danceable electro-EBM solutions in clubby version propelled by a pressing rhythm and enhanced by filtered voice replications and synthetic manipulations. The French duo interpreted by Creature_XX and Creature_XY, better known as Foretaste, rerwork "Broken" by electronic stratagems which give to the song an elegant synthpopish aura, as well as the Norwegian producer Ole-Espen Kristiansen, the protagonist of the one-man project called Elec This! devoted to the alternative-electro music. is the author of the remix of "Catch Me" song already predisposed to the technological-dancing and now turned into a potential floorfiller by an exciting agglomeration of sounds made to entertain and make the body move. Ever from Norway, the electro musician Eskild Trulsen, aka SKL, is the interpreter of the remix as "Bassoman M 42" format of "Burning Ground", a track in which the pulsing thrust of the drum-programming is assembled wonderfully to the register of the electronic processing of background, originating sounds danceable from the first moment to the last one. An original "Symphony" version of "Catch Me" is what comes from the genius mind of the Norwegian EBM/dark-electro project Kant Kino formed by Kenneth Fredstie and Lars Madsen, who remixed in an impeccable way the original identity of the song transfiguring it into an obscure-electropop musicality and extraordinarily atmospheric that elevates this episode as one of the best ones of the entire tracklist. Again from Oslo, Alexander Coucheron Jarl and Christian Lund, the owners of the techno-electro project called Northborne, remixing the phase "I Hate Noise Mix" of "Adrenaline", track within which the sound expands following rhythmically the danceable drum-programming configuration and the spatiality of the keyboards. In the end, always geographically remaining in Norway, the Atropine, EBM/IBM duet consisting in the same Alex Jarlev and Tomas Kulberg, are the architects of the remix of "Unstuck" whose vocal-instrumental essence is now destructured, corroded and obscured by sharp electronic acidifications/fragmentations. Turning now the analysis to the most recent single entitled "Refused", my opinion is that it's a work simply magnificent: in its three songs Substaat prefer curvatures most melodically electro combining with extraordinary efficiency and cleverness the latest technological strategies with the best stylistic trends belonging to Cue To Recall and In Vein, tendences that provide an immeasurable use of rhythms extraordinarily danceable whose graphs, calculated with millimeter precision by the programming, join them to the capturing synths flows and to the chants pronounced by Terje with vocal tones of higher order, whose refrain will imprint eternally in the mind of the listener. The homonymous "Refused" opens the tracklist manifesting immediately technological solutions of high class explicitly perceptible into the great vocal/synths harmonies erected on the bpm's gushing from midtempo e-drumming, all this in a song that will make delirious all the advanced fans of the danceable electropop. Even more exciting, the beauty of the following "Berlin" seduces, captures and delights the senses by a beautiful predisposition of electro melodies built by the keyboards and by the solid vocal implant dominated by a fast percussive base: this is a track of incalculable value. "Drive Again" concludes the short titletrack offering itself as a dark-electro song that incorporates midtempo rhythms, shadowy synths covers and disillusioned vocals anticipating so the probable compositional style of the future Substaat, a project which, identically at a few others, can guarantee with linear continuity the listening satisfaction that we all desire. I can then appoint the releases analyzed, with full right, as two fascinating proposals and worthy to be part of your best collection. From now, I urge all the lovers of the technologic music to search and find at the same time the double album "Substaat" and the single "Refused", considering them much more than objects to be stored: they are the true, rare materialization into sound of the perfection.
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Svart1 - "Satanische Helden" - cd - by Maxymox 2013
After a year since the last reporting record represented by the live-set "Praha", the figure of Sardinian Raimondo Gaviano resurfaces again from the ultra-alternative underground proposing yet another incursion into the more radical industrial/dark-ambient/noise. The production's chronology attributed to the artist mentions from 2007 to today tens of digital-releases of different stylistic music direction, beginning by the creation "DaVisibilia Ad Invisibilia", eight IDM/ambient tracks published by the Japanese label Bumb Foot, followed in 2008 by the album "Audiebantur Gemitus Vulneratoroum" issued for the German brand Format Noise, a work built in collaboration to the Japanese electronic musician called Kenji Siratori with which Svart1 oriented the sounds towards experimental electronics/dark-ambient/spoken words formulas. 2008 was for Gaviano a year particularly productive during which he published, besides the title just described, a succession of other net-releaes: " Gutta Cavat Lapidem ", or seven glitch-ambient episodes entrusted to the Polish label Kaos Ex Machina Promotions, "White", a mysterious electronics/experimental-noise/dark-ambient five-acts creation licensed by Termonucleo and composed by the combination between Svart1 and Nanako. They followed the seven minimal/experimental/ambient songs of "Silentium Est Aureum", published for the Russian Clinical Archives, net-label managed by the avant-garde composer Alexander Lisovsky, succeeded by the five dark-ambient/industrial/experimental tracks included in "Frangar Non Flectar", published by the American label Black Montanas and, then, by "Incubi Succubi", an unique twenty-five minutes composition in dark-ambient/post-folk/industrial mode, issued again from Clinical Archives and played by Svart1 in duet with the Lithuanian musician-video maker-sound contructor Daina Dieva. "Ab Imo Pectore" is another album released in 2008 by Kaos Ex Machina Promotions with eleven dark-ambient/industrial experimental steps, while it closes the sequence of digital publications the EP "Caveat Emptor", published in 2010 by the Italian label Mono Records and composed by the protagonist on techno-electronics schemes in cooperation with the Sardinian d.j. and producer Claudio Porceddu. Listing now the "physical" releases on CD format, we open with the excellent "Spring Wind Brings Water", a very limited-edition album dated back to 2009 licensed by the German brand SkullLine, as well as result of the dark-ambient/neofolk elaborations shared between Gaviano and Matthew S. Toth, aka the dark-ambient/neofolker solo-project known as Shattered Hand. "Ad Extremas" is the title of the mini CD-R promoted in 2010 by Witte Dood Records including only one live-track, which was followed in the same year by the magnificent full-length dark-ambient/electronics "Non Tutto Ciò Che Tace È Morto" published by the Valse Sinister Productions and reviewed time ago by me. The tape-release "Der Schnitter", published in only fifty copies in 2011 by the Romanian label Mask Of The Slave, it continued the Gaviano's way into the exploration of new dark-ambient/industrial horizons, as well as the subsequent thirty copies on CD-r of the live field-recordings "Praha" were released in 2012 by Mrtvaja Record, concluding this list with the recent full-lenght entitled "Satanische Helden ", licensed in 2013 by the German label Industrial-Culture and shortly analyzed by Vox Empirea. Live-performer and particularly good as visual-maker, Svart1 has taken part in important East-European's dark-ambient and electronic hard-experimentation shows, while his musical experience and his technical expertise in knowing how to create the right atmospheres has branched over the years towards important artistic collaborations as, citing some names of the most well-known excluding those already mentioned above: Dirk Geiger, Haus Arafna, Klangstabil, Schattenspiel, Saffronkeira, Gianluca Becuzzi and Retina.it. The camera objective and the video shots taken by Svert1 immortalize evocative images that then will run during the live sessions played at festivals and theaters: dark photographic frames, depicting symbolic landscape's details or other ones focused on the most twisted, unexplored and obsessive dephts of the human psyche, manipulations of old films, burnt coloured or black & white sequences, each of them rallentated or accelerated , each of them perfectly integrated to the motionless of dark-ambient sounds or to the frenzy of electronic/industrial-noise. The inspirational criteria by which the artist conceives his own music derived from various sources mostly related to the subterranean aspects of the emotional sphere, both individual and social, sounds which aggregation rises a dark and cold cosmos used as prism through which to filter, probing , corrupt and transfigurate seemingly inviolable and natural elements like beauty, acoustics able to eviscerate introspections, fears, but observing also the repressed mental aspects of who is succubus and the ones of those who predominates. "Satanische Helden" is an opera absoutely darker, made with the most prevalent purpose of materializing the state of anguish that screams inside in the artist's thoughts interpreted by an heterodox, blasphemous optic, played by sinister rhythmic-harsh/industrial dark-ambient procedures, occult atmospheres, so congenial to support the concept of the album, or a sonic investigation on manifestations of demons in the Eastern tradition. The opening evolves from "Baphomet", full of darkness and midtempo industrial-percussive automatisms which austerity is combined to the infected electronic manipulations that flow copious from the laptop, to the hyper-saturated electronic eruptions and to the menacing keyboard roar that surrounds entirely with coldness the track. The voice belonged to the damned English writer and esoteric Aleister Crowley flowing now disfigured by sound filterings to which they follow unstressed dark-ambient pads extensions, distorted manipulations and an undercurrent of Arabian programmed percussiveness: all this in "Abduxue". It follows the next song, "Hades", propagating impure darkness activated by an electronic vortex that, screeching against an industrial percussive drumming base, it causes abrasions and glacial combustions of high intensity, strengthening inside a sense of oppression and drama. "Ahriman Ante" spreads amount of synthetic noises processed and infected by micro-fractures, by a turbid filament, obsessively repetitive, supported by obscure-ambient perturbations longer expanded until they reach an heretic liturgy of bell and spoken words. "Iblis" burns, rhythmically automated by industrialfire sections to which it follows the eternal and slow flight of pads similar to choirs coming from the Infinite, a sound-system that not gives respite leaving the listener transfixed by such solemn gloom. The album continues with "Angra Mainyu", a track created using powerful sequences of electronic material full of timbres recalling the cruel breath of hellish entities to which they follow by excruciating radiation and hyper- technological -industrial harsh frequencies so destructive to annihilate each element, along with drumming an hypnotizing abysmal-intoned laptop chord. "Samael" retrieves the dark-ambient sound highlighting it through meditative shadiness and by low modulations which fractionations take the recalls of Nature elements represented by the rain and the bright twittering of birds, alternating all this to the Oriental movements expressed with minimalism and sinuosity by the keyboard intonations and the humble ethnic-drumming. countering such calmness, the industrial clang played by "Rashnu" extends metal echoes surrounded by an electronic gaseous, radio-contaminating turbines, which makes sound opacifications devastating the structures by its roar, while the following "Astaroth" transmits hallucinated keyboard apportionments similar to an obscure mantra, integrally saturated by noises and by a tormenting cloud of synthetic effects that spinning cyclically and mechanically obsessing the hearing. The silvery bell clink reverberates clearly for the celebration of the final rite, "Ahriman Post", moving itself softly to the rhythm of a thin and lysergic-oriental drumming phase, concluding by these sounds an opera that represents acoustically and ideally a depicts the ancient pagan iconography related to Hell and to the interaction of its creatures with the Humanity, performing so the function of "contact" between remote Era and the current times next to Apocalypse, emphasizing into musics enigmatic charm and the terrifying presence of Unknown. The creativity of Svart1 calls every electronic stratagem to re-create the right mix of evocation and pathos, while his cold and disenchanted eyes scan the approaching and the subsequent evolution of the arcane spirits without any light coming from the flaming Levantine depths: malevolent shadows will dance with the listener forever sinking him into the damned chasm of "Satanische Helden". Conscious of this, get you close to it.
