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Elezoria - "Astray" - by Maxymox 2017

immage  Interesting musician from Russia, Dmitry Nordman is the interpreter of Elezoria, a solo-act conceived in 2008 initially with intents towards the research of alternative and effective combinations of the technological sound together with Gothic deviations; by this experimentation the artist has obtained the current attainment and refinement of new electronic styles, intersected by a multitude of elements which take their inspiration from the melancholic, typical sonorities of the 90's darkwave, from the soundtrack melodism belonging to the 90's European retro-wave, from the avant-garde aesthetics of futurepop, from the graceful harmonies of synthpop and, more vaguely, from the synoptic ballability of EBM, all, as at its beginning, perpetually surrounded by a decadent aura of gothic romance that blows gently in every song. The compositions created by Elezoria are an analytical journey inside the human nature: they express conceptually and concretely an introspective emotionalism that is at the same time decipherable and sensible, desperately in need of externalize its anguish, its broken dreams, the consequent disillusionment and the moods perennially tending to the darkness that characterizes the complex personality of Dmitry, aspects strongly highlighted both in lyrics, always sung with refined spleen, and in the sophisticated musicality, so crepuscular, cool and elegantly atmospheric. The debut album "Astray" - licensed in limited edition in 2017 by the Muscovite label ScentAir Records and preceded in 2016 by the four synthpop / darkwave / EBM tracks of the self-produced digital EP "Rain Washes Away" - contains ten songs performed with admirable evocative capacity and with a remarkable attitude towards the investigation of the spirit, in which they are incorporated in perfect balance the abysmal surrealism of vocals and the rationalism of machines; the first episode of the tracklist is "Tell Me", a reflective midtempo synthpop / futurepop / new-darkwaver song overflowing with vocal darkness, melodic sequencing and suggestive keyboardism, anticipating the next "Motion", formulated through an impeccable articulation among the nostalgic deep intonations of the singer and enveloping future-synthpopish / darkwaver sounds, all rhythmically subdivided by midtempo drum-programming and artificially illuminated by the tenuous sections of the keyboard, which harmonious wakes merge with the polychromies of the sequencer. "You Can See" - published in 2017 as two-tracks single - offers a faster percussiveness and synthpop / futurepop / darkwave / EBM schemes, in a set of regular midtempo pulsations, dim luminances of keyboard pads and essential sequenced melodies, on which they combine fascinating, obscure vocals, alternated inside cycles little more than whispered and others pronounced with sepulchral modulations. "Up Against Time" propagates emotional desolation and synthpopish / darkwaver technologies, melancholically exposed through touching lyrics, sung by rueful fineness, driven by systematic midtempo grooves, embellished by poetic flows of keyboard-piano and by the cold colors of sequencer. The vocal ornaments that decorate the next "Farewell" synthpop / darkwave structures are by the only external figure included in the drawing up of the album, the guest-singer Laly Fox - along with Dmitry part of the synthpop / darkwave duo project called Expiring Time - whose chant, languidly declaimed with homesick sweetness, rises languidly in the air with as autumnal leaves, fluctuating carried by caressing keyboard orchestrations, by essential piano counterpoints and by downtempo drumming. Dmitry's obscure vocal calligraphy returns in the following "Frozen Tears Of Sorrow", spreading once again melodic melancholy and electro appeal, into a synthpop / darkwave creation based on symmetric midtempo drum-programming, moving piano notes, segments of sequencer and tearful pads, these latter ardently accentuated in the final of the song. "Ceiling And Walls" proposes a more obscured, timbrically acidic chant, yet always graceful, which harmonizes with lovely, futuristic synthpop / darkwave concordances designed by straight midtempo beats, compact sequenced lines, wide keyboard chords, shading synth and a pianistic delicacy that intensifies the perception of sadness, as in the subsequent "I've Lost My Road Home", also oriented towards synthpop / futurepop / darkwave trajectories, rhythmed by midtempo scans and sequencing steams, carismatically sung through frowning, passionate vocals, backlit by feeble synths and electric guitar riffs, in a blend of restlessness, despair, oppression, that making this song a melancholyly tormented hymn. The synthpop / futurepop configuration of the next "Rain Washes Away" is integrally crossed and dominated by a shadowy affliction, expressed through a chant transfigured by vocoder which comes from the most unfathomable recesses of the soul, inserted among meek synthetic arpeggios, mechanical downtempo cadences, alienating keyboard and harmonious piano punctuations. The tracklist's final act is "One Careless Word": it manifests the most emphatic and penetrating unhappiness that triumphs in its musical apotheosis, built as always through the precious Dmitry's singing, now so frantic, low, disconsolate and more than ever consumed by melancholy, at first incorporated in a neoclassical period fundamentally consisting of lethargic piano patterns and rarefied synths, then, more than half of the song, shaken by a threatening, severe, percussive-symphonic riot overflowing with solemnity, in which drumming, short but bombastic, it dissolves the electronic buzz of keyboard. Elezoria's sound system seduces, disturbs, thrills. It explores the unconsciousens bringing out in the listener an upsetting grief; it is a Calvary of suffering, a praise dedicated to sorrow, to regret, to decline, to gloomy isolationism and to abandonment, all of these sentiments repressed for too long and urgently needy by the liberating exorcism called "Atray". The album in question represents an incredibly vivid sensory experience as just a few others in the electro scene have so far been able to generate, with increasing levels of involvement and direct participation at every single instant of the tracks. The protagonist's vocal metrics intriguing, enchanting, capturing the total control of our imagination, while the persistent climax of gothic grayness and tribulation in the musics amplifies the immensity of an inner drama that does not know either truce or serenity, but only the silence of resignation. Dmitry Nordman has achieved the goal. This release is exactly what we call a memorable debut.