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TSIDMZ - "Pax Deorum Hominumque" - by Maxymox 2013
For extended, the prefix TSIDMZ shortens the words ThuleSehnsucht In Der MaschinenZeit musically corresponding to an Italian project founded between 2002 and 2007 as well as the planner of a multiarticulated style defined as "post-atomic/electro-martial", whose line-up consists of two elements: Tetsuo aka Uomo D'Acciaio (concepts/musics/atmospheres/samples/distortions/effects) flanked during live-sessions by Nausicaa aka Cheri Roi (vox), this last one very appreciated for his expressive performances of extreme art described using the definition "Deconstruction Bondage Body Art". The range within which they develop the creations by TSIDMZ includes a variety of genres that start from the post-industrial to the obscure-ambient, from the noise to the electronic experimentalism, sounds designed by the protagonist for accompanying the slow but gradually inexorable decline of the contemporary world, scenery of social and ecological horrors that inspired the modern industrial and radical subcultures. The productive activity of TSIDMZ lists since 2007 at least fifty-nine appearances on compilations, many of which are very important for prestige like, quoting several of them just for examples, "Militaria Volume One", published in 2008 by the label Noctis Cultus Media, "Tribute To The Dead Soldiers (1914-1918) Volume 1" published in 2009 by the transalpine La Caverne Du Dragon, "Sturmreif - The New Underground Of Military Pop" fired by the German Castellum Stoufenburc in 2010 and "Passendale 1917" issued in 2013 by the famous SkullLine. Interesting and worthy of note is the "split" repertoire entirely focused on industrial-noise/dark-ambient sounds and completed by the artist during the 2008-2012 period, beginning with the release "Research On Human Dementia", five tracks shared by TSIDMZ with the dark-ambient/industrial project impersonate by Nick P. called [dystopia] and physically published on CD format by the Hellenic label Species Productions, and later on downloading-file version by the Canadian Deadknife Records and by the Dutch Dadaist Audio. In 2009 it followed "Output: Love", a work published by the U.S. brand Placenta Recordings and built in cooperation with three other protagonists: the lisergic-psychedelic project by Jay Watson called Dental Work, the noise platform interpreted by the one-man Grim Kirby, and the hyperproductive Japanese musician electronic-noise stylized called Norihito Kodama, alias NRYY. The Cypriot label Hesperus Records was the channel of diffusion of the subsequent split-release dated 2010 entitled "Conflagratio", six wonderful episodes built with Narog, an industrial/dark-ambient solo-design played by the Greek Giannis Michos. "Suffocating Darkness" is the title of the next ten-tracks published in 2011 by the American label TRASHFUCK Records, publisher of this split in which TSIDMZ shared the space together with the Iowa based experimental-dub/rhythmic-noise project called Aural Resuscitation Unit and with RedSK, aka Patrick Shaun-Robert Doyle, harsh-noise/experimental-electronics platform from Detroit. To Placenta Recordings was given again, in 2011, the commission of publishing the release simply bearing the suffix of "Split", seven sonic chapters which joined the Italian projects Death Factory, devoted to the genres experimental/dark-electronics, and Silent Cathedral, this one dark-ambient/industrial oriented, as well as, again, Dental Works, NRYY and One Dead Fuck, an experimental/industrial side-project from Louisiana conceived and starring by Ryan "Houla" Houlihan, aka Killhoula. It closes the sequence of split-albums the title "Civis Europaeus Sum", published on CD-r limited edition in 2012 by the synergy between two exceptional labels, the Russian Ufa Muzak and the Germanic SkullLine: the titletrack, built on martial/marches style, was signed by TSIDMZ, by the Spanish BloodSoil, by the Dutch Striider and the mythical Legionarii. To the full-lenght's front, the protagonist has got four active releases: the demo self-produced "Lo Zio Di Brooklyn" of the year 2007, the six-tracks available in digital format "Something About The Atomic Age", published in the same year by the net-label Kaos Ex Machina Promotions, in which songs it stood the Industrial Mix version of "Montanara" enhanced by the cooperation provided at the trumpet/electronics sections by Der Bekannte Post Industrielle Trompeter, alias Flavio Rivabella, continuing then with "We Are Time", an album that features dark-ambient/drone sounds issued in 2011 in a limited edition by Ufa Muzak to which follows this own "Pax Deorum Hominumque" published in the year 2012 by the glorious Old Europe Cafe. Before exploring the disc is appropriate to reveal the meaning that distinguishes the wording ThuleSehnsucht In Der MaschinenZeit, name linked to the myth of the paradisiacal island of Thule from which, according with the legend, came the Indo-European civilization: to this wonderful land they back periodically and nostalgically its brave men after they have changed the fortunes of the History. TSIDMZ fuses this concept purely metempirical with other elements of appearance spiritually, culturally and artistically avant-garde minded, so the best choice was the electronic music as a universal art to better express his thoughts. Turning the attention to the sonic object entitled "Pax Deorum Hominumque", promoted in the year 2912 in digipack format by the Pordenone's historic label Old Europa Cafe, we find into it eleven tracks as well as an extensive and important list of artists coming from the same music area, each one holder of a significant contribution given to the writing of the album, starting with the precious work of final mastering completed by Peter Andersson owner of the dark-ambient/industrial/noise project known as Raison D'Être, continuing with Diego Banchero from the neofolk/neogothic Genoese band called Egida Aurea, with Nickolay Busov from the label Ufa Muzak author of the graphics/layouts sections, and Rodolfo Protti founder of the same label of support, the Old Europa Cafe, around which gravitate some of the guests recruited in the release. In opening track, "Intro", we perceive the pure sonic-magnificence through a military-oriented hymn full of tones evoking a sense of heroic and indomitable pride, while the following "El Ultimo Avatara", a track superbly orchestrated by TSIDMZ and written by the Italian artist Victor Saint, combines a suggestive key background to military proclamations and incitements addressed to a delirious crowd, all this dominated by drum downtempo fractionations and, in the final, by an Arabian chorus. The levantine atmospheres evoked by the sound of "Terrae Motus" boast of the writing belonging by the Italian industrial/punk/rock project Flubeda, authoring of a track within which he combines the slow martial scanned by percussion, acute vocals and instrumentality of Ismaili origin, sounds crossed by austere key symphonies and electric guitar extensions. Oliver, aka Barbarossa Umtrunk, French solo-project of military/ambient matrix, is the guest in the following "Armanenschaft" here interpreted in Arehisosur Mix version, a song that interweaves skillfully Oriental references, these last expressed in the form of distant and repetitive pseudo-mantra and silver bells, together with Western-Europe elements consisting in a solemn hymn from the War Era militarily sectioned by the downtempo beats, all this to emphasize conceptually the meaning of Eurasia. "Greyhound" instead presents the typical military-folkish characteristics that distinguish the style of Gnomonclast, an American duo creator of a sad-ballade played using the soft guitar arpeggios of N2 ItinitI, essential keyboard symphonies and the melancholy vocals uttered by J1 Statik. The German one-man project of dark-ambient/industrial/martial trend represented by Grzegorz Siedlecki, aka Horologium, attends to the composition of "Omnia Sunt Unum", an oppressive dark-ambient conceived by laptop mists and voice reverbs from the Middle-East, acoustics deviant towards martial/industrial curvatures built by sullen percussive flagellations. Once again, Barbarossa Umtrunk participates in another passage , the Yeni Ceri Mix version of "Avatar In Eurasia" whose long introduction, a fluty and shamanic ethnic-ambient, is lacerated by a sudden martial drumming explosion, by a phrasing and chants Arabian minded surrounded by menacing key orchestrations and by vocal-loops that accompany the listener's imagination on ancient and pugnacious horizons situated to the East of the Old Continent. "In The Mouth Of Madness", realized in cooperation with the German dark-ambient/industrial project called Heiliges Licht, is stylistically amenable to an experimental dark-minimal-electronics/industrial module including slow rhythmic pulsations, livid keyboard chords, voice rarefactions with muffled tones and, all around, a spherical flow of noise that spinning on the structures. The cryptic American musician of dark-ambient-drone/death-industrial trend named Embersreich takes part in the building of "Operation Logitudinal Scalar Waves" whose musicality, built through cyclical sequencing undulations and dark trails of key, is transfixed by military vocal-loops, as well as the next and homonymous "Pax Deorum Hominumque" disposes fragmented replications of military-drumming inserted inside a martial dark-ambient in which background we can hear the phrasing belonging to the U.S. poet-intellectual Ezra Pound immersed into a warlike hymn, sounds opacified by filtering and electronic manipulations. The Alexandrian soloist power-electronics/neoclassical/industrial platform called Sala Delle Colonne realizes in conjunction with TSIDMZ the final "Pantheon", a long minimal-ritual/ambient whose parts, essentially based on funereal strokes of a bell, alternates synthetic evanescences, industrial uproars, the recording of a commentary dating back to distant times and, further, a subterranean choral liturgy surrounded by Gothic mystery and religiosity. The album "Pax Deorum Hominumque" is an essential document for anyone who is attracted to the electronic experimentation inextricably linked to the martiality well as to ancestral symbolism revisited by futuristic mind, historically turned to the origins and to the evolution of our civilization. A bronze sound discipline, in which frequently prevail dark atmospheres and elements of important cultural significance, brands this release composed with inspiration, intelligence and method, recommended to the introspective listener musically progressed. He, once assimilated gradually the foundations on which is based the concept, will feel with regards to this work a kind of divination.