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

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

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Huron - "Inside Information" - by Maxymox 2017

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

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L'Effet C'Est Moi - "Iside Panthea" - by Maxymox 2017

immage  There are no words commendable enough to define the magnetism intrinsic within the music of Emanuele Buresta, aka L'Effet C'Est Moi, since 2005 founder and unique figure of this compelling Italian one man project, through which, spurred by the byword 'Mi Natura Dedit Leges A Sanguine Ductas', he always manages to make superbly converge into a grandiose sonic model the cultural elevations and the symbolisms enunciated in its creations. Former member with the pseudonym Garzaroth of the national death metal band called Morkal, as well as talented live performer in his current solo-act L'Effet C'Est Moi - a name linked conceptually to Friedrich Nietzsche and in particular to his idealization of the axiom 'command - obedience' based on the predominance and on the individual superiority of man in the social context - this musician is the author of an unique, precious sound, evaluable as a transcendent celebration dedicated to the antique rites offered to Nature and to the Deities that elevates Man to higher stages of consciousness, uniting so the earthly materiality with Spirituality. The primordial European traditions, especially the millennial ones belonging to the entire historical, philosophical and cultural evolution of the Italic people, with its virtues, its principles, its pagan and Christian cults, play a fundamentally inspirational role in the music of the artist, who extrapolates the emotions coming from these scenarios giving them life through modern equipments, indispensable for the transmutation into sound of such deeply epic and mystical subject matters. The overall structures of the musics played by L'Effet C'Est Moi - integrally instrumental, elegant, with episodic conjunctures of vocals - combine martial - symphonic euphonies to modern-neoclassical, neofolkish, synthpop, darkwave and industrial-ambient elements, synergizing them with formidable expressiveness and with aesthetic rigor into an evocative orchestrality, intertwined indissolubly with the substance of the themes whenever treated, all in a discography to be collected entirely, which began in 2006 with "Tomber En Héros", the split debut album published by the Italian label Forart.it and containing eleven tracks divided into two acts, followed in 2008 by the resounding full-lenght of twelve songs entitled "Les Voix De L'Apocalypse", published at the same time by the prestigious German brand SkullLine and the Chinese label Midnight-Productions, which was followed in 2011 by the album "Genius Loci" - analyzed in the same year by Vox Empirea - fired by SkullLine and composed of eleven tracks. In 2012 it was the turn of the full-lenght "Il Sole A Mezzanotte", including eleven performances and distributed by the illustrious Polish label Rage In Eden, to which in 2015 they followed the ten tracks of "En Guerre Avec Amour", an album released by an other eminent label, the Italian Old Europa Cafe. There are also numerous participations by L'Effet C'Est Moi in important compilations, such as "Heiliges Licht - Friendship Is Everything", published in 2007 by the Polish label Kaos Ex Machina Promotions, "In The Sign Of The Runes", edited in 2008 by SkullLine, or "Sturmreif: The New Underground of Military Pop", fired by the German brand Castellum Stoufenburc. The new work "Iside Panthea", published in 2017 by the well-known Austrian brand Steinklang Industries and now reviewed by Vox Empirea, is available in very limited edition mini-album format; its tracklist contains six martial symphonic / modern classical / darkwave songs realized and finalized independently by Emanuele Buresta at his own Audio Rising Studio in the year 2016. On this occasion all the tracks are characterized by atmospheric sounds that recall the archaic esoteric functions related to the cult of the goddess Isis during the Alexandrian Imperial Rome epoch, conditioned by the interchanges of cultures and divination practices with ancient Egypt. "Iside Panthea" - fundamental detail to fully understand its substance - is in fact the musical explication resulting by the introspective, personal research of the protagonist about the mysterious aspects of that historical Era. The