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The Last Cry - "Living In Grey" - cd - by Maxymox 2013
The Last Cry is an interesting band originating from Brighton and promoter of a sound derivative from the classic gothic-rock/post-punk/darkwave modules, whose line-up mentions Andrew Birch (vox), Chris Carey (bass guitars/progs) and Tim Green (guitars/keys). The organic, founded in the mid of the glorious 80's decade and after a first experimentation period, was momentarily divided in the early 90's to be reformed, after a series of further adjustments, in the present line-up: the style created by the project is authoritative, energetic, with moments predominates by a faded, melancholic harmony and other ones distraught by allucinations and depression, elements found in the first 12" on vinyl format "Going Away" published in 1987 by the label A Day Like Today, four tracks produced by the sound-engineer/songwriter Marc Waterman to which they followed two years later the three episodes of the 12" entitled "Downpour" produced by Jon Harris as well as published always on vinyl version by the same, cited label. In 1991, The Last Cry recorded the four inedited and self-produced songs of "Live EP" registering them at the O.P.D. Studio, while in 2004 it was the turn of "The Last Cry" in which four events of the tracklist, also self-produced and played for this occasion by a band temporarily deployed as quintet, they distinguished the figures of Steve Sherp on the vocals sections, of Bob on guitar, of the drummer Mr. A and of the bassist Chris Carey hidden behind the pseudonym Mr. C. The debut album it materialized in 2009 by a work of considerable merit, "Walking To The Edge", a promising release entrusted again to the label A Day Like Today and subsequently to the Echozone, object to great acclaim by a public in growing increase but also by the specialized press as well as manifestation of a solid band able to take all the best from the alienating darkwave-oriented formulas of Cure combined to the abrasive gothic-rock style of Mission, to the post-punk curvatures recalling the Joy Division and also to the electronic. With the full-length "Living In Grey", issued in the year 2012 by the German Afmusic, a sub-label of ionium Records, The Last Cry run after the same sonic tactics of the past further developed and increased by pathos and melody until the completion of nine songs capable of renew the enthusiasm of listening during all the extent of the tracklist: guitarristic instrumentality everywhere, a pulsing bass, midtempo drumming and an anguished chant that evolves in the suggestive tonal ascendeds of the refrain, are the foundations on which it rises the gothic-rock of the opener "Broken Hearts", a track followed by the vocal nostalgia that Andrew reveals in "Falling Away", enhanced by post-punk/waver sounds, aspect underlined by the fast guitar hatches combined to key flows and to a dynamic, dry percussion scheme. The drumming structure moderates its bpm slowing down to adapt it to the atmospheric introduction of "Song About" whose soft accompanying arpeggios, divided into segments by the bass lines, explode later to be transformed into electrical transmissions. A new acceleration occurs in the subsequent "Virtual Fix", a song that includes the visionary restlessness of the post-punk and the danceable rhythmic plan of the early new wave, all this sound elements supported by the compactness generated by the guitar implant and the by the vocal nervousness of Andrew that finds its maximum expression in the penetrating refrain. "Through Her Eyes" models its musics around a gothic-rock/wave concept preparing into it dense guitars/bass passages rhythmically symmetrical to the squared midtempo bmp's of the drum-programming, to the key trails that adorn the structures and to the deep bitterness of which are filled the accents of the vocalist. More serene and accessible, "Jane" is a power ballad that unites nostalgic nostalgic guitar melodies and chant overflowing of waver romance built with abandon through strategies similar to those used at their golden age by Smiths, while the following, beautiful and impeccably designed "To Dream Next To You ", on the contrary, retrieves more gothic-rock force converting it simultaneously in high voltaged guitar sound supported by a fast drumming, precise, and vocals stupendously elevated on disillusioned and heartbroken tones that dragging in their passage veils of keyboard. "All You Gave Me", a gothic-rock/wave track, returns in musical terms those dozed off emotions that dwell into the unconscious basing its essence on vocals full of implicit melancholy underlined with fluidity by the classical guitar and through the rhythmic arpeggios by the electric one, all that segmented by midtempo beats, by the bass-line intermittences and by the beautiful form of singing that Andrew sings with poetic grief. The final stretch of the album takes the homonymous title of "Living In Grey", an autumnal sad-ballad for nostalgic goth-rockers who will know how love its poignant piano-keyboard and guitars harmonies to which they combine the vocals extremely incisive and full of affliction exhibited by the singer and finally dispersed into the roar of the rain. The climax full of aristocratic decadence, bitter sentiment, and of discouragement that distinguishes this nice release is proportional to the intensity that the listener will perceive by its stricken melodies, an unstoppable combination of acoustics and sensations never too dark and able to transmute the sound into an unforgettable experience. Indifferent to the music-trends, The Last Cry continue their journey with the album "Living In Grey" placed side by side and guided by the ghosts of the best bands from the 80's gothic/post-punk scene, demonstrating an excellent lucidity, a perfect interaction between all the components and an increased technical mastery: this release will heal the wounds of your spirit making you look the grey colour by different eyes.
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Tenek - "Another Day" - ep - cd - by Maxymox 2013
Originally from Brighton, Tenek was formed in 2007 by the will of two protagonists: Geoff Pinckney, forming part of the synthpop trio called The Nine as well as interpreter of the techno/electro/house solo-project Alien#Six13, together with the vocalist and songwriter Peter Steer. The music created by the duo finds its place in synthpop/electronic/ industrial new & old school guided by the sonic forms near to John Foxx, Depeche Mode, Cabaret Votaire, Nine Inch Nails, Crystal Method, Goldfrapp, Hybrid, Timo Mass and Les Rhythmes Digitales. Modulations combined with method became their first four-track extended play, "Tenek EP", published in 2007 by the prestigious English label Toffeetones belonging to Matt Gunn. Specific to the electronic/avant-garde area; this release was followed by the single, "Where's The Time?" published the following year by the same label; whose four song track list we can find two interesting remixes by Shaun Brooks and the trance/euro-disco trio named Starstruck. Obtained the credentials to enter permanently into the scene, in 2009 Tenek perfected and released through the same Toffeetones label, the debut album "Stateless" containing eleven synthpop/electro/industrial songs skillfully mastered by the aforementioned producer and mixer / genius Shaun Brooks. Which is also where the first single "Submission" derived from. During the same period and in the subsequent years, the project gave further proof of its control with instruments, as well as it's versatility supporting on-stage names of impressive relief from the 80's epoch such as: Human League, Blancmange, A Flock Of Seagulls and including other equally important contemporary artists such as: Mesh, De/Vision and Marsheaux to name a few. All of which were the model from where the duo drew their inspiration. In the year 2009, the duo contributed with the track "No Time For Fighting" to the famous compilation "Orbit Electro" issued by the German label Major Records. Subsequently proposing a very clubby EP (promoted by Toffeetones) was designed for the DJ's entitled, "Club Mix Promo". They vied for danceability five extended remixed versions reconstructed by: Tenek, Shaun Brooks and Glen Wisbey from the electro-rock/synthpop band known as Blue October UK, Russian musician and DJ of progressive-house/progressive-trance tendency Ilnaz Tarkhanov, and finally by Ed Cresdee. In 2010 Tenek having an active presence on European stages alongside the electro projects Iris and De/Vision, realized and published again for the label Toffeetones the maxi-single, "Blinded By You", a discographic event including four tracks of which two of them were remixed by Shaun Brooks. These creations met with great feedback by the independent press, acting as precursor for the upcoming acclaimed full-length release, "On The Wire". This album was once again entrusted to the aforementioned label. Significant mention, it's also the collaboration of Geoff and Peter at the live exhibitions of the BritPop-artist Republica, the author of the song "Christiana Obey" to electronically remix the track (released in 2013) by the two interpreters. In 2011, as yet another demonstration of versatility, Tenek played live with Toyah, known protagonist of the new-wave/pop-rock 80's scene, while introducing at the same time they released "EP2" including six tracks in the electro/synthpop style published by Toffeetones. Two of the particular tracks: "Higher Ground" and "The Art Of Evasion " are alternative versions taken from the second album, while the track "What Do You Want?" incorporates the sounds of violinist Chris Payne, who was an original member of Gary Numan's band.