sound schemes of the album elaborate sophisticated, involving timeless textures, embellished by measured counterpoints of the Egyptian sistrum - an instrument considered sacred to the goddess Isis - electronically rhythmized through a drum-programming set on timpani, tambourines and on pots of bronze - these latter traditionally used in the musics of the ancient Rome - illuminated by crystalline mudulations of bells and rattles, all adorned with symphonic nobility by aulic keyboards. The opener is the deferent and preparatory ritual extrinsicated by "Purificatio", so sinuous and rhythmed, as other subsequent acts of the album, by slight downtempo membranofone percussions, sublimated through suggestive keyboard melodies, cryptic whispers and though a feminine 'siren-like' chorus artificially processed, so hieratic, contemplative, able to abduct the imagination and to communicate with otherworldly entities, which, through and the dreamlike activity of the sleeper - according to Plutarch, a symbolically initiatory condition of what Death will be - transfuse into the subconscious the messages transmitted by the divinity Isis, emblematic connotations belonging to the next "Initiatio Isiaca" , a composition enriched with austere introductory pads, subsequently incorporated into liturgical organ harmonies, catatonic downtempo percussiveness and into elegiac, feminine choral sections, in a whole of sonic wizardy and ascetic seduction of the senses: the intrinsic meaning of the track is the awakening in the Reign of the Dead by the initiating, who now relives through these musics the same infernal torments suffered by Osiris - at the same time brother and bridegroom of Isis - during his resurrection in the Afterlife. A more obscure and orchestrally awesome sound, alternated with periods of minimal shamanic musicality, distinguishes the following "Lustratio Mystica", the which symphonic arias, emphasized by martial, bombastic keyboard extensions and thundering percussive hits, are alternating with quiet, notes of flute full of enchantment, punctuated by a soft downtempo beating that highlights its essence of divinatory ceremonial exalting the magnificence of Isis, understood as the omnipotent and feared divinity, to whose control and will the entire Universe is subjected; interesting is also the sampled representation in the song of the 'snake's breath', which in the ancient Egyptian myths was considered a strongly allegorical animal, eternally in balance between earthly identity and mediation with the supernatural. The sonorities of "Osirificatio" depicts instead the celestial Firmament towards which the initiate ascends: this scene is musically reproduced by murky diffusions of synths, soft whisperings, raining noise in the background - that completely wraps the track - and by faint downtempo drumming, all this glorified by a solemn keyboard. The imperishable return to the life of Osiris, which took place through the prodigious wind generated by the Isis wings, manifests itself in all its extraordinary sumptuousness in the following "Immortalitas", which, by declamatory keyboard flows, by suave and hypnotically replicated drumming and by torrential water effects, leads the listener into a mesmerizing sonic experience. The last chapter of the album, "Milvus", interprets one of the preponderant deities of the Egyptian pantheon: Horus, the hawk-god, born by the union between Isis and Osiris, whose screams are uniformly propagated on the track, that is built by wide, enchanting keyboard / choral progressions, sequenced decorations and by midtempo percussive cycles, in an aggregation of modulations and sensations recalling ancestral cults. Prospectively ecstatic, surreal music, with sculptural traits, that brings the listener back in a fairytale path among remote splendors and arcane retrovisions of lost civilizations, the one conceived by L'Effet C'Est Moi possesses a particular vividness and an innate comeliness that make it so exclusive. Each of the six monumental tracks included in this release pours into the listener the totalizing perception of sacredness and mysticism, revealing highly figurative 'mind-expanding' martial / neoclassical stylemes, capable of opening up the evanescent doors of the Cosmos granting to the audience to enter into an atemporal dimension, phenomenally intense beyond all limits. Evocativity, paganism, mythology and suggestion are harmoniously molded in the work "Isis Panthea", immortal as the deities to which it refers. All this beauty is disconcerting.