Their current four track EP "Another Day", whose catching artwork sleeve was a creative collaborative effort between Geoff, Peter and Cheri Freund, was released in March of 2013 under Tenek's own label (Alien Six Productions). The first track, "Another Day - Radio Edit", the opening segment exhibits mid-tempo drumming and well-defined programming, clear, open vocals so irresistibly melodic, surrounded by turbocharged synths and transfixed with subtle guitars. All are the peculiarities of this pop-wave/electronic creation making it immediately attractive. The second track, "A New Foundation" slows down the percussive speed externalizing beyond it a melancholic mood and orienting its structure towards pop combined with electro elements: the vocalist's imprint and the atmospheric sounds built by keys recall distinctly the typical formulations of Mesh. The third track, which was extracted from their previous "EP2" was rebuilt as an Alien Six Remix version, "Elusive"and is an electro-pop song particularly addictive for the alternative dance floors; thanks to its pulsing percussive linearity, high level of involvement originated from the chant, to the precise symmetries elaborated by programming and lightness of the synth's implant. Closing the release with another track that will thrill the DJs and the frequenters of the electro-clubs, is the remake of "Another Day" presented in Airwolf One Remix format, a creation generated by the same Airwolf One (aka Alberto Trevisan) drummer/music video producer-editor/composer-programmer/multi-instrumentalist/remixer based in London. From this track they emerge counterpoints, intuitions and electronic re-arrangements of superior quality whose effects cause the inevitable desire to dance to this song with vivid enthusiasm, transported by a multitude of sounds technologically advanced. So we acclaim with vivid enthusiasm of this new EP and the anticipation from what we will hear in their upcoming third album, which it's contents will stand out once again the enormous potential comprised of these two artists. Admirable and worthy of mention is also the recent initiative taken by the duo for charity joining them together with the post-punk/goth-rock band The Last Cry, an extemporaneous collaboration that gave rise to the a song of great value, "Under My skin". It may seem a dared hypothesis, but today Tenek possess character, preparation and creativity that reaches the highest positions of the most important independent charts.
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The Saint Paul - "Consequence" - by Maxymox 2013
And finally it came the long-awaited triumph! I open this review on the German act called The Saint Paul connecting me to my own words with which in 2012 I concluded the analysis of the ep "Rewind In Time", the same ones that at the end described the duo as millimeter next to an extraordinary and far more definitive goal, event today materialized by the album "Consequence". The information concerning the biography and other specific descriptions about the project are attainable in the mentioned review in the Vox Empirea's archive dating back to 2012, into which the reader can read exhaustively the principles on which is based the electronic style created by Marc Schleser (keys/backing vox) and Paul Kuhs (vox/lyrics/keys). The first impression perceptible listening to The Saint Paul is that of two experienced transcribers of the most modern futurepop paradigms, those capable of wonder entering in the soul of the followers of this genre, combining a precise and intelligent selection of technology and a perfectly sharp vision of what the electro-fans want to hear. The new full-length, published in 2013 for the same labels whose spread the previous work, that is UCM Records and the ever excellent Danse Macabre, contains inside eleven precious creations by variable tempo and specularly analogous, for their to exposure and their overall musicality, to the best De/Vision and Code 64's repertoire: the tracklist starts from "Inside Outside", an excellent dark-futurepop consisting in an array of synthetic effects mechanically cadenced by the downtempo beats of the programming on which they germinate atmospheric vocal sections. The homonymous "Consequence" points out a more faster percussive arrangement which bpm's run parallelly to the supersonic flight of the sequencing, to the capturing maneuvers of the keyboards and to the chant that Paul transforms into an efficacious instrument to drag the listener into a vortex of energy. The robotic-midtempo scans that predispose the skeleton of "Goodbye" they align in a percussive crosslinked nar which flows the pulses of sequencer, the touch of synth and the well setted voice of the singer. An electronic swirl spins the uptempo drumming of "Two Faces", a track that turns on the connections between the hearing system, the brain and the legs stimulating the desire to dance till you're exhaust, thanks to the amazing percussive dynamism interwoven to wraparound vocal melodies and to the cold coverage of synths. "Cowardice" is a futuristic pop erected on transverse downtempo pulses chased by a swarm of electronic punctuations and graceful singing forms, while the following "E: dot" is, in my opinion, the most significant song included on the tracklist and, above all, the best one in its genre I've listened to since the beginning of this prodigal year: the futurepopish scheme of this track was planned by The Saint Paul with the aim to ensure to the auditors the 100% of involvement and the 100% of ecstasy, all this using enthralling electro-percussive midtempo rotations articulated by very danceable beats, symmetrically aligned to the programmed hatchings, to the modular harmony of synths and to vocals that in the refrain draw unforgettable strophes and chords. "Rise And Fall" is a futuristic pop proclamation with waver veinings arranged on slow percussive replications, foggy intermittences, torrential keys rainfalls and a lacerating, desperate chant, whose reverberations fondle a very nice track that will delight and dance the alternative club's goers. The complicated rhythmic electronic textures chosen to introduce "Last Black Rose" branch out contemplating techno-popish versants filled of a poignant romance, concept expressed by the Paul's voice tortured by melancholy and interspersed by decadent violin symphonies, sounds that generate an exceptional unification between cold technology and the warmth of emotions. "Came to Loose" is also classifiable, even if in lesser extent than the previous episode, in a nostalgic synthpop context built on the midtempo drumming's fluidity in strict correlation with evocative vocal intonations, with bright keys fractionations, with cyclical sequencing pulses and, more episodically, with synthetic-violin's auroras. The percussive map of "Lonely Despair" outlines nervous midtempo markings on which it imposes the dominance of Paul's voice that he raises over the undulating synth modulations, predisposing in this way such a little jewel of synthpopish art, as well as "Eternity" closes the titletrack offering a wonderful pop-electronic register within which they alternate intoned vocal openings accompanied by a charming key intergument and a midtempo lithe rhythmic-beating. The writing of the album "Consequence" fully testifies to the greatness of The Saint Paul, a noble electro platform that will you conquest instantly and forever. No imperfection, no compromise, only visceral love for the avant-garde sound and an irrepressible desire to share it with the listener passionate by futurepop, the futurepop that inspires, the futurepop that fascinates. "Consequence" is a prestigious release, conceived with winning techniques and an electronic databank that deserves all your attention: ten, a hundred, a thousand times beautiful!
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The Shade - "Through Distant Times" - by Maxymox 2013
New/retro-wave elements, pop noir intuitions, dosages of American-synthpop and modern electronics together with vague British rock/post-punk recalls, they represent the style-contest belonging to the Milan based The Shade, the duo founded by Stefan (synths/ programming/bass-guitar/electric-guitar/vox) and Derfel ( vox ), with the external collaboration given to guests from the alternative Italian scene as Alessandro Notari, he present in the live line-up with drummer Fux, as well as the musician and producer Orax, owner of the homonymous 80's-electronics/original-soundtracks project. The concretization of The Shade took place in 2011 after a long musical course experienced by the two artists since the late 80's: Derfel, in fact, he played with the Xilema, an electro-acoustic-theatrical platform, while Stefan supported as vocalist the Diva Suicide, an Italian-English dark-electro/synth-rock band which drummer is the same Belle Star coming from Nosferatu; Stefan, besides, distinguishing itself over the years for his good sound engineer's attitudes, points out the his presence into the alternative wave-band called Seventh Shadow. The today's solid musical erudition of The Shade, initially developed in 1995 under the influence of the darkwave culture, has also been reinforced in its complexity by parallel experiences as D.J.ing and live sessions lived within alternative clubs and, about Derfel, also by a period spent as a reviewer and interviewer for a well known Italian underground-zine. Operating on record's activity since the year 2012 through the self-produced four tracks included into the digital release entitled "The Shade EP", Stefan and Derfel completed in 2013 their long awaited debut-album independently produced and distributed too "Through Distant Times": this release integrates in its tracklist also the four episodes appeared in the previous Extended Play. The image printed on the front booklet of twelve-page included in the CD version, is conceived by Rosenbaum Creative: it retracts a stylized human face which design heavily remembers the futuristic abstract-pop-art in vogue in the '80 decade, a period to which The Shade they owe a great deal of their artistic training and musical style, perceptions already discernible by the first of the eleven songs on the list, "Situation", a synthetic-pop built on the midtempo linearity generated by drum-programming around which they floating atmospherically the keyboard's spreads, all this enhanced by the clear and well intoned voice of Derfel in which accents they transpire the curvatures Simon Le Bon oriented that characterize many aspects of his extension. "Xs On My Eyes", a track embeddable into a dynamic electro-wave/rock context, propagates a chant and keyboard's trails full of 80's reminiscences beaten with strength by the e-drumming and embellished by the guitar maneuvered by Alessandro Notari, while in the following "Maximize", one of the four songs present in the aforementioned EP, exhibits a danceable electro-wave module exquisitely "vieux style", invigorated by the singer's vocalizations and made more captivating by the fast pulse of drum-sequencing, by electronic effects, by the guitar riffs processed by Orax and by visionary keyboard's effusions. Even more evident, the 80's wave schemes triumph in the wonderful "Beautiful Friend", expressed with intensity and magnified by a vocal power that Stefan pours melodiously on the sequenced tracing, on the penetrating synth's coverages and on the uptempo percussiveness which, together with the strategic guitar developments by Alessandro Notari, gives compactness to a song worthy to be mentioned among the best ones of the whole album. "A Calling Spaceship", it also included in the title-track of "The Shade EP", performs an unifying function between new wave and electronics, this is thanks to irresistible vocal harmonies, to guitar finishing by Alessandro Notari and Orax, to rhythmic midtempo-programmed dynamism and to synth extensions, anticipating the next "Stories" which, slowing the percussive speed, orbiting around pop-wave memories enriching them by fascinating vocal inflections, by the electric guitar's inserts by Orax, by segments of drum-programming and by keyboard sections capable of reproducing simultaneously the yesterday's musicality uniting it to the most modern formulations. Similarly, "Turn Around" proceeds evoking synthpopish spatiality and new wave retrospectives, using open voice scanned by aesthetic taste, so beautifully inspired by the 80's and placed on a very danceable percussive midtempo base, all this decorated by the guitar luminescences played by Orax, by the transfixions hatched by the bassist Switchblade Switch and by copious flows of synth. Within the midtempo rhythms that animate the next "Immoral Ground", the third track appeared in the EP, they resonate symmetric sequenced lines, ascending pads, harmonious touch of synth and the mellow vocalist's chant, as well as in the subsequent "Dawn Of Life", the fourth and last chapter inserted in the Extended Play "The Shade", Derfel and Stefan explore again and with melodic refinement, new wave territories, calibrating the keyboard's instrumentality, the electronic implants and the vocal metrics, in the direction of a sound radiantly passionate, allowing the entry to "Black Garden", a composition in which weft we can hear once again the stylistic eclecticism that dominates the tracklist, this time more inclined to the electropop-rock avant-garde rather than the solutions heared so far in the previous episodes: the midtempo beat of the drum-machine and the programming fractionations rhythmically shake up the core of the song, while the keyboard flights and the vocals notes, penetrating into the listener's memory with alienating naturalness, fix themselves indelibly in it. Interferenze, the Florentine duo devoted to advanced-electro rock, remixes the song "Maximize", injecting now in its essence more sharp-modulated technological artifices, as well as fanciful vocal conjunctures and caustic doses of electric guitar, at the conclusion of a full-length that, once listened to in its entirety by the estimator, it surely will placed at the top of his recent preferences. By this full-lenght they emerge tracks of exceptional substance which musicality reveals a perfect organization of ideas, executive lucidity and and a technical knowledge superior to the conventional standards, confirming the two performers as authentic spokesman of the synth-wave. Sounds of great grip, aestheticized by old-school theorems, they make "Through Distant Times" a symbolic album to which you'll reserve infinite gratitude for having generated a similar amount of emotions: The Shade, for Vox Empirea is the Italian revelation project of the year 2013.
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Un-Reason - "Un-Reason" - cd - by Maxymox 2013
Un-Reason is an Italian quintet conceived in 2012 consisting in its studio line-up by Elio Isaiah (vox/guitars), Giorgio Bormida (bass/guitars/piano), Jon Griffin (guitars), Lorenzo Bartolini (drums), and Jan Maio (synths/virtual orchestra/guitars), while its live formation mentions the presence of Max Marsella (guitars/clarinet/fado/bass/composer) as a replacement for Jon, and Simone Brunzu (drums) in substitution to the drummer Lorenzo. The sound created by the band is not limited into a specific style, however it may be described as a mixture between particular alternative/post/industrial/dark-rock elements contaminated by other ones such as post-punk, shoegaze, new wave and electronic intuitions: this complexity of genres is the concrete result of the synergy between the previous and different music schools experienced over the years by each member of the project into a constellation of other undrground realities, orientations which range, as well as the specific vocations described above, in variables such as indie- folk-rock, gothic, noise-rock and industrial-punk. The debut-album same entitled "Un-Reason", recorded, mixed and mastered in Genoa, Pisa and London, is published in 2012 by the American label Patetico Recordings; in its technical processing have also collaborated external protagonists of important significance as such as the hardcore-punk musician Alessandro Paolucci in the role of assistant engineer, or also Reza Udhin at the mastering section, the component of the electro/industrial/EBM act called Inertia as well as of the legendary Killing Joke, Martin Atkins, drummer of the legendary Public Image Limited, founder of the industrial project Pigface and author of the percussions into the ninth track on the album, and finally Alessandro Sportelli alias "Ovi", the producer and founder of the Westlink Recording Studio. The core of the album enumerates eleven tracks of alienating musicality, fortified by massive amounts of guitar's energy: it all starts by the melancholy of "A Place Of Truth ", a song obsessively claustrophobic cradled by a downtempo-post/industrial-rock structure within which the Elio's Chant expresses torment and darkness supported by the heavy flow originated by guitars. "Blinks" explodes pouring all its industrial-rock/post-punk power into vibrant guitar's incandescences that devouring aggressively much part of the track dragging down into abyss filtered-reverberated visionary voice, a solid midtempo drumming and a compact set of acid-psychedelic sounds. The subsequent "Run Back" calms the hallucinated tensions setting a broken dark-rock-shoegaze register perennially dominated by guitar's electricity, by slowed percussiveness and by deeply disheartened vocals, while in the following "Under" they emerge wave-oriented recalls much evident in the opened and echoed Elio's voice, it immersed first into post-rock/shoegaze/dark-pop procedures and then, after a brief interpause, into other ones more hardened by the raging currents generated by the ropes and by a rockly drumming within which chords exchanges they wreck the tones artificially elaborated of the singer. "Too Deep" is a stabbing industrial-rock song which contains midtempo percussions and a chant excoriated by the abrasive guitars actions, whose amplifications increase the dramatic, dark climax full of an angst that surrounds entirely the episode. The tracklist continues with "Twisted Metal", so introspective and romantically decadent in its sad-post-rock physiognomy very similar to the fall of the Autumn leaves, sonorities built through the dialogue between seductive vocal emissions and the incursions of electric guitars perfectly scanned to the rhythm of the drum-system, all this accompanied by a warm haze of synth. The slow tolling of "Kids Hurting Kids", formulated by piano and drums, opens the way to dark vocal expansions and to caustic guitar's punctuation, a supple combination of sounds placed before the next dazzling indus-rock deflagration of steel guitars, of keyboard, distorted echoes, darkness, psychotic vocals and drumming downtempo, an high-intensity sonic barrier that abruptly interrupts its final segment. "Our Special Way" spreads a predominantly stinging and opiated dark/post-rock sounds, consisting in slow guitars-vocals repetitions rhythmically and symmetrically cadenced with the percussiveness, arpeggios, beats and introspective lyrics that evolve afterwards into an alienating shoegaze/new wave cloud. Within "Open" we perceive a sense of iciness, of power and inner torment, elements megnified in some periods with exasperated slowness by hyper-saturated guitar layers alternating with long moments obscured by a toxic sonic suspension, by suffering vocals and by subsequent recoveries of disruptive rock-punk-industrial vitality. Visionaries Cure-minded details of obscure-wave played by guitars and voice, electronic hints and industrial-rock realignments are listenable in "This Is Not My Fear", suggestively depressed, almost surreal, anticipating the final step of the work, "Waves", it too consecrated to a post-punk/post-rock/darkwave module into which downtempo percussiveness stands the melodic voice of Elio, a chant that wraps with infinite sadness the circular Cure-oriented arpeggios and the hypnotic bass lines, giving to the spirit moments of deep meditation. A shining debut and excellent premises so for Un-Reason, performers of an album in which are clearly perceivable their professionalism and a mixture of different sounds melted among them into an unique, inedited conjugation. The centrality of musics created by the band points out an uncontainable desire to externalize, exorcising them, the sufferings which torture the thoughts, employing for this purpose unbreakable a lot of acoustics strictly connected with desolated feelings perpetually disappointed that only want the final liberation from the dark spire that imprison them. This full-length is true restlessness, but also is a direct transmission with the "unspeakable" hidden in some cave of our mind, all this embodied into a sound that reaches the soul without intermediate stopovers. It's upsetting.