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No Trust In Dawn - "As We Fall" - by Maxymox 2017

immage  The musical collocation of No Trust In Dawn can reasonably be included in a stylistic 'hybrid' range, being it composed of darkwave / new wave / goth-rock / synthpop sounds. Both components of this German duo-act - active since 2016 and represented by Rio Black (lead vox / lyrics) with Soykut Gür (musics / instruments / backing vox) - come from varied and technically constructive past experiences: Rio Black after have instituted in 1994 an indie-rock band called Spunk, afterwards sung in a punk enterprise known as 2te Wahl, subsequently co-founded with Dr. Mole and Paco Alcalde the synthpopish platform Spunk 2003 and later the punk-hardcore ensemble Leihhaus, he militates currently in the wave / post-punk / goth band called Atomic Neon, while Soykut Gür took part in the 90's of the hardcore project Down To Reality. The artistic reciprocity between the two protagonists has originated a musicality in which we can perceive mainly strong markings of Cure - particularly in the Rio's vocal timbres, characterized by the unmistakable, melancholic accents 'Robert Smith oriented' and also in many instrumental solutions inspired by those from the emblem-album "Disintegration" - combined with old-school / new-school electronic drifts inspired by New Order - these last distinguishable by an use of a basic and skillfully synthpopish technologism - all embellished by further and irresistible gothic-waving elements which sometimes remind us to those played by the Canadian cult-band Handful Of Snowdrops. The official discography of No Trust In Dawn mentions at today two releases: the song "Trash (cold version)" included in the digital compilation "Gothic Music Orgy Vol. 3", published in 2016 by the German DarkTunes home records, plus the debut album "As We Fall", now analyzed by Vox Empirea, fired in 2017 by the German label Alice In Wetzlarer, co-associated with the illustrious brand Dark Dimensions. The full-length - that numbering eleven tracks - begins through the mechanical downtempo drum-programming of the intro "The Preachers", which mathematical fractionations run slowly, flanking sequencer decorations, wrapping synth chords and an atmospheric artificial chorality. The next "Drag Me Out" is gagliardely driven by an uptempo percussiveness synchronized with sequenced punctuations, a powerful rhythmic engine on which Rio elevates his post-Cure chant so nostalgically suggestive, yet energetic, while the keyboard developed by Soykut spreads harmonic sections of great effect and the electric guitar arpeggiats alienating riffs, all in an highly danceable darkwave / synthpop song that the alternative d.j.'s may propose as infallible club banger. "Matthew" is full of 80's darkwaving sentiments and new wave classicism, expressed through a depressed Cure-minded vocalism, dry midtempo drumming, fast caressed electric guitarism and opalescent keyboard flows, as well as in the following "Dystopia - one of the most appreciable tracks of the entire album - they stand out extraordinarily profound wavish / darkwave connotations, constructed by precise midtempo drum-programming, by a desolate singing that Soykut exposes with charismatic magnetism, harmonizing it with Rio's backing vocals, with melodic keyboards and with symmetrical guitar lines. The darkwave arias become even more melancholyly introspective, musiced with saddened romanticism, like in a decadent Gothic poem conceived, written and recited with burning torment, al this always preserving vivid the emotional involvement through highly evocative soundwriting, lyrics and vocals magnified by the pained, echoed Rio's intonations, by hollow keyboard / guitar orchestrations and by essential downtempo drum-beats: this is the true essence of "Trash". The balanced fusion between New Order and Cure is also noticeable in the next "All This", rhythmically whippy and vocally restless, composed by midtempo drum-programming and sequenced luminances, which pulsing segments shake a chant pervaded by bitterness, while delicate keyboard trails and the soft guitar background embellish this pleasant synthpop / waver song. "Come Closer", a track of incomparable beauty, has got the rare ability to penetrate immediately into brain and to keep its memory for a long time, all this by polarizing vocals and by instrumental strategies in which they intertwine with ardor lacerating spleen, agonizing passion, ungratified desires, faded harmonies, loneliness and perpetual feelings of inner obscurity, all within a concatenation of darkwave / gothic-wave / synthpop formulations in which Rio's post-Robert Smith voice reverberates desperate, claustrophobic lyrics, the electronic drumming processes straight midtempo beats, the guitar textures propagate notes that abduct the senses, while the transcendent fluidity of keyboard and the sequencer reinforce the phatos of chant. "The Lost Tree" tends towards synthpop / darkwave solutions melodically perfect and avant-garde, through squared midtempo grooves of drum programming, schematic sequencing modulations, harmonious keyboard fluorescences, ecstatic guitarism and elegiac vocals, so nostalgically introverted, in which they dominate regret and deprivation. "The Match" is driven by a midtempo automatism of drum-programming on which they vibrate synthpop / new wave / darkwave euphonies, adumbrated by the voices of Rio and Soykut, electronically illuminated by impure keyboards and by geometric sequenced patterns, while sinuous electric guitar counterpoints harmoniously accompany the structures, increasing the obscure grace of this song. Concise midtempo breaks of drum-programming and filaments of sequencer martially scan the next and namesake "As We Fall", a synthpop / wave in which Rio disseminates his chant overflowing with suffocated and frustrated vocality, inserted into the homesick emissions of keyboards and sophisticated electronic arrangements, while the concluding "Trust Me" emanates catartic synthpop / darkwave harmonies saturated with melancholic sweetness and gothic poeticism, all through metronomic downtempo drum-machine, melodiously sorrowing, expressive vocal foreground, culminating in an intensely suffered refrain that captures with extreme simplicity, jointly with tearful keyboard sonances. Past and present converge in this full-lenght. No Trust In Dawn are the creators of musics virtually without age which incorporate into their core modernism, surrealism and distant reminiscences from glorious epochs, reflecting an amazing compositional excellence and aestheticized sonorities of great value, comparable to the most iconic ones belonging to the darkwave / wave / gothic of the 80's / 90's decades. Rio's vocal design, incredibly resembling that of the Cure's leader, manages to communicate with realism the existential discomfort and an immeasurable, intrinsic and perhaps impossibile desire of liberation from unhappiness, as well as the equipments maneuvered by Soykut model them perfectly to the singing, emphasizing its preciousness and giving the executions an extreme enjoyment of listening. The two interpreters musically conceptualize the fragility and vulnerability of the soul, 'humanizing' uncompromisingly even the artificiality of a predominantly synthetic sound, the same one that makes "As We Fall" a legendary album on which time will have no power.