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Various - "Riding The Crest Of The Frozen Wave" - cd - by Maxymox 2013
Excellent initiative from Calembour Records label conceived to celebrate the commemoration of the twenty years of one of the most representative and valid projects of the Italian dark-electro-wave/gothic panorama, the The Frozen Autumn, whose general and artistic infos are widely available on Vox Empirea into the review of the album "Chirality" dating back 2011. This digisleeve cover-compilation, published in only five hundred hand-numbered exemplars accompanied by leaflet booklet, is fully entitled "Riding The Crest Of The Frozen Wave - A Tribute To The Frozen Autumn" : it includes nine remakes of tracks extrapolated from the albums constituents their complete discography, at this juncture entrusted to the creativity of as many underground projects, some of which gravitating around the same home Calembour Records. The reinterpretations audible within the tracklist, performed through the different musical styles belonging individually to each protagonist, renew the sound and atmosphere that characterized the musicality of the duo during its gradual ascent, in a crescendo of melodies and emotions to live with intensity and with the knowledge to listen to the celebration of one of the most significant repertoires from the National alternative scene, since the early 90's to today. The anthology opens by a reconstruction elaborated by the good Hidden Place, makers of the instrumental track "The Forgotten Frontier", taken from the album "Fragments Of Memories" published in 1997, which melancholic electro-wave arias band are now replicated employing flows of synths and a programming diagram from which you can hear appreciable and precise similarities with the original song's procedures, including the pining perceptible in its most meditative moments. From the same full-length it comes the next "I'm Coming From Nowhere", a song which, also in its new wave rock-oriented scheme contrived by the Brazilian trio called Plastique Noir operating in the post-punk/gothic/darkwave/indie-rock scene, it external once again the melodic load and the impeccable aesthetic that has made it legendary: the strength of the vocals pronounced by Airton S. together with the fast phases of drum-programming, it connect harmoniously to the bass pulses, to the keyboard's nuances and to the decadent arpeggios originated by guitar. The siren singing by Femina Faber, solo-project of Paola Bianchi, gives renewed emotionality to a song from the album "Chirality" entitled "Sidereal Solitude", surrounding its midtempo electronic basement and its synths blooms by a nostalgic romantic lyricism and gothic delicacy. The Ferrara's band Go Falmingo! leads the following track "When You Are Sad", a chapter from the full-length "Emotional Screening Device" published in 2002, towards coldwave trajectories into which the vocals expressed by Bruno Vaccari spread flooding of bitterness the dynamic drums beats and the rhythmic succession of guitar and bass-lines; Nabla Operator, or Mirco Dean a.k.a. The Count, experiences the new form of "Second Sight", a song which is also part of the previous album just mentioned: he erects a clear 80's synth/electro-wave musicality composed by the minimal replications of the programmed drumming supporting the key's mists, the distant chant reverberations and the swirl of effects that covers the entire track. The revisitation of "Static Cold", included in the album "Is Anybody There ?" of the year 2005, is now played by the Roman band Winter Severity Index, whose singer Simona Ferrucci spreads alienation and abatement by depressed vocals that embrace a cold, shady and sometimes obsessive new-wave-darkwave musicality made by a dry drum sequencing, by guitar suggestions and by the fascinating key's breaths. "Polar Plateau", from the album "Is Anybody There ?" too, is instead re-invented by the one-man project Lisfrank played by Fulvio Guidarelli from Savona, who architect for this song a danceable midtempo rhythm pavement supporting of alienating synth/minimal-wave melodism of voice, programming and keyboards that recall vividly the 80's Age. Extrapolated from the homonymous album licensed in 1999, here's now the electropop-wave sounds of "Visionary Landscapes", a song originally created by the artistic synergy between Diego Merletto and Froxeanne in their project Static Movement: in this specific chapter, the song is the result of reworking implemented by the Berliners Patenbrigade:Wolff, who conceive a dancefloor fractionated with precision by rhythmic midtempo impulses aligned with the symmetries of the sequencing, with the wind created by synths and with the feminine singing from which they spring capturing harmonies. In the end, it couldn't miss the dedication to an historical track which, probably more than any other, it represented the beginning of the Frozen Autumn: the song is "This Time ", extracted from the debut-album "Pale Awakening" published in 1995 and reworked for this compilation by the cult-project called NG, the abbreviation for Northgate, whose representative Evor A. darkens the original and mighty electro-waver sounds of drum-programming, synths , guitar and vocals, transforming them into a slowed obscure-electro where vocals, keyboard, bass and the electronic percussiveness, generate a mood melodically saddened and psychedelic. Endless nostalgia coming from by now distant years and new insights emerge in this collection of songs combining past, present and internalizing the valuable contribution that the Frozen Autumn have so wonderfully bestowed to the 'wave music: all the artists involved in "Riding The Crest Of The Frozen Wave" have been able to catch fully the sensibility that has always characterized the unique and unrepeatable style of the reference model, finalizing a selection of covers each of them in possession of a distinct personality and effectiveness. This tribute is especially dedicated to the estimators who intuitively distinguish the typical sonority of the project, here interpreted under different perspectives: the release also constitutes an excellent viaticum for access indirectly to the music of Frozen Autumn, aimed to those who have simply heard about them but not experienced their deeds. A copy of this album, however, is indispensable for any respectable alternative collector.
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Verney 1826 - "Ex Libris" - cd - by Maxymox 2013
After a year from the antecedent full-length published by Shinto Records and after the split "Reclusion Of Sun & Moon: Archive III" issued by SkullLine, here's the recurrence of the Berliner solo-act Verney 1826 who reaffirms his fertile creativity and the solid construction process that characterize his project since 2009: comprehensive news about the musician are available on Vox Empirea within the review section dated 2012, an area in which the interested reader will find a long description of the album "Silence Du Tombeau" as well as the Verney's full biography and discography. The new release "Ex Libris", published in 2013 by the Duisburg based label Lichterklang, is a continuation of the serial "Beyond The Mirror Of Time", the neoclassical-compilation fired in 2011 by Shelley Schellack: the sonic contents of the newest record enhance in even more sublime way that once the Lionel Verney's passion regarding the old Authors who have influenced and fed his fantasies, as well as the love of our protagonist towards an unified nusic style that incorporates neoclassical, ethereal , dark-ambient, dark-folk, world and gothic elements, finalizing twelve tracks mastered by Axel Frank - aka Werkraum - , a member of the neofolkish-acoustic platforms called Sturmpercht and Theben Is Torched, and also the percussionist of the martial-industrial project Triarii. The new tracklist propagate different musicality and different atmospheres: each of them corresponds to the specific characters, to the historical epoch and to the readings individually treated in the song's concept: all the lyrics, therefore, often evoke quotations belonging to the famous poets and novelists of the past Centuries. The full-lenght is available in three different versions, one of which as "regular" and the following ones as limited-edition formats: more specifically, the first of these contains the contributions given by the underground musicians, The Victim's Ball, Anna Aliena and Schattenspiel, while the second one, published in even more limited number, contains an extra bonus-CDr of six episodes wich includes the collaborations provided by the mentioned artist The Victim's Ball as well as Protea and Friends Of Alice Ivy. In addition to these guests just listed, the album credits report the vocal contributions by Leif Allendorf, a Verney's friend and valued independent film-maker, unchanged at Greg A. Jones, he too Verney's friend and video-realizer, as well as the singer Joanne Missen. The first song in order into the tracklist of "Ex Libris" is entitled "The Beggar's Opera", a dark-folk/neoclassical episode inspired by the satirical creations conceived by the English poet and playwright John Gay, active in the 18th Century: the song, vocally supported by The Victim's Ball, alias the Italian-Australian Roberto Massaglia, solo-project devoted to neoclassical/ baroque/ goth-rock genres, is enriched by a deep chant harmoniously combined with militaristic drumming, with the solemn slowness keyboard's orchestrations, with the feminine choral refrain and with the crystalline arpeggios that decorate the structures. A tribute to the noble dramaturgy of William Shakespeare, the next "Henry IV" is a neofolk full of XVI Century arias created by fluty sonorities, by tambourine, guitar and by a slow percussive background, elements on which they alight multiple vocal melodies recreating the atmosphere of the ancient Court. Anna Aliena, a German author around to the alien-pop/opera style, lyrically sings the music of "Lúthien", a track inspired by the novel "Tale Of Beren And Lúthien" written in 1917 by J.R.R. Tolkien, or the love story between the beautiful elf Lúthien and Beren Tinúviel, a men from Middle-earth: the song, that corresponding to a dream/fantastic-neofolk, elevates aristocratic voice flows perfectly adapted to the fairy-tale atmospheres created by the instrumental constructs, notes full of passion, surrounded by keyboard breezes, whispers, by downtempo rhythmic and by plectrum pinches. "To The Moon" celebrates the Impey Barbicane's deeds, president of the Gun Club and the main interpreter of the fiction novel "De La Terre