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On The Floor - "Made Of Scars" - by Maxymox 2017

immage  The artistic growth of the German 'band in progress' On The Floor invariably follows since 1995 an ascending curve, characterized by progressive and appreciable improvements both on the technical and on the inspirational levels, highlighting remarkable resources at each new publication. Located in Hamburg, the project in question - consisting of Helge Jungmann (vox), Dennis Lindner (bass), Henning Thurow (guitar) and André Lindner (guitar / keyboards) - stylistically merges crepuscular gothic-rock refractions firmly combined with the fascinating blackness of the darkwave, with vague post-punk recalls and with danceable synthpopish complements: it results an elegantly melancholic sound, characterized by long, suggestive preliminary phases of singing with instrumental basicity, the same ones that alternate cyclically with the subsequent developments energized by the massive use of guitar feedbacks and often by a dynamic drumming set, all elements amalgamated with vocal strengthening and dragging electronic decorations. Besides having been able to preserve over the years a tenacious discipline in conceiving an ever more original and persuasive musical imprint, On The Floor have reinforced their artistic knowledge through gigs shared with important protagonists from the alternative scene, such as Clan Of Xymox, Catastrophe Ballet , Girls Under Glass, Zeraphine and Phillip Boa & the Voodooclub, optimizing their creative talent until obtain enough recorded material to integrate at first into the two self-produced demo tapes "Glut" and "Close". Subsequently, in 1999, the band released the mini-album "Waiting For The Summer" - published by the small German label Crossroads Musikproduktion - which contains five electro / goth-rock acts, later inserting tracks in some prestigious collections as "Gothic Compilation Part XI" of 2000 and "Songs Of Pain" of 2002, then finalizing in 2003 the debut album "Under A Heart-Shaped Sun" - licensed by the German label Pandaimonium Records - in which stand out eight magnificent goth-rock / electro / synthpop performances plus the video version of the hit club "Killing Queen". After fourteen years spent further refining their inventiveness, the ensemble publishes in 2017 the expected full-lenght "Made Of Scars" - diffused by the German brand Alice In Wetzlarer, a sub-label of Dark Dimensions - which tracklist enumerates thirteen songs including two remixes. "My Girl's On Fire" is the first episode, which goth-rock / electro procedures are built through a vigorous uptempo drumming symmetrically accompanied by pulsing bass-lines, solid electric guitarism and by an aesthetically attractive chant full of deep intonations, alternated with desperate backing vocals. "Sweet Mysery" proposes a more meditative, gloomy gothic-rock / electro mood divided into two phases: an initial one, characterized by cold downtempo cadences of drum-machines, velvet keyboard, vocals shaded by a dark melancholy, opaque guitar rays and by touches of bass, succeeded by a second period in which the introductory structures are even more loaded of emotion, rhythmed with algebraic precision by the uptempo beats of the drum-sequencing and solemnized by the increase of keyboards. The nostalgic gothic-rock / darkwaver melodies of the next "Black Valentine" irresistibly impose themselves by arousing the full participation with the listener, thanks above all to the authoritative vocal calligraphy of the singer, always so dark and splenic, inserted into an enthralling, electric whole of guitars, rectilinear oscillations of bass and midtempo drumming. "Shine On" reveals a remarkable electro-gothic-rock charm: Helge's voice, so incisive and irrepressible, declaims the strophes with melancholic obscurity, while the danceable synthpop-oriented midtempo orchestrations of drum-programming, sequencer and keyboard, blend harmoniously with the electric forcing of guitar, transmitting seductive, compact consonances, alternating with tormented interludes, decline and rhythmical vitality. "She Said" enraptures, abducts, merit of the union among the emotional design of the chant and the atmospheric gothic-rock / darkwave / synthpopish euphonies of instrumentality, all in a track built by desolate vocals, interspersed with rational midtempo drum-beats and bass, on which they fluctuate the distant reverberations of guitars and keyboard. The mechanical hits of the rhythm-machine process regular, danceable midtempo segments, perfectly synchronized with the sequenced clusters and surrounded by resolute, passionate vocals, which impose themselves on the gothic-rock electricity of guitars and on the opaque contrails traced by the keyboard: this is the substance of "Heaven", while that of the self-celebrative "From Hamburg With Love" propagates a minimal, alienating electro / darkwave / gothic sound, composed by coldly depressed vocals, rarefied bass arpeggios and tenuous sequenced intermittences, to which they follow the downtempo sections of the drum-programming and the turbid spatiality of guitars. "Everybody Kills Someone" introspectively and uncompromisingly analyzes the hidden hypocrisies within the human mind, metaphorizing the meanings of the verb "kill" and conjugating it musically in a goth-rock / darkwave / synthpop saturated with implicit aggression, this through a shadowy, obsessive vocality , punctuated by midtempo drum-programming and sequencer, massive guitar consistency and through squared counterpoints of bass. The gothic-rock / synthpop formula of the following and short "A View To The West" once again is inclined towards initials, peaceful sound architectures overflowing with enchantment, in which stands the polarizing, thoughtful Helge's voice, flanked by evanescent breaths of keyboard and feeble echoes of guitar, a songwriting that antologizes and anticipates the successive sonorities, enlivened by the systematic midtempo beats of the drum-programming and by the punctuations of the sequencer, in a percussiveness on which the vocals and the guitars replicate the opening schemes, fading away into the final like the last rays of the sun in an autumn sunset. "You Came To Dance" is a fervent, exciting gothic-rock / synthpop / post-punk / darkwave ride, conceived through the impeccable coordination among midtempo rhythmic extensions, shining, vibrant guitar riffs and intense vocals, as always pronounced with melancholic depth. The visionary "Wild Child" spreads notes saddened by a rueful gothic-rock sentimentalism, vividly expressed with authenticity especially in the preliminary moments of the song, through slow acoustic guitar scales and a suffered chant, subsequently prolonged along the downtempo synthpop trajectories of the drum-programming, of the sequencer and of the diaphanous chords generated by the keyboard. The title-track ends with the two 2017's remixes of songs both extracted from the album "Under A Heart-Shaped Sun" : the first one is the reconstruction of the notorious "Killing Queen", which original gothic-rock / synthpop conformations are re-arranged through more substantial electronic solutions and through instrumental reinforcements that add greater spectacularity to this mythical song, crossed by an impressive keyboard, reverberated vocals, a sparkling background of guitars and by downtempo drum-machine scans. The second remake is that relating to "In Her Eyes", which differs from the album version for its new configuration spun off from the primary hardness composed by ardent guitarristic and percussive geometries: now this track is turned into a soft gothic-rock downtempo ballade, composed by caressed strings and warm flows of keyboards, which multiplies its charm pointing out the poignant melancholy of the vocals and a vaguely epic, romantically decadent musicality. On The Floor are the protagonists of a release in which stand out inspiration and an excellent interaction among all the components of the line-up, in addition to the rare ability to give a concrete sonic form to the imagination. The stylistic roots proposed by the project branch off below the traditional gothic-rock surface, mixing to this specific genre catchy electronic paradigms: it follows "Made Of Scars", a communicative, significant and skillfully played album, a gesture due to both fans that the same band, a demonstration of competence that fully symbolizes the high compositional state achieved today by the four musicians, progressed through an experience more than twenty years, willing to look reasonably and deservedly beyond the future with the best auspices. We believe in them.