À La Lune Trajet Direct En 97 Heures, 20 Minutes" written in 1865 by Jules Verne: the common presence of dark procedures, obscure-folk sounds, neo-classicisms and martial elements, originates an almost epic soundtrack musicality, slowly scanned by drum-beats adorned with electronic effects and made most important by the baritone vocalist's modulations combined with the majesty of the keyboard. The extraordinary beauty of the following "Penitenziagite!" is further corroborated by the spoken words and by the chant of The Victim's Ball, whose vocal nobility pronounces initially, with great effectiveness and in the old original Italian language, the quotations written by Dante Alighieri, and then those in the German language belonging to Martin Luther: to these phrases, accompanied by an atmospheric background of medieval sounds, bells and trotting horses, it follows the dark-neofolker core of the track consisting of long keyboard chords, arpeggios and somber drumbeats, musical elements that recall the sad fate of Fra Dolcino from Novara, a religious really existed, accused and executed for heresy by the Inquisition in 1307, vicissitudes taken from the Umberto Eco's book "Il Nome Della Rosa". "Mr. De Winter" is a dark-neoclassical composition made more strong and austere by the drum-martial orchestrations and by the symphonic glumness reflected by the keyboard section above which they fly cold rarefaction of German words: this song, together with its continuation listenable more further on the tracklist, symbolizes the Verney 1826's recognition towards the Twentieth-Century's English writer Daphne du Maurier - aka Lady Browning - , and in particular about her famous story written in the year 1927 entitled "Rebecca". The next track, "Fireflies", goes back over the sorrowful events experienced by the Japanese singer and writer Akiyuki Nosaka during the Second World War, events transcribed by the same author in the 1967's novel "Hotaru No Haka" ("Grave Of The Fireflies") and now expressed into a dramatic-neofolkish music form by evanescent expansions of bells, of keyboard and vocal reverbs, and then by gong vibrations, by oriental arpeggios, ascensional currents of brass instruments and voice, Levantine harmonies and by slow percussive drumming. Conceptually linked to the previous act "Mr. Winter", the following track "Mrs. De Winter" acquires the same charm but renouncing the sumptuousness of the orchestral formulas heared in the first chapter, favouring decadent atmospheres built with minimalism by the interaction between neoclassical and dark-ambient melodies: the result is an obscure-romantic sound, essential, composed with slowness by obsessive pads, by sepulchral voice, lugubrious carillon notes, by samples and by funereal bell tolls. "Der Gefangene Von Chillon" is the Verney's sonic compendium extract from the novel "The Prisoner of Chillon" written in 1816 by the English poet Lord Byron, whose phrases, vocalized in spoken words mode into German language after a propagation of cosmic sounds, are adorned by harpsichord decorations which gives to the long intro a nobly aged aura, a register then transmuted into dark-ambient sonorities coming from the deep Space, created by astral expansions, by reverberated vocals and eerie bells echoes. We continue with "Alles Still" and by the unreal voices of Anna Aliena and Verney, whose full text recalls the words written by the German poet Heinrich Theodor Fontane in his book "Wanderungen Durch Die Mark Brandenburg" published between 1862 and 1889, internally to an unadorned neoclassical/dark-ambient musicality played by slight touches of piano, footsteps sounds, electronic fluctuations and by symphonic keyboard vibrations. The charming song "L'Eternal Adam" wants instead to honor the gloomy-fantastic novelette written by Jules Verne and his son Michel originally entitled "The Éternel Adam": its musical transcription is now completed through differing interpretations including ethereal-ambient/minimal-neoclassic acoustics consisting in long keyboard extensions and silvery strings arpeggios, solutions alternated with strong wind gusts of a sampled storm within which stand sinisterly the austere tolling of a bell, vocal samples in German language and an arcane chant like a mantra. The conclusion of the opera is worthy celebrated by "Ruhe Vor Dem Sturm", a neoclassical/ martial/downtempo track created by the Verney's voice with Sven Phalanx to the instruments in their project called Schattenspiel: the song, inspired by the French military Alfred Dreyfus wrongly convicted of high treason and imprisoned in 1894 in French Guiana, disseminates militaristic drumming and samples alternating with hermetic-fractionated voice sections and melancholic piano textures, all this supported by the fast hatches of synthetic strings generated by programming. Verney 1826 touches the top of the ultra-class music planning an album in possession of considerable charisma and attractive energy: each track features an aulic portamento, distinction, as well as the rare ability to lead the listener into the Age and into the climax conceived by the artist, performing in this way an intermediary function with the Past and then with the events described by the authors involved. In "Ex Libris", the music configuration is a triumph of classicism, mystery, darkness, adventure, poetry, aesthetics and love for the old literature, a mesmerizing retrospective of sounds and chimeric projections of events on the backdrop of a passion for what is historically intriguing and indelibly expressive: by this release you walk through the boundaries of Time moving incorporeally in its wonderful centrality, assimilating every note, every moment, every tale. And now, are you still able to distinguish between reality and imagination?
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Vomito Negro - "Fall Of An Empire" - cd - by Maxymox 2013
As is well known, the Belgian Gin Devo constitutes an important pillar of the European EBM-industrial movement, whose biography and parallel platforms are exhaustively discussed in the review by Vox Empirea regarding his solo album entitled "Errata" published in 2012: Vomito Negro is the most significant and long-lived creature built by the musician, a project conceived experimentally in 1982 by Gin (synths/noises/arrangements/composing/editing/programming) with Guy Van Mieghem, and continued until now recruiting in 2009 Samdevos (synths/noises/backing vox) to which was added in 2010 the collaborator Sven Kadanza (live percussion/steel drums). An extreme eclecticism, a constant openness to external collaborations as well as a sound-system combining the Cabaret Voltaire's electronic avant-garde, the techno-popish genius of Kraftwerk and a measured touch of industrial, constitute the cornerstones on which are articulated the formulations by Vomito Negro, always versatile and systematically adapted over the years to the different concepts of the releases published, in which contexts, however, are perceived almost unchanged those 80's old-school foundations that from the beginning they characterize this protagonist. The direct contact with the listener's mind are two elements of imprescidibile importance for the artist, so his music acts as a danceable and efficacious transmission of texts described with acute irony beyond which they transpire feelings of salvation and liberation alternating to reflection and inner torment, elements distributed in a wide discography inaugurated in 1985 by the 12" self-titled "Vomito Negro" published by Etiquette Records whose four tracks reappeared in the tracklist of "Vomito Negro Boxset", a publication in limited edition format 12"+ tapes released in 1987 by the KK Records, the Belgian label which was assigned in the same year also the vinyl 12" called "Stay Alive". In 1988, they came out, even by the KK Records, the two versions of "Dare", whose first mini-lp edition was taken in a CD format compilation including the entire title-track of the mentioned "Stay Alive": worthy of note is the introduction into the line-up of the duo Split Second occurred at that time as drum programmers. By the subsequent collaboration between Vomito Negro and Peter Van Bogaert, aka Liquid G, founder of the Belgian label Liquid Produkts devoted to industrial/electronic-punk trends, resulted in the 1989 "Musical Art Conjunct Of Sound", or rather nine tape recording in fact issued by the cited brand by which in 2000 were reproposed also in CD version. Again in 1989 and once again by the KK Records, was released the album on LP and CD "Shock" contemplating very electro/EBM sounds , event exceeded in the following year by the three tracks of the 12" entitled "Save The World", always on KK Records. In the same period and by means of the same label we witnessed to the exit of the excellent full-length "Human", anticipating the next "The New Drug", release created in 1991 and published the good Antler Subway, sub-label of the Belgian Antler- Subway Records NV. The creative force of Vomito Negro increase its profitability in 1992 through the album "Wake Up" widespread again by Antler Subway, while the compendium entitled "Compiled", published by the KK Records and distributed by the Londoner Rough Trade, summarized in the identical year much part of the past material. A decade separated the previous title from the album techno/ electro/industrial oriented called "Fireball" released by the German label Triton, whose lyrics were wrote by Guy Van Mieghem from the projects Blok 57 and Full Dynamic Range which mastering process was performed by Eric Van Wonterghem, famous person in the Belgian industrial area. The reputation vested by Gin Devo through the figure of Vomito Negro did not escape from the watchful and selective eye of the German label Out Of Line, by which was released in 2010 the amazing "Skull & Bones", a double album in which twenty steps they could enjoy electronic melancholies and dark-minded airs. Approaching the present time, Vomito Negro completed in 2011, again for the Out Of Line, the ep "Slave Nation" which was followed in 2013 by the charm of this great and long-awaited album "Fall Of An Empire". The trio strategically entrust themselves to the strong media resonance and high quality of two labels: to Metropolis for the U.S. market, and to the Italian EK Product for the European diffusion, confiding in their legendary fame and reputation, as well as their ability to reach effectively the deepest substrates of the alternative public with an album that already few days after its release has received very favorable reviews by the specialized press and, above