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Principe Valiente - "Oceans" - by Maxymox 2017

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

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

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

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Stars Crusaders - "Welcome To Hydra" - by Maxymox 2017

immage  Ensemble of technologically advanced and inspiringly talented musicians, that of the Italian Stars Crusaders stands out not only for a compelling and original sound, but also for the conferment of an interactive identity to each track, making it able to connect and communicate with the listener, who will perceive the vivid sensation of being the direct protagonist of the various adventures told in the texts. The band, founded in Turin in 2014, predisposes the following line-up: Yeda Furyan - aka Fabio Furlan - ( storyteller / lead vox / melody writer / lyrics ), Symorg - aka Simone Fornaro - ( live synth / backing vocals / lyrics ), Davedax - aka Davide Gay - ( grooveman / composer / arranger & sound-engineer ) and C1-C0 - aka Andrea Pellanda - ( drums / electronic pad ). The style created by the Stars Crusaders, specifically defined by the same project 'electro Sy-Fy', adds great vocal schemes, in many conjunctures timbrically tenorly, different proportions of electronic futurepop comeliness, concordances deriving from the best synthpop school, trance hypnotism and EBM danceability, as well as the leitmotivs that inspire fantasy, music and therefore the entire record production of the Stars Crusaders, come from the collective passions of the four artists about the hyper-technological sectors and the hypotheses of paleocontact: themes such as Sci-Fi, Astronomy, Cybernetics and theories about the Ancient Aliens, constitute for the band a fascinating and modernly romantic exploration of the Universe and of the still unresolved mysteries of human Evolutionism. The Stars Crusaders discography - entirely licensed by the US label WTII Records - evolves from the debut album "New Horizons", published in 2014 - made in cooperation with Stefan Poiss, mastermind of the Austrian technopop / synthpop duo Mind.in.a.Box and of the solo-act electro / synthpop Thyx - among which eleven tracks highlights the extraordinary "Mothership". Simultaneously was released the four tracks digital single "Aeterna" - as the five next ones is enriched with versions remixed by illustrious names coming from the most heterogeneous international electro scene - that includes three remixes elaborated respectively by the Swedish dark-electropop / EBM duo-act Dupont, by the Mexican synthpop / electro solo-project Nórdika and by the member of the same band DAVEDAX. In the year 2015 the Stars Crusaders released two digital Extended Play's: the first one is "In The Venusberg / Trick EP", in which five tracks we can find the remixes by the German darkwave / EBM / synthpop band Beyond Obsession, by the American electro / industrial-rock one-man project Sister Machine Gun and that one by the Italian darkwave / electro solo-act Resonanz Kreis, while the second EP titled "Mothership" enumerates eight episodes, of which five splendid remixes, drawn up in the order by the German producer, remixer, d.j. Rob Dust, by the German techno / industrial / synthpop band Rotersand, by the English electro / IDM solo-act Autoclav1.1, by the American industrial / synthpop band Interface and by the Canadian EBM / synthpop / electro one-man project nTTx. They follow the four tracks of the digital single "Under Attack" dated 2016, three of which are remixes formulated by the German electropop / synthpop duo Frozen Plasma, by the Scottish electro / synthpop duo Advance and by the Indonesian gothic / darkwave / electro musician Rammsier. "Gemini" is finally the five-track digital-single, which includes the remixes by the Canadian electro / industrial duo Decoded Feedback and that one by the Swedish electro / synthpop duo Vanguard, projected in orbit in 2017 at the same time with the second, magnificent and correctly definable "stellar" full-lenght now analyzed by Vox Empirea, "Welcome To Hydra", composed of eleven songs as always conceptually inherent in fantascientific themes: all traks are independent one from each other, yet converging in the context of the album as if they were all paragraphs of a single, adventurous, visionary, futuristic intergalactic epopee declaimed through an eloquent 'psycho-sonic' and 'fanta-filmic' methodology. The realization of this second album is further embellished in its mixing and mastering processes by the collaboration provided by Rob Dust, by Stefan Poiss and by Vasi Vallis - producer, songwriter and component of Frozen Plasma, Namnambulu and Reaper - also mentioning contributions from important bands belonging to the Italian electro scene: Syrian, Electrogenic, Forces Forces Of Light. Remarkable and artistically constructive is furthermore the concert activity, past and present, thanks to which the band has obtained and continues to obtain a strong visibility among the public, attending at the live-sessions of some of the greatest exponents from the contemporary alternative electro scene, such as VNV Nation, De / Vison, Diorama, Frozen Plasma, Solar Fake, NamNamBulu, Covenant and Babylonia. The first act of "Welcome To Hydra" is the introductory and short "Prologue II", built using slow sequencing, aeriform pads and atmospherically profound spoken-words, anticipating the next "The Great Exodus", a futurepop / EBM hauled by pulsating, danceable uptempo sections of drum-programming and sequencer, on which bass-lines are reflected engaging vocals and the metallized sheen of keyboards. In every song of the Stars Crusaders the singer plays the fundamental role of novelist, evocator, the element that makes the musicality of the band so special. Within his chant they reside challenging vocal extensions, a stately bearing, transversal melodisms and a remarkable expressiveness: all this is instilled also in the following "Once Again", a futurepop / synthpopish song painted through solemn keyboard orchestrations, a majesticly suggestive chant, sequenced dashes and a downtempo drumming, broken down into cathartic interludes and openings filled with triumphal emphasis. "Mystic Forest" proposes a futurepop / synthpop driven by precise midtempo scans of drum-programming, symmetrically punctuated by the sequencer, decorated by the bombastic intonations of the singer and embellished by melodious keyboard counterpoints, while in the following "Under Attack" are highlighted futurepop / synthpop / EBM dancefloor-oriented connotations, forged by the interplay between strong midtempo rhythmic and scenographically powerful vocals, harmonized with superb keyboards, which, especially in the end of the track, perform splendid evolutions. Equally danceable, "Gemini" - a song conceived with the participation of the project Forces Of Light - spreads a futurepop / synthpop configuration that teleports you in a fascinating mental journey, thanks to the synergy among mechanical midtempo beats of drum-programming synchronized with a millimetric sequencer, with an authoritative, seductive vocalism and with irresistible keyboard finishings. "Behind The Mirror" - designed in collaboration with Electrogenic - is a futurepop / EBM chapter full of high-energy dance, made even more exciting by the alternations among the vocalist's resolute chant and the guest-singer feminine textures, weavings of notes and alienating chorality, hinged on a straight uptempo rhythmic base supported by opalescent luminescences of synths and sequencer, all for an authentic, entrancing flow of neuro-sensitive solicitations. In the same way, the following "The Will" elegantly combines the powerful, clear modulations full of phatos of the lead vocalist with the graceful and enfolding ones of the guest-singer Bree Connor; the result is very catchy sonorities overflowing with modern romanticism, corroborated by a wide keyboard presence and midtempo drum-programming. The Syrian contribute to the composition of "Soulless", radiating it with transversal, lysergic futurepop / synthpop euphonies, through reverberated-filtered vocal cycles and others more terse, while the 'emitting body' of the drumming processes metronomic midtempo beats and the keyboards propagate selenic melodies. Spuring voice and drumming make "Sick Bakkus" an amazing futurepop / EBM: the singing incitements, reinforced by solid uptempo partitions, by sequencing intermittences and by harmonious keyboard effervescences, create a dynamogenic climax that imposes the body a rhythmical movement without any pause, while the global structure of the conclusive "Exile" veers towards vocally tormented and musically oblique perspectives, a restless, spiraling and elaborate sound, in perpetual balance between research, obscurity, introspection, existential drama and progressed sonic technology, all this through a depressed chant, cold emissions of keyboards, cosmic effects, incorporeal-thoughtful intervals plus a midtempo percussiveness, subdivided into rhythmically fractionated periods and perfect symmetries. In the dimensional vastness of this full-lenght, abstraction and rationality share the same spaces, interfacing each other in a continuous exchange of musical and imaginary interconnections. The new release has important requirements that elevate it to one of the most valid and interesting electro proposals of the moment, thanks to the always excellent updating of the traditional notions of 'synthetic sound', it emancipated today more than ever through ultra-avant-garde solutions, enhanced and intensified by the futuristic events rich in surrealism and emotional participation illustrated in the texts. The eleven tracks of the album use an intuitive, assimilable sound language, with always catchy melodic trajectories and, above all, compositional connotations often deviating from the conventional techno-pop models. "Welcome To Hydra" will make you fully understand the substantial difference between 'hearing' and 'listening'.

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Telekon - "Hope For Believers"- by Maxymox 2017

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

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

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

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The Saint Paul - "Three" - by Maxymox 2017

immage  The entire biography and discography of The Saint Paul is available in the section of Vox Empirea dated 2015, within the review of the penultimate full-lenght published by the band entitled "Days Without Rain". Two years after that exciting, successful masterpiece, the German trio re-appears on the alternative electro scene with a new release that conceptually commemorates the goal of the third album reached in 2017, "Three", in which ten tracks are contained remarkable synthpop / futurepop / EBM elements, melodically incisive, constantly focused on the immediate, complete mental and auditive attraction of the listener. Intelligent texts, at the same time brimful of feeling and of a disenchanted visions of reality, plus high-tech musicality often danceable and always intriguing, represent the prerogatives of the new full-lenght, published, like all the previous ones, by the German label Infacted Recordings. In the cresits are mentioned the names of the following famous external collaborators involved in the making of the album, starting with the artwork creator, the German graphic designer / visual maker Alexander Fröbel, continuing with the mastering process entrusted to the great, prolific Swedish musician Christer Hermodsson - ex Crull-E from synthpop / futurepop S.P.O.C.K. , also known by the pseudonym Biomekkanoid, founder of the synth-pop / EBM project Biomekkanik, member of the synthpop band Sista Mannen På Jorden, of the EBM / synthpop project Spark! and of the electro / eurodance band Wonderland - keeping on with the mixing process elaborated by the German studio-masterminds Bernd Lindberg and Martin Strathausen - this latter author of the jazz / electroswing solo-act called Tape Five and, together with Bernd Lindberg, participating in the same role of mixer-technician also in the previous album "Days Without Rain" - assisted in the mixing proceedings by the German multi-instrumentalist, songwriter and producer Thomas Lüdke - inventor of the industrial / EBM duo-act The Invincible Spirit , member of the industrial / heavy metal band God Is LSD and of the EBM / new wave duo Mao Tse Tung Experience - . The album "Three" begins with the melancholic procedures of "Exit", a downtempo synthpop based on passionate vocal intertwinements and soft keyboard harmonies, all rhythmed by regular drum-programming cadences and by sequenced segments. "Come With Me" dynamizes the sound through a futurepop / synthpop / EBM scheme in which the singer's strong-willed voice leads into an electronic danceable vortex, composed of resolute midtempo drum-machine and pulsations of sequencing, while the keyboards propagate murky melodies which increase the dark charm and the state of tension that characterize this track. "I Will Stay" gives space to romance through a velvety vocalized synthpop, punctuated by precise downtempo beats of drum-programming and marvelously decorated by luminous keyboard counterpoints. A wisely balanced electro-mixture instead marks the next and beautiful "e.no. DNA", performed in two consequential phases: a first one dominated by electro-EBM sounds, fractionated by synth patterns, enlivened by a danceable midtempo drumming and by rational flows of vocals, while in the second one you can feel mostly synthpopish connotations, built through an homogeneous, dragging keyboard coverages combined with the same singing scheme, which, inserted in this musically more intense context, acquires a more graceful and intriguing form. "Blood Donation" is a synthpop / futurepop construction driven by the clear, charismatic and unmistakable voice of lead singer Paul, whose passionate melodies harmonize with the downtempo subdivisions of the drumming and with the enveloping emissions of the keyboards, as well as in the synthpopish procedures of the next "Your Purity" prevail the primary colors of the vocalist, whose seducing intonations radiate sonorities rhythmed by the linear midtempo metrics of the matching drum-programming / sequencer, completed by euphonic keyboards. The album continues with "Losing Control" and its resolute, tormented vocal exposures which interacting with a synthpop / futurepop sound-system consisting of a straight midtempo percussiveness, sometimes timbrically impure, intertwined with opaque, suggestive diffusions of keyboards, while the following and beautiful "Love Is Passion" offers a sharper, atmospherically catchy synthpop / futurepop, in which the bewitching voice of Paul is molded with mesmerizing cycles of keyboards and with the rational drumming midtempo, all this in a potential club-hit that conquers at first listening. "Blue Bird" breaks in with all its synthpop / EBM vigor, punctuated by an impetuous percussive automatism, pulsing bass-lines and by sequenced partitures, in an agglomeration of tech-dancing energy beautifully adorned with solid vocals and melodic forcing of keyboards, while the the last episode of the tracklist, "Back", proposes melancholic, introspective harmonies, formulated through a dark chant and a synthpopish musicality embellished with shadings of keyboars and through a minimal downtempo / midtempo percussiveness of drum-programming, for a sad-song capable of arousing infinite emotions. Rentrée of considerable value, long awaited and annex to a release that enthralls. Three albums, three masterpieces: this new full-length is the unassailable demonstration of the inspiring vastness, of the technical dexterity, the innovation and of the expressiveness achieved by The Saint Paul, a project that has systematically sought, obtained and deserved over time the reputation of 'high-reliability band'. The ensemble skillfully interpret the electro notions, imprinting in them a personalized physiognomy, the same one that makes this music so peculiar, so eloquent, devoid of sophisticated alchemies and wonderfully intelligible: "Three" is the synthpop in superlative mode.

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

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

Reviews 2017 Eng
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