all, the complete appreciation by the devotees to the genre in question. Nine songs loaded of subjugating power and assured danceability they extend from the tracklist at first by the opener "Enemy Of The State", activated on of dark-electro canons in which it articulate a linear midtempo drumming in which scans flagellate the glumness of the synths and the caustic, dark accent that the singer predispose in his voice alternating it with the cold setting of the vocal loops. Faster and menacingly electro/industrial, "Tape X" transmits strobe pulses and harsh vocals of sibylline tones, in a frantic context of drum-programming and glacial keys emissions, giving to the track a dynamically grim personality, while the following "Factory Child" replicates squeaky synth radiations and vocal malevolence in an alienating electro/EBM midtempo scheme orchestrated by an hypnotic reticulated of programming. The electronic print audible in "Power On Demand" reconnects the contacts with the past by the obsessive beats of an EBM old-school characterized by the inflexibility of the Gin's voice and by the essential midtempo cycle of the drum-sequencing, elements followed by the dark flares and the ice that surround "Machines Of Hate", a dark-electro track mechanized by low intermittences activated as rhythmical base on which are grafted an hissed chant and shady key executions. "Into Your Eyes" is a conglomeration of EBM and obscure-electro composed by oppressive interchanges of drum-programming midtempo, sonic alterations, electronic filterings and reverbs sections of voice, all together with the icy evanescence of the synths that hover menacingly in the air condenses items into sharp pinnacles. The captivating melody propagated by "Emerging Souls", track of enormous value available online in video format too, takes shape in a dark-electro in which the metallicity perceptible in the Gin's voice, the danceable diagram scanned by the drum-machine and the symmetric beat by the programming generate nightmares fascinatingly technologic, while further on "Hollow Heads", entirely instrumental, planning a repetitive midtempo code combining it to artificial liquefactions and to the black wakes of the synths, for a futuristic concept of the EBM module. The completion of the work takes place by the homonymous and the extensive "Fall Of An Empire", a song again devoid of vocals into which Vomito Negro expressed in absolute terms their personal and experimental interpretation of the EBM, integrating in it dark-ambient sonorities, downtempo robotic replications Kraftwerk-oriented and livid emanations of keys, elements that dash themselves into a poisonous abyss of synthetic sounds able to evoke the feeling of cold. The polymorphic architecture of the album, deprived of excesses and superstructures, dispenses formulas strongly contextualized into the Electronic Body Music from the golden ages with the addition of toxic alchemy and a touch of technopop, for a sound-complex of inflexible, dominant metric: Gin and his ensemble created by "Fall Of An Empire" an electronic manifest duplicating masterly old trajectories, the which ones that are still used nowadays as reference models, decorated with modern finishes and choreography of high sonic technology. If you'll get in contact with this release it'll conquest you becoming an object absolutely indispensable: the Emperors fall, music like this never.
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Zynic - "Blindsided" - cd - by Maxymox 2013
Since 2008, the new European's alternative electro-synthpop has met one of its most important expressions personified by the German H.P. Siemandel who, through his Zynic's artistic pseudonym, is the realizer of a style and a discography ritenibile essential for the modern listener of this iportant music genre: for all those who were interested in the knowledge of further details regarding this musician, they may avail of an extensive interview viewable on Vox Empirea. With the mind towards the 80's retropop and an intuition oriented in direction of avant-garde formulas, Zynic creates from his debut an open musicality, wonderfully melodic, intelligent and often danceable, full of electronic strategies predominantly contiguous the Erasure, Yazoo and Depeche Mode's style, alternating it with other modules as the aristocratic new wave of the Japan's David Sylvian or with the icy Cabaret Voltaire/Kraftwerk's technological experiments, passing through the magnificent electronic-pop romanticism of John Foxx and Ultravox and then, touching in some circumstances the state of "wave alienation" of Gary Numan as well as finally the reflective gloom of the post-punk of Joy Division and The Cure. During the five years since the foundation of the project to now, the protagonist has disseminated his music course by excellent publications, beginning in 2009 with the promo release titled "ZyniC" and later with a series of tracks included in the compilations "Synthetic AIR-Furt", "Electropop 3", this latter part of the successful series published by the great German label Conzoom Records, and "Synthetics Vol 88", continuing in 2011 with the remix of "Sing The Body Electric", a track by the Australian synth-duo Parralox and participating in the anthology "Electropop 2" issued by label ZYX Music. The event thanks to which it was made possible the Zynic's rise was the release "Dreams In Black And White, an excellent ep published in 2011 by Conzoom Records, the which limited edition of the same year was distinguished by significant episodes remixed by important names from the electro scene as Iris, Beborn Concrete, Leaether Strip, Assemblage 23 and Neuropa. "Fire Walk With Me" is instead the title of the first, acclaimed album of 2011, it also by Conzoom Records, to which ten tracks of its limited edition version they added four remixes by Iris, Assemblage 23, People Theatre and Parralox. Also in 2011 it was the turn of the contribution given by Zynic to "Radio Schwarze Welle Vol 3", a compilation created by the famous cult-radio in cooperation with the brand ZYX Music, an event followed in 2011 by another spectacular ep, "My Personal Kryptonite", published by the Conzoom Records: the limited edition of item containing remixes devised by the projects Mesh, Rotersand, Lex Luthor, and also a melancholy episode, "Almost Silence", made more precious by the acoustic guitar played by Johannes Knechtges. "Blindsided" is the album of 2013, ever entrusted to Conzoom Records, mastered and mixed at the German studios of Railroad Tracks into which they recorded projects as Melotron, In Strict Confidence, Mesh, Noyce™, Minerve and Analogue Brain: the awaited return of Zynic is announced by a tracklist of ten new episodes of which "Escape Artist" is the first act, a synthpop which includes 80's Erasure-oriented retrospectives with vocals deliciously melodic supported by the danceable midtempo fluidity of the drum-programming and by soft keyboard beams. In "Dead End" the Zynic's chant runs sideways to the technological symmetries gushing from the equipements which pulsing drum-beats cadences sublimate the concept of danceability joining it with the warm winds generated by the synth, all this anticipating the next song, "Cardiac Arrest", a melancholy, slow electronic-pop in which the voice's modulations serve as the perfect complement to the key's electronic symphonies that culminate in the refrain to descend slowly towards a saddened final piano. Of different attitude is the track titled "Only Human", which synthpopish structure recovers an ample vocal range and an irresistible, danceable melodic midtempo drum-programming punctuated by the glittering touches of the keys, while "Paradise Falls" varies again the music form now directing the harmony towards a radio slow-pop song, so light, very-listenable and nostalgically romantic, elements manifested by graceful and innocent synth orchestrations and a moderate use of the electronic elements, focusing more on the evocative power of the chant that Zynic beautifies by suggestive accents. The wonderful "Hard To Breathe" adds further charm to the tracklist exhibiting an electropop od superior and infallible efficacy, an authentic tribute to the art of knowing how to combine perfectly modern sound technology, elegance and capturing harmony, a feature that in this particular song takes shape through a splendid vox-foreground which refrain imprint it instantly in the memory placing side to complement a delightful succession of programmed rhythmic and shining key's radiations. The disposition of the tracks involves the sapient alternation between dynamic songs and other ones more meditative and atmospheric: at this latter style corresponds the next "Ghost", an electropop downtempo which percussive maps hypnotizes scanning minimal, linear, metallic beats gravitating in a quiet and ecstatic galaxy composed by voice, synths and artificial micro-sounds. The remake into electronic version of "Boys Of Summer", a famous pop/classic-rock song originally written and performed in 1984 by Don Henley and Mike Campbell, develops uptempo bpm's, charming keyboard executions and sequencing-intermittences respecting almost fully the original old sound-schemes, while "Thanks For Nothing" emulates with surprising credibility the vocal-instrumental models taken from the classic Yazoo/Erasure's style, and this is thanks to a precise, solid knowledge of these special metrics which require at first a balanced relationship among vox euphonies instantly assimilable, nice supports of old-school 80's synths and a danceable rhythmic linearity: the simultaneous action of these components generates a sound-system munificent of exciting harmonies that make this song as a valuable way for living the glorious electronic reminiscences of an Era musically unforgettable. "Never Enough", the last song of the tracklist, is a touching downtempo synthpop which places its configuration into a scanty drum-programming so identical to that heard in "Hide And Seek" by Howard Jones, to which they follow sad keyboard breezes that lap a Depeche Mode-oriented chant, delivered with passion and nostalgia. Among the strength points of Zynic stand freshness, inspiration, strategies that conquer at the first listen and an outstanding technical expertise, details that contribute to the full sound control besides the infallibility of an album as "Blindsided". Every single moment of this release is planned in its smallest detail through solutions that simultaneously intersect the remote synthpop to the electronic conceptions of newest generation: the talent of Zynic is unmatched and the World